Tuesday, 1 April 2025

PREVIEW: Don't Turn Out The Lights (2025 Film) A Relentless Descent into Terror

Don't Turn Out The Lights
 

Prepare for an unrelenting nightmare with Don't Turn Out The Lights, a brutal supernatural horror from Anaconda producer Andy Fickman, out now on digital platforms courtesy of 101 Films. What begins as a carefree road trip soon becomes a blood-soaked fight for survival as a group of friends en route to a music festival take a wrong turn into pure terror. Stranded in the middle of nowhere with no signal, no help, and something watching from the darkness, their dream weekend quickly turns into a waking nightmare.

Their camper van, once a symbol of freedom, becomes a prison as night falls and an unseen force begins to hunt them. Tension and paranoia take hold, fraying friendships and leaving them exposed to the malevolent presence stalking the shadows. One by one, they meet gruesome ends in increasingly brutal and imaginative ways, as the film revels in its slasher roots with expertly crafted practical effects and relentless gore. Even fleeting moments of respite are shattered by bursts of shocking violence, keeping the terror at a fever pitch.

Fickman masterfully builds dread, using the suffocating darkness and claustrophobic setting to prey on primal fears of the unknown. The unseen horror is ever-present, lurking just out of sight, tightening its grip until the chilling climax leaves a lasting mark.

For horror fans craving a no-holds-barred, blood-soaked thrill ride, Don't Turn Out The Lights delivers in full force. So gather your bravest friends, lock the doors, and keep a torch close, because the film is out now and you might just think twice before turning off the lights.

Apple TV - https://apple.co/3D71aXj


Monday, 31 March 2025

COMPETITION: Win Black Cab (A Shudder Original) on Blu-ray



Nick Frost gives a chilling performance as the cab driver from hell in spine-chilling horror Black Cab from director Bruce Goodison.  The film arrives on Blu-ray and digital 7th April courtesy of Acorn Media International.

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

Synopsis:
Nick Frost gives a brilliant performance as creepy cabbie Ian, playing against type in his most sinister role yet with Synnøve Karlsen bringing an emotive and compelling performance as his tormented passenger, making this one serious spine tingler.   
 
After an awkward date Anne (Karlsen) and her controlling, abusive fiancĂ© (Luke Norris – Poldark) hail a taxi, but it quicky dawns on them that they’ve picked the wrong ride, as their night goes from bad to terrifying… 
 
Brutally abducted and tied up, the couple are at the mercy of their captor and with their destination unknown, things become even more frightening as ghostly visions of a women appear to torment them. As secrets are revealed about Anne’s past, Ian’s true motive starts to become clear. Can they escape the clutches of the disturbed driver and the bone-chilling haunting presence, or is this their final destination? 
 
With shocking twists and revelations sure to scare your socks off, this is one Black Cab ride you’ll never forget. 

Pre-Order from https://amzn.to/3Y6IYEg

Enter now for a chance to win.

Who plays Anne in Black Cab?

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 14-04-25
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.

Friday, 28 March 2025

PREVIEW: Lyla (2025 Film) - A Chilling Descent into Deception

Lyla
 

Jolene Andersen (Agents of S.H.I.E.L.D., V/H/S/Beyond) delivers a hauntingly sinister performance in Lyla, a brooding psychological thriller written, directed, and shot by Gordon Cowie. The film is set for a digital release on 31 March, courtesy of Miracle Media.

Seeking solitude to focus on his writing, Mark (Clark Moore – Monsters, Yellowstone) takes his wife Lyla and their son on a remote getaway. But Lyla harbours a dark secret, one she will go to any lengths to protect. As tension mounts, Mark’s growing suspicions pull him into a downward spiral, threatening not just his family, but his own grip on reality.

A chilling exploration of trust and manipulation, Lyla is a disturbingly gripping thriller that lingers long after the credits roll. Available on digital from 31 March.

Thursday, 27 March 2025

PREVIEW: Screamboat (2025 FIlm) - A New Slasher Horror Starring David Howard Thornton

 

David Howard Thornton, known for his chilling performance as Art the Clown in the Terrifier films, takes on a new kind of horror in Screamboat, a slasher that turns an ordinary ferry ride into a blood-soaked nightmare.

A late-night commute across New York’s waters spirals into chaos when a seemingly harmless mouse goes on a killing spree, picking off passengers one by one. Trapped at sea, the survivors must work together to stop the tiny terror before none of them make it to shore.

Joining Thornton is a cast packed with horror talent, including Kailey Hyman (Terrifier 2), Tyler Posey (Teen Wolf), Jesse Posey (Selena: The Series), Jarlath Conroy (Day of the Dead), Jesse Kove (D-Day: Battle of Omaha Beach), and Brian Quinn (Impractical Jokers). The film’s creature effects come from Quantum Creation FX, the team behind The Last Voyage of the Demeter, with inspiration from Avatar: The Way of Water artist Christian Cordelia.

Directed by Steven LaMorte (The Mean One) and co-written with Matthew Garcia-Dunn (Silent Hill: Ascension), Screamboat delivers a mix of dark humour and gruesome horror that will have audiences thinking twice before their next ferry ride.

