Wild 7 Studios introduces a delightfully deranged new killer in the horror short The Slasher: Hacky the Clown, offering audiences a bloody first encounter ahead of the upcoming feature-length film. By Seth Metoyer | More Horror Halloween has always been the perfect excuse to welcome another homicidal maniac into the horror family, and independent filmmaker Mister Red has someone he'd like us to meet. His name is Hacky the Clown, and judging by his creator's description, this particular gentleman has excellent manners, a disturbing fascination with sharp objects, and absolutely no intention of behaving himself. From Wild 7 Studios comes The Slasher: Hacky the Clown, a ten-minute horror short introducing a new masked menace who will eventually take center stage in the upcoming feature-length film The Slasher. Written and directed by Mister Red, the short combines old-school slasher sensibilities, found-footage influences, dark humor, and a particularly contemporary fear involving technology. The premise follows Veronica, a disillusioned seamstress who makes the unfortunate decision to summon Hacky by scanning a QR code. Anyone who has spent time exploring the darker corners of the internet can probably appreciate the terrible possibilities of that setup. Apparently, summoning murderous clowns has become just another potential hazard of modern technology. Shannon Corbett stars as Veronica, providing the human perspective as the story ventures into increasingly twisted territory. Corbett also served as the film's stunt coordinator and composed the soundtrack piece "The Hacky Anxiety," making her contributions an important part of the production both on screen and behind the scenes. She will return in the upcoming feature The Slasher as a character named Geraldine. Meanwhile, Derrick Johnson brings Hacky himself to life, establishing the character's screen presence ahead of what Mister Red hopes will become a much larger slasher experience. It's a significant introduction for a character designed to join horror's wonderfully crowded collection of cinematic psychopaths. A New Slasher for a World Already Gone Mad Mister Red has some pretty straightforward ambitions for his latest creation. He wants to entertain horror fans with the kind of gleefully excessive mayhem that made the genre such a cultural institution in the first place. "I really want to give horror fans the ultimate slasher film with The Slasher. Horror fans are like me: I want cool kills and maybe a few laughs if we're lucky. That's what I want to give them." There's also an interesting technological anxiety lurking beneath Hacky's clownish exterior. According to Mister Red, part of the inspiration came from his own experiences working jobs for an artificial intelligence company, where he participated in voice-data collection. That experience helped spark the idea of a killer who represents a strange intersection of digital culture, manufactured entertainment, and the increasingly uncomfortable relationship between humans and the technology they create. Mister Red describes Hacky as AI anxiety brought to life, a media creation whose existence revolves around violence and entertainment. It's an intriguing concept, especially in an era when algorithms compete for our attention and virtually anything can become another piece of consumable content. Think of the technological paranoia surrounding The Terminator, filtered through the deranged personality of a modern slasher villain who understands the value of putting on a good show. And really, the idea that a murderous clown might arrive through a QR code feels disturbingly appropriate for 2026. From Debbie and the Devil to The Slasher For those unfamiliar with Mister Red, the filmmaker has already spent several years building his own corner of independent horror. His 2021 microbudget feature Debbie and the Devil (watch Free on Tubi) introduced audiences to his unusual creative sensibilities, combining horror, comedy, animation, and an unapologetically strange approach to genre storytelling. Mister Red wrote, directed, starred in, and handled animation work for the film, an undertaking he freely admits proved rather hellish. The film found an audience through streaming, including a run on Tubi, before the filmmaker eventually brought it to YouTube to reach additional viewers. For Mister Red, the project established the creative foundation for what he hopes to accomplish with his latest production. He has a particularly entertaining way of describing that evolution. "When you make indie horror, to put it in food terms, you start with street food. Like, show you can make really great street tacos or yummy sweets. That was Debbie and the Devil. Now, with The Slasher, I want to make a really good burger and fries, if that makes sense. Like a nice, fattening meal with a super slasher. I think the short film with Hacky is the perfect introduction to him." It's a fitting analogy for a filmmaker who clearly appreciates the messy pleasures of exploitation cinema. There is something wonderfully appealing about the ambition to deliver a satisfying, unapologetic slasher experience. That independent spirit extends to how Mister Red finances his work. He explains that occasional acting and background performance jobs helped fund his earliest filmmaking efforts, including Debbie and the