Distributed by Signature Entertainment, Screamboat docks exclusively at Vue cinemas on 2 April.

Interview with Anthony DiBlasi on Adapting Clive Barker’s Dread, Axe Murder Challenges, and His Close Ties to Horror

Anthony DiBlasi

Ahead of Dread airing on NYX UK, director Anthony DiBlasi reflects on adapting Clive Barker’s psychological horror story for the screen. He discusses the challenges of staying true to the source material, the technical difficulties of filming intense scenes, and his close working relationship with Barker.

What drew you to this particular Clive Barker story, and how did you go about adapting it for film?

I was drawn to it because it was Clive’s only non-supernatural story that he’d written up until that point… maybe even his only one now. I was very close to the age of these characters when I adapted it. I knew their voice and what they were going through. It was most important to me that I remained as faithful to the source material as possible. I had to expand it, of course, but I wanted to make sure his themes remained constant throughout the adaptation.


The film relies on psychological horror rather than traditional jump scares. How did you go about creating that tension throughout the story?

I kind of cheated a little, using the psychological terror as a trigger to manifest supernatural terror. But that’s something I love to do. It makes the audience uneasy when they’re not sure where a scare is going to come from. Yes, it’s still grounded in reality, but Quaid is dealing with manifestations that haunt him in the physical world. The audience is feeling his building madness, which puts all of our other characters in real physical jeopardy.

The character dynamics in the film are intense and unsettling. How did you work with the cast to develop such emotionally raw performances?

I think it really came from letting the cast explore their characters together. I got the whole main cast together for rehearsal sessions, and we improvised scenes that were not in the film. I let them grow naturally and made adjustments as the improv continued, whispering in one actor’s ear or another to take the narrative in a new direction. It’s a way I love to work. It’s improv but with real-time direction, and one session can go for forty-five minutes or an hour without them ever breaking character. I believe they carried the conflicts that were created in these sessions into the film. It became a shared history between them all.

The film explores fear in a very personal way. Did any of the themes in Dread resonate with you on a personal level?

I remained faithful to Clive’s story, but I swapped around or created some characters. Steven’s history in the short story became Joshua’s, and Steven’s history became mine. I was in a bad car accident when I was sixteen and had three friends in the car with me. Everyone survived thankfully, but there were some very serious injuries. I was able to put that into the film, almost seeing Steven as a stand-in for my own little brother. Abby was a creation who isn’t in the short story. A close friend of mine has a port-wine birthmark, and it was always a part of her social experience growing up, so I thought that was a perfect way to represent dread in a physical form. Dread from how people see you just by walking into a room. Abby carries that every moment of her life.

The film has a stark and unsettling atmosphere. What choices did you make in terms of cinematography, lighting, and sound design to enhance that mood?

Well, I had an incredible DP on that film. Sam McCurdy, who shot The Descent and went on to win an Emmy for Shogun. We settled on this look that he described as being ‘nicotine stained.’ We also shot on the Viper camera, a camera not in use anymore, which in itself makes it unique for the time.

What was the most challenging scene to shoot in Dread?

It’s hard to say, all these years later. I only have good memories of the experience. But I know the axe murder scenes were very technically challenging because I wanted this huge camera attached to an axe. A giant rig had to be built so we could get that full pendulum swing of the axe through the air. It was a twenty-five-foot rig that had to be built to get that natural swing. The whole house was a set, thankfully, so it could accommodate the rig inside it. When we dragged the axe, the camera was attached to a separate rig, which had to be carried up the stairs while still connected to the axe. Now it’s easy to do those kinds of things because you can use tiny cameras, but unless you're Nolan, who would probably still attach an IMAX camera to an axe if he wanted to, it was a real technical challenge back then.

You’ve worked closely with Clive Barker on multiple projects. What have you learned from him, and do you have any favourite memories?

It was an honour to learn from him. His mind is vast with creative knowledge and inspiration. That was a solid ten to twelve years of my life, and it thankfully continues now. Most of my favourite memories with Clive are outside of film, having travelled with him around the US for his book tours in my early days and getting to see him interact with his fans. He poured so much energy into each person he met. That humbles you as a creator, to see how gracious he is with his fans.

What do you think makes an effective horror film?

It’s a bit of a magic trick, really. It comes from the gut. You also have to realise what scares or entertains some people won’t scare or entertain others. I don’t scare easily. Ghost stories can get under my skin more than anything else, so when I’m trying to terrify the audience, I can’t really use myself as a barometer. But what I like to do is puppeteer emotions. If I can break down social boundaries and instigate some fun or drama, I’ll do it. It’s just who I am. It’s the Gemini in me, I guess.

Horror audiences in the UK are big fans of your work, and Dread premiered at FrightFest. Do you have any favourite memories from that experience?

It was getting to watch it in the biggest theatre I’ve ever stepped into with an audience at the Empire in Leicester Square. That was a monumental experience, to be there with the cast. For most of the cast, it was the first time they were seeing it, which I just loved. Being able to watch them watch the film for the first time at FrightFest is something I’ll never forget.

You’ve directed both psychological and supernatural horror films like Dread, Last Shift, and Malum. Do you prefer one over the other, and how do your approaches differ?

I enjoy both. I like unravelling characters in a screenplay slowly. I think it all comes down to how you can get an audience to perceive terror both on the screen and on the page. Both sub-genres are really rooted in psychology.

Can you share anything about your current projects?

Clive and I have actually stepped into developing something else together, so hopefully, that will be announced to the world in the coming months.

Dread airs on NYX UK on Friday, March 29 at 11.15 pm. Freeview 271 / Channelbox App / TCL TVs / Distro TV.

Tuesday, 25 March 2025

NYX UK Celebrates Horror Legends and Premieres Spine-Chilling Films This April

NYX UK
 

Horror channel NYX UK is set to celebrate the birthdays of two legendary figures in the genre while delivering a thrilling slate of premieres throughout April.

The month kicks off with a tribute to the master of silent horror, Lon Chaney, on Tuesday 1 April. Known as the "Man of a Thousand Faces," Chaney brought unforgettable characters to life through his groundbreaking use of makeup and physical performance. To honour his legacy, NYX UK will screen The Unknown (1927) at 9pm, followed by The Hunchback of Notre Dame (1923) at 10.15pm. Both films showcase his ability to transform into tragic yet haunting figures, making them the perfect way to celebrate his contribution to the genre.

THE UNKNOWN

On Thursday 3 April, NYX UK shifts focus to the world of Italian horror, paying tribute to Lamberto Bava with a double bill of his most iconic films. Demons (9pm) and Demons 2 (11pm) deliver a night of gore-soaked, neon-lit chaos. Produced by horror maestro Dario Argento, these films remain some of the most stylish and intense examples of 80s horror, blending supernatural terror with relentless energy.

Horror series Dark Rewind continues its popular run at 9pm, offering deep dives into cult classics. On 8 April, host August Kyss revisits the bizarre 1980 horror-comedy Motel Hell, a twisted take on the slasher genre with a darkly comedic edge. Later in the month, on 22 April, The House on Sorority Row (1983) takes centre stage, bringing a mix of sorority drama, deadly secrets, and classic 80s slasher thrills.

FROSTBITE

Another fan-favourite series, Galveston’s Cavern of Creeps, remains a must-watch on Thursday nights at 9pm. This month, underworld exile Galveston and his hapless mortal roommate Jack guide viewers through two channel premieres. On 4 April, Jacques Tourneur’s supernatural horror classic Night of the Demon (1957) takes over the screen, followed on 18 April by The Brain That Wouldn’t Die (1962), a cult sci-fi horror about a scientist’s gruesome experiment gone wrong.

April also brings two more channel premieres. Anders Banke’s acclaimed vampire horror Frostbite (2006) arrives on Thursday 10 April at 9pm, offering a chilling take on the undead set against a frozen Scandinavian backdrop. Meanwhile, Hansel & Gretel Get Baked (2013) delivers a darkly comedic reimagining of the classic fairy tale, blending horror with stoner comedy on Sunday 20 April at 9pm.

DEMONS 2

For those seeking more blood-curdling delights, NYX UK has packed the schedule with some of horror’s most distinctive films. Discopath (11 April) brings a Canadian slasher twist to disco-era terror, while Scottish werewolf thriller Wild Country (17 April), starring Peter Capaldi and Martin Compston, offers a homegrown dose of supernatural horror. Israel’s first slasher film Rabies (24 April) adds international flair, and psychological horror Grimm Love (25 April), based on the infamous Armin Meiwes cannibal case, delivers unsettling true-crime-inspired chills. The month concludes in style with Dario Argento’s Giallo masterpiece Tenebrae on Sunday 26 April, a must-see for fans of stylish and brutal murder mysteries.

With a lineup celebrating horror icons, cult classics, and new discoveries, NYX UK ensures that April is packed with frights for every kind of horror fan.

Freeview 271 / Channelbox App / TCL TVs / Distro TV

PREVIEW: Revelations (2025 Film) A Haunting Thriller of Faith and Obsession

 

Director Yeon Sang-ho, known for his deep explorations of human nature, reunites with writer Choi Gyu-seok for Revelations, a gripping new thriller arriving on Netflix on March 21. Following their success with Hellbound, the duo now delves into faith, guilt, and obsession in a tense, psychological drama. Adding further prestige, acclaimed filmmaker Alfonso CuarĂłn (Roma, Gravity) serves as executive producer, bringing his cinematic expertise to the project.

The story follows Pastor Min-chan (Ryu Jun-yeol), who becomes convinced he has received a divine message identifying an ex-convict, Kwon Yang-rae (Shin Min-jae), as the culprit behind a churchgoer's disappearance. Certain he is carrying out God's will, Min-chan relentlessly hunts Yang-rae, while detective Yeon-hui (Shin Hyun-been) investigates the case, tormented by visions of her late sister. As their paths intertwine, the pursuit of truth descends into a harrowing struggle between faith and reason.

The teaser trailer sets an ominous tone, blending psychological horror with an intense game of cat and mouse. The official poster heightens the intrigue, depicting the three leads scattered in a rain-soaked forest, each looking in a different direction as an eerie presence lurks in the shadows. The imagery hints at the moral ambiguity and difficult choices that will define the story.

With a stellar cast and Yeon's signature storytelling, Revelations promises to be a thought-provoking thriller that lingers long after the credits roll. This is one to watch.

Monday, 24 March 2025

COMPETITION: Win David Cronenberg's The Brood on Blu-ray

The Brood


Second Sight Films’ newest releaseof David Cronenberg's The Brood is coming to Limited Edition 4K UHD and Standard Blu-ray from March 31st

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

Synopsis:
One of the most introspective and grotesque features from maestro of horror David Cronenberg (Crash, Videodrome, A History of Violence), The Brood finally gets its highly anticipated, newly restored 4K UHD in a Limited Dual Edition Box set this March.

An early masterpiece and a seminal body horror classic, from the celebrated director, it stars outstanding and disturbing performances from screen legend Oliver Reed (Gladiator, The Devils) and Samantha Eggar (The Collector, Dr. Dolittle). The film is still as shocking today as it was on its original release and fans can expect to see it in its full gory glory with Second Sight Films’ fantastic new edition.


Complete with new artwork by Krishna Shenoi and comes packed with a slew of brilliant special features including a new commentary, interviews with cast and crew and an archival interview with director David Cronenberg.

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

Enter now for a chance to win.

Who directs Dream The Brood?

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 07-04-25
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.

Friday, 21 March 2025

REVIEW: Heart Eyes (2025 Film) - Starring Olivia Holt

Heart Eyes
 

Heart Eyes is a fresh and entertaining blend of romantic comedy and slasher horror, mixing love, laughs, and plenty of blood in a way that works surprisingly well. Directed by Josh Ruben, the film follows Ally (Olivia Holt), who is reeling from a breakup when she crosses paths with Jay (Mason Gooding), a charming jewellery designer. As the "Heart Eyes Killer" stalks Seattle, targeting couples on Valentine's Day, their awkward but endearing romance unfolds against a backdrop of escalating danger and darkly funny moments.

The film thrives on its self-awareness, cleverly playing with rom-com clichĂ©s while delivering sharp dialogue and well-timed humour. Gooding and Holt share strong chemistry, making their growing relationship both believable and genuinely amusing. While not every joke lands, the film’s playful nature helps smooth over any misfires. The slasher elements are equally well-executed, with inventive and brutal kills keeping the horror side engaging. The tension builds nicely, especially as the story hurtles towards its final, blood-soaked showdown.

That said, Heart Eyes does stumble when it comes to its plot, which at times feels unnecessarily convoluted. Its frequent winks to the audience occasionally undercut the suspense, making it harder to take the horror seriously. Some plot developments stretch logic a little too far, though the film’s stylish execution and strong set pieces help compensate for these weaker moments.

In the end, Heart Eyes is a fun, quirky rom-com slasher that delivers plenty of entertainment despite its flaws. The engaging performances, witty banter, and satisfyingly gory thrills make it a solid addition to the growing genre of horror-infused romantic comedies. It may not be perfect, but it knows exactly what it is and fully embraces the ride, ensuring audiences will be laughing and cringing in equal measure.

Rating: 7.5/10

Out now on Digital at https://apple.co/432u8BX

Tuesday, 18 March 2025

REVIEW: The Gorge (2025 Film) - Starring Miles Teller & Anya Taylor-Joy

The Gorge
 

Scott Derrickson’s The Gorge is an ambitious mix of sci-fi, horror, action, and romance, driven by the strong chemistry between Miles Teller and Anya Taylor-Joy. While its central mystery keeps things intriguing, the heart of the film lies in the evolving relationship between its two leads, making for a gripping experience once it gets going.

The story follows Levi and Drasa, two elite snipers stationed in opposing guard towers, tasked with ensuring that the horrors lurking within a vast, classified gorge never escape. Isolated from the world and each other, they form an unlikely bond through written messages and quiet acts of defiance against their bleak circumstances. As their connection deepens, the terrifying reality of what lies below forces them into a desperate fight for survival.

Teller and Taylor-Joy deliver standout performances, turning what could have been a straightforward action-horror film into something far more emotional. Their chemistry is undeniable, making their relationship the driving force of the film. Derrickson balances high-intensity action with quieter, intimate moments, creating a blend of spectacle and heartfelt drama. Once the second act begins, the tension ramps up, delivering thrilling sequences and high-stakes confrontations.

However, the film is not without its flaws. The first act drags, delaying the real story by nearly half an hour. A tighter edit could have improved the pacing, as the film risks feeling longer than necessary at just over two hours. Fortunately, the stronger second half makes up for the sluggish opening.

Ultimately, The Gorge succeeds as a sci-fi thriller with a surprisingly strong emotional core. While the horror elements take a backseat to the romance, the central relationship is compelling enough to carry the film. If you can push through the slow start, you’ll be rewarded with a thrilling and heartfelt experience. A solid film that could have been even better with a leaner runtime.

Score: 8/10

Out now on Apple TV at https://apple.co/416tuAM

Saturday, 15 March 2025

REVIEW: The Forest (2025) – A Haunting Post-Apocalyptic Thriller

The Forest
 

The Forest is a gripping and atmospheric thriller that blends survival, mystery and an unexpected emotional depth. Directed by Hendrik Cronje and Mari Molefe van Heerden, the film crafts an intense story set in the eerie isolation of the wilderness. With a strong South African cast and a carefully layered narrative, it offers a fresh take on the post-apocalyptic genre, balancing tension and human connection in equal measure.

The story centres on Heinrich, played by Ruan Wessels, a man who has survived alone for years following a nuclear war that appears to have wiped out humanity. His world shifts when he encounters Em, portrayed by Simone Neethling, a voiceless woman whose presence brings more questions than answers. Em possesses strange abilities that have caught the attention of a ruthless gang led by Samuel, played by Roderick Jaftha. As Heinrich fights to protect her, the two form an unlikely bond, proving that even in a world stripped of everything, trust and companionship can still exist.

The forest itself is more than just a setting – it shapes the film’s tone, alternating between beauty and danger. The dense woodland feels both protective and suffocating, a space where every movement could mean survival or death. The cinematography captures this tension brilliantly, using natural light and shadow to heighten the sense of unease. The soundtrack adds to the atmosphere, moving between haunting and melancholic to swelling with emotion at key moments.

The performances are particularly strong, with Wessels portraying Heinrich’s resilience and quiet desperation convincingly. Neethling impresses despite having no dialogue, using expressive body language and an improvised sign language to communicate. Jaftha adds depth to Samuel, a villain who is more than just a brute force antagonist. Em’s abilities, a result of radiation-based scientific experiments, introduce a fascinating element to the story. The way she can only use them when in contact with the earth adds an intriguing detail, leaving room for potential expansion in a prequel.

If there’s a minor flaw, it’s the lack of explanation around Heinrich’s survival before meeting Em. Given how long he has been alone, his well-kept appearance and physical condition seem slightly unrealistic. However, this is a small distraction in an otherwise well-constructed narrative, and the emotional weight of the story far outweighs such details.

With compelling performances, stunning visuals and an evocative soundtrack, The Forest is a haunting and deeply engaging film. Its themes of survival, connection and the remnants of humanity in a broken world make it a standout in the post-apocalyptic genre. Both thrilling and emotionally resonant, it’s a film that lingers in the mind long after the credits roll.

Score: 9/10

Available now on Prime Video at https://amzn.to/410itB2

Saturday, 8 March 2025

Interview with Bobby Gammonster by David Kempf

Bobby Gammonster
 

1. Tell us how you became interested in all things horror?

When I was six years old in 1966, I came across a magazine with Frankenstein's Monster on the front. Having not started school yet, I could not read the magazine, but the pictures of all the monsters inside thrilled me and sparked something in me. I later learned that the magazine was Famous Monsters of Filmland, issue 56. Before that, at age four, I got a small tin lithograph haunted house bank with a glow-in-the-dark hand that pulled a coin inside when placed on the front porch step, along with a Munsters paper doll set for Christmas. That started my love of horror.


2. Do you have a favourite horror host you grew up watching?

We did not have a horror-hosted TV show in our area when I was growing up. I did see an article in one of my Famous Monsters magazines about the original "Dr. Paul Bearer," played by Dick Bennick. At the time, I did not realise that he was on TV. I thought since he was in the magazine, he must have been a movie star, and I loved the way he looked. We did have a Shock Theatre TV program with no host, only a static cartoon werewolf peeking around a tree.


3. How did you come up with your stage name and sidekick?

I get this question often. The thing most people don't know, even though I have stated it on my show and in other media, is that Bobby Gammonster is my real legal name. My sidekick, "Boris T. Buzzard," is one of the puppets I used in my home party business, where I performed as a ventriloquist and clown.


4. Did you do any traditional TV, local or otherwise, or have you always been a podcaster/YouTuber?

In my area of the world (in Virginia), the local TV stations were too far to travel to, and I did not know anyone who worked there. I had pretty much put my dreams of being an entertainer on a TV station aside. My wife and I went to a convention in Pennsylvania called Monster Bash, where I met other horror hosts, Penny Dreadful, Garou, and an amateur filmmaker named David "The Rock" Nelson. He was filming other visitors, asking them if they wanted to be in his movie and throwing rubber dinosaurs and spiders at them. The thing was, he seemed to be having fun, and I decided I wanted to have fun as well.

So when I got home, I got out a camera. It was not the best equipment, but at least it was digital and had video capability. I had my name, the clothes I used around Halloween and for performing at parties, and my home, which has ten rooms full of monster, horror, and sci-fi memorabilia. These are artefacts I have been collecting since I was five years old. In 1988, I opened my home to the public as Gargoyle Manor – The Monster Museum. These are the items I use as "props" on the show. So, I had everything I needed to start being a horror host.

Sixteen seasons later, with our 350th episode creeping up on 28 March 2025, I became a horror host on the internet. My wife is a website designer who created my website, where all my episodes and seasons can be seen. While I am mainly on the internet, I have recently, in the last few years, been seen on Public Access TV stations, such as WWON TV Channel 48 in New York and CMN TV 18 in Chicago. I was also inducted into The Official Horror Host Hall of Fame in 2020.


5. What inspires your stories?

I don't write stories as such, but the videos I choose are usually inspired by the artefacts in my museum, such as my Edgar A. Poe books. I look for films that are inspired by Poe and use them. Throughout the year, with special holidays such as Halloween, I try and find videos that have matching themes. For example, for Mother's Day one year, I used a horror film called I Dismember Mama.


6. What are your favourite horror books?

As I have said, I love Edgar A. Poe's works as well as Stephen King.


7. What are your favourite horror movies?

Well, that is kind of like asking a parent which is their favourite child. I love all horror movies, but I will say that Frankenstein with Boris Karloff and Dracula with Bela Lugosi are my top two favourites.


8. What do you think the difference between American horror and British horror is?

In the film genres, I would say the British acting seems better. But the American special effects teams seem to me to be better, depending on the specific film. However, I love horror from all around the world. Every film has its own unique style.

Thank you for this interview, and as always... "Keep Screaming" – your creepy ol' curator, Bobby Gammonster and Boris T. Buzzard, Hosts of Monster Movie Night monstermovienight.com


Wednesday, 5 March 2025

Interview with Junie Liv Thomasson - Indie Horror Actress and star of Blood, Sledgehammers, and Screaming Through the Woods

Junie Liv Thomasson

At just 12 years old, Junie Liv Thomasson is already making her mark in the indie horror world. With her 13th birthday approaching, she has appeared in several micro-budget horror films, showcasing her ability to handle eerie and intense storylines.

Junie’s earlier roles include Ghosts of Amityville, I Think We’re Alone Now, and Ouija Clown, where she began building her experience in the genre. One of her recent projects is Don’t Make a Sound, a found footage B-movie now available on streaming platforms and DVD. The film follows two sisters stranded in a remote area, where they encounter a killer who films his victims.

She also stars in The Arkansas Pigman Massacre, streaming via Bayview Entertainment, alongside veteran actor Eric Roberts. Looking ahead, Junie is set to appear in the upcoming horror anthology Amityverse, further expanding her presence in the indie horror scene


You’ve already made several horror films! How old were you when you landed your first role, and what do you think about acting in scary movies at such a young age? 

Do you enjoy the thrill, or is it sometimes overwhelming?

“I was about six years old when I did my first horror movie, Alien Goddess my first movie ever. It was low budget, and I remember it being super cold outside.

We were in the woods, and I just remember freezing.

There was this actor on set who was nice to me, and I really liked him. I don’t remember a lot from the experience, but I do remember they drew some kind of alien thing on my hand, which I thought was cool.

It wasn’t overwhelming back then, but now it can be sometimes because I get easily annoyed, especially when there are a lot of takes. But I love horror movies, so it’s still great!”


How does this film compare to your previous work?

“This movie was definitely harder to make, and it took a lot longer compared to the other ones I’ve done. It was also a lot bloodier and gorier, and overall, it felt darker too. 

The script was more intense, and physically, it was a lot more demanding. There were long shoots that really exhausted me, which made the whole experience even more challenging.”


Was there a particular scene that stood out as especially challenging?

“When I was using a sledgehammer in a scene, it was super hard because it was really heavy. 

On top of that, I got blood all over my face and in my hair, it was such a mess! It was everywhere, and it just made the whole scene even more intense.”


Did you ever find yourself accidentally staying in “horror mode” off-camera? Like jumping at shadows on your way home?

“One night, on my way home from a night shoot, I freaked myself out driving through the woods, convinced someone was standing there.”


Do you have a favorite on-screen kill or scare from Don’t Make a Sound?

"My favorite kill in the whole movie is the one with Pakchuda in the dark woods. That scene is just creepy."


What was it like working with your co-stars?

“It was such a blast working with my co-star Saga, who played Hayley in the movie, and who also happens to be my best friend. 

Getting the chance to work alongside her was truly an honour, and I’m so grateful for it. I’d love to do it again, it’s always fun.”


Are you personally a fan of horror? Do you have any favorite films or franchises?

"Even though I’m only 12, turning 13 later this year, I love horror movies, and my favorite franchises are probably Friday the 13th and Scream. It’s super fun that Nancy Anne Ridder from Scream is actually playing my aunt in this movie! I also love the movie It, I’ve watched it several times, and Hereditary is another favorite of mine. But interestingly, my number one favorite movie isn’t a horror film.

I’d say it’s either Fight Club or Call Me By Your Name."


What would be your dream part and what actors would you want to work with?

"Yes, I’d love to work with people my age. I’m open to any genre, as long as it’s with people around my age group, kind of like Stand By Me or It Chapter 1. 

Those kinds of projects look like so much fun, and honestly, I kind of envy them! My dream role would probably be something like Lady Bird because I absolutely love that movie.

As for actors I’d love to work with, definitely Timothy Chalamet or Norman Reedus, I’m a huge fan of The Walking Dead."


What’s next for you after this film?

"There’s The Arkansas Pigman Massacre this year as well that I’m excited about and I’m also part of a horror anthology coming called Amityverse. 

Plus, I might be starting a new project soon too!"

Don’t Make a Sound

Amazon - https://amzn.to/3F6NNXy

Tubi - https://tubitv.com/movies/100031816/don-t-make-a-sound



Sunday, 2 March 2025

Interview with Tom Jolliffe (Screenwriter and Producer)

 

1. "The Baby in the Basket" has just been released in the UK and US. Can you tell us about the inspiration behind the film and what drew you to this particular story?

It started with a very rough idea that my mate Nathan Shepka (the co-director and co-producer on the film) had that was essentially a baby gets left on the door step of a Church and then it quickly goes into The Omen territory. I’m a big fan of gothic horror so what started as spitballing an idea turned into forming it into a treatment and then a script. We’re both quite keen on 20th century cinema, and so gothic horrors of the 40s to the 70s became a huge source of inspiration. We were also drawn to Powell and Pressburger films, particularly something like Black Narcissus. We wanted to dip a toe into that old style melodrama, but in a more 21st century, appropriate style. I was also a little inspired by films showing a descent into madness, which you also get in The Red Shoes (and Zulawski’s, Possession). The biggest thing was that as producers, myself and Nathan wanted to make something our way, not just making it for a studio who would have wanted a straight up Nunjuring. 

2. Amber Doig Thorne stars in the film. What was it like working with her, and what do you think she brought to the role?

The UK indie film industry is very small. If you’ve not worked with someone you’ve had a mutual connection or you know of them. Amber I’d been aware of for a few years and she’d actually applied for the previous film I wrote and helped cast, for Nathan called When Darkness Falls. That one starred Michaela Longden and Elle O’Hara who were brilliant, so we wrote with them both in mind on The Baby in the Basket. But I was quite keen to cast Amber, as she made a good impression during the casting process of When Darkness Falls. We’ve also both worked with a lot of the same producers too and she’d starred in another film I wrote for hire, called Vikings: Blood of Heirs (the less said about that the better). She’s prolific in horror too, but I was really intent on giving her a challenging character to rise to and she knocked it out of the park. 


3. The film has a dark and atmospheric tone. How did you approach crafting that mood, both in the script and during production?

As I say, I love gothic horrors and I love Asian and European cinema, particularly the Nordics with dark foreboding atmospheres and complex psychological character studies are all the rage there. From my point of view, I was intent on giving every character an arc. We then also came up with the idea to associate different deadly sins to each character and the film has several themes layered in there. You’ve got losing faith versus finding faith, and there’s a little social commentary hidden in the subtext too that some might pick up on. 

Then from the production perspective, Nathan and his co-director and the cinematographer, Andy Crane, set about creating the visual style of the film. So dark, shadowy, gothic, moody and we wanted to have some slightly longer takes and tried to incorporate some old fashioned shot blocking too, which seems like a dying art these days. 

4. You’ve written and produced a variety of films, from horror to action thrillers. How do you decide which projects to pursue, and do you have a favourite genre to write for?

When I first started out it wasn’t so much a decision on which to pursue, because I just accepted everything! A consequence of that was getting insanely busy on everything from tiny budgets up to low 7 figure budget movies. I’m a huge fan of cinema of all types. I’ve tended to do very commercial and simple scripts, just because as a writer for hire that’s what most studios want from me. A basic horror, or a formula driven action movie. However, when I produce my own I then tend to do a bit more of what I want and when it comes to horror for example, I prefer something cerebral. I still have to reign myself in a bit and bow to the market because at the end of the day we want to sell what we’ve made. As for a favourite genre, I actually love writing comedy but it’s the one genre that there just seems to be very little demand for. I can infiltrate my action scripts and even some horrors with pinches of comedy though, and I did that recently with Cinderella’s Revenge which was a fun blend of fairy tale horror with tongue firmly in cheek. I have become a little more selective in the past couple of years though and turn things down occasionally. In fact I turned down Winnie The Pooh: Blood and Honey. Had I not, I’d be a Razzie winning screenwriter now. If I’m being honest, the novelty value of writing films and seeing them released has worn off, so increasingly, some gig jobs are just about the paycheck. But when it’s something that gets the creative juices flowing, it’s still a pleasure.

5. "Renegades" featured legendary actors like Lee Majors and Danny Trejo. How did that project come about, and what was it like writing for such iconic figures?

Shogun Films were launching around five years ago (although it only feels like five weeks). Among a slate of action projects, Renegades was on the table and I was fortunate enough to get the gig. I grew up in the same era as Jonathan Sothcott, watching the same kinds of films and we’re both Cannon Films/Orion Pictures aficionados. I learned a lot working with him and also the late great, Daniel Zirilli who sadly passed away last year. At the same time we were also working on a Steven Seagal project that never came to fruition as for a number of reasons he’s torpedoed his value. Still, the cast on Renegades was nuts, and I was a fan of literally all the marquee names, from Lee Majors (I loved the Fall Guy), Louis Mandylor (I used to watch Martial Law), Nick Moran, Michael Pare, Danny Trejo (who doesn’t love Danny T?), Patsy Kensit and the late great Tiny Lister. Writing parts specifically for these icons was a joy. I think considering the film was challenged by the lingering restrictions (and those added expenses that offer nothing on screen) from Covid, it turned out well. 

6. You’ve been incredibly prolific over the last few years, even during the pandemic. What drives you creatively, and how do you maintain that momentum?

When I started on my first feature back in 2018, it had been a long time coming. I’d been trying to break through for almost a decade with a few near misses. That first film (Scarecrows Revenge) wasn’t great by any stretch, but it was out on DVD on Amazon and suddenly I’d written a film someone could go and pick up in Walmart in the US. I’ve barely blinked since that moment and it’s been pretty much non-stop. I’ve not so much maintained the momentum as been swept away by the tide. That said, a lot of why I’m busy is through repeat work, forging relationships, networking and ensuring I’m easy to work with and hit deadlines. Because I do that, people keep coming back to ask me to write scripts.


7. As someone who started as a film journalist, how has that experience shaped your approach to screenwriting and storytelling?

I’ve always just loved film. Before I’d really contempleted the prospect of seriously writing screenplays, I was into writing film reviews and features. That began just doing user reviews on IMDB before getting a couple of articles up on Flickering Myth. Step forward 15 years and I still write regularly for the site (I’ve probably clocked over a thousand) and indeed, the editor in chief, Gary Collinson was a co-producer on The Baby in the Basket. I think the reviews, but possibly more so studying film theory at University, gave me an appreciation of storytelling techniques and crafting engaging characters. Like most jobbing writers however, my best and most original writing probably remains on my hardrive unproduced, because sometimes studios just want killer scarecrows or firenados. On the other side of it, filmmaking and the realities of just how Herculean an effort it takes to finish and release any film has made me a better and more constructive critic when I review something. 


8. Are there any surprising challenges you faced while making "The Baby in the Basket," or moments on set that particularly stand out?

There have been times where we’ve felt like the film was cursed. From attempted sabotage by a rival filmmaker on our Kickstarter, to storms and floods losing shoot days and having to recast an actress because of the SAG strikes (despite us being a UK production, we still felt the blowback). There are all manner of infuriating things to deal with as filmmakers, beyond our control, including a shambolic (needlessly delayed) US release down to several factors, not least the platforms themselves like Amazon who care not a jot about whether indie filmmakers make money or not. Thankfully though, the cast were wonderful and the crew really worked themselves ragged to make it happen. As with every film, there are things that didn’t work, that you kind of have to accept and let go, but we also got some really good stuff in there. 

9. Can you give us a sneak peek into what you’re working on next? Are there any upcoming projects you’re especially excited about?

Last year I wrote, produced and even scored a film called We Go Again. It was a little spur of the moment having had a rare space in my diary to shoot something. My brother directed, shot and cut the film, so we were able to cover a lot of bases between the two of us. Composing is actually something I’d love to do more of as music was a first love even before writing, but I don’t have the time, money or equipment setup to do it more expansively. The score for WGA was deliberately low key and simple, inspired by 80s synth scores. I gathered a great cast (casting is another thing I really enjoy), headed up by Zuza Tehanu (who I’d know about for a while and we’ve worked with plenty of mutuals), Charlotte Chiew (who I’d worked with before) and Annabelle Lanyon (from The Baby in the Basket and Ridley Scott’s, Legend). That’s being packaged up and has just signed with a distributor. I’m also developing a few more films with Nathan, and we’re in production already (along with Gary again) on Death Among The Pines, a Hitchcockian thriller. I have projects in the works with Mark L.Lester (Commando), a couple of Sci-fi projects I’m helping develop and an action horror with Michael Pare. I’m also right in the midst of a crazy fortnight having already handed off a family film, in the vein of Parent Trap as well as a horror twist on The Wizard of Oz. I’ve also got a horror spin on Red Riding Hood in the works, with Lisa Riesner (who is incredible in The Baby in the Basket). 

10. What advice would you give to aspiring screenwriters or filmmakers who are trying to break into the industry today?

Temper your expectations first of all. The liklihood that you’ll be a jobber writing MCU films is almost impossible, unless you’re related to Kevin Feige. However, decide on where you want to focus, action, horror, whatever and write. Then write some more. Get peanuts for a first script to get your foot in the door and build a network. That first break is always the hardest, but from there on in, I found that I’ve never stopped. It is very, very tough. Opportunities are becoming fewer and even less lucrative and this business is powered by flash bastards with money to burn. The trouble is they want to save wherever possible and maximise profits, so AI will become prevelant and be abused and that will mean less jobs. So be ready. But...don’t give up. Even if you have to go out and make a film yourself. I made We Go Again for about 10k and it’s been picked up for distribution. Will I see a penny back? Who knows but it will be out in the ether. There’s no excuses not to be writing, if that’s your passion. I’ve written features on tight deadlines, even back when I was working full time in a 9-5 with a young child at home too. So find the time. Don’t rely on one script either. Have a few in the bank, which should increase your chances. If you’re feeling blocked though, like you’ve hit a wall, just remember (as the old saying goes) you can edit a bad page later. You can’t edit a blank page. 

The Baby in the Basket is out now at

Amazon - https://amzn.to/4bt4lVJ

Apple TV - https://apple.co/3EYppHs