Devil. For the new Hacky short, he even redirected money earned working as a background performer on music video productions involving artists such as Tame Impala, Adéla, and Maroon 5. It's the kind of resourcefulness that keeps independent horror alive. Filmmakers find the money where they can, assemble a talented crew, and turn whatever resources they have into something audiences can enjoy. Inside the Wild 7 Studios Universe Mister Red operates Wild 7 Studios alongside fellow genre filmmakers April Mendoza and Chris Trull, a creative team dedicated to producing independent projects with a distinctly grindhouse flavor. Mendoza recently released Scream Queen, while Trull premiered BAGGERS, demonstrating the company's continuing commitment to exploring different corners of genre filmmaking. Mister Red's creative output also reaches beyond the screen. His novel The House of Poison: Sword and Crystal Sparrow blends martial arts storytelling with horror-adjacent elements, while his comic book projects include Killer Comanche and the upcoming Mega-Wolf Man. Hacky is also expanding into literature, with a character-focused book available through the official Wild 7 Studios Patreon. For now, however, the murderous clown remains the main attraction. Mister Red envisions Hacky as a recurring horror personality capable of entertaining audiences through increasingly violent stories, and he has little interest in apologizing for that ambition. "Hacky the Clown is meant to entertain through violent stories starring him. One may say that this is a horrid goal to have with a work of art. I would say: dude, the whole damn world is on fire. Who cares about me making stuff up about a make-believe character?" There's a certain punk-rock logic to that philosophy, one that feels right at home in independent horror. The genre has always provided a playground for filmmakers willing to explore outrageous ideas, push boundaries, and occasionally make audiences laugh at things they probably shouldn't. Meet Hacky the Clown This Halloween With Halloween upon us, The Slasher: Hacky the Clown arrives as a perfectly timed introduction to a new independent horror villain. The short also offers audiences an early glimpse into Mister Red's larger plans for The Slasher, where Hacky will return for a feature-length helping of cinematic carnage. For fans who appreciate emerging horror filmmakers, outrageous characters, and the wonderfully unpredictable spirit of independent genre cinema, this is one creepy clown worth getting acquainted with. Just remember to think twice before scanning any mysterious QR codes. Watch The Slasher: Hacky the Clown here: Learn more about the filmmakers and their projects at Wild 7 Studios. And as Mister Red promises: HACKY THE CLOWN WILL RETURN.

The star-studded horror feature brings childhood nightmares to life as it arrives on digital platforms in more than 50 countries and territories. Fairy tales have always had a dark side. Long before Disney softened their edges, the forests of folklore were filled with murderous creatures, wicked witches, and all manner of things waiting to devour anyone foolish enough to wander off the path. Now, EVER AFTER (watch here), takes those familiar childhood stories and drags them into full-blown horror territory, bringing along an impressive collection of genre veterans for the ride. Directed and produced by László Illés, the horror feature officially arrived on digital platforms October 27, 2026, following its Los Angeles premiere at the Harmony Gold Theater and a limited theatrical run in September. The international release spans more than 50 countries and territories, giving horror fans around the world an opportunity to experience this particularly bloody interpretation of happily ever after. And the cast alone should get the attention of longtime horror fans. Mark Sheppard (Supernatural, Battlestar Galactica), Bonnie Aarons (The Nun, The Conjuring 2), Michael Berryman (The Hills Have Eyes), Kane Hodder (Friday the 13th franchise), and Malcolm McDowell (A Clockwork Orange, Halloween) all appear in the film, bringing decades of horror and cult cinema history into one production. Once Upon a Time, Things Went Horribly Wrong The story follows a group of girlfriends who head to a secluded forest lodge for a bachelorette celebration. What begins as a weekend getaway quickly turns into a desperate fight for survival when they discover that the surrounding woods harbor a collection of bloodthirsty killers who believe themselves to be characters from classic fairy tales. It's a premise that practically begs for some wonderfully deranged interpretations of familiar folklore. The childhood stories that once warned us about wandering into the woods have become the very nightmares waiting inside them. The film's collection of fairy-tale characters also gives its recognizable cast some interesting roles to sink their teeth into. Sheppard portrays The Ringmaster, while Aarons takes on The Witch, a character that seems particularly suited to the actress who terrified audiences as Valak. Berryman plays The Huntsman, Hodder lends his talents to The Big Bad Wolf, and McDowell portrays The Frog King. It's quite a lineup. Between Hodder's legendary association with Jason Voorhees, Berryman's place in the history of exploitation horror, and McDowell's decades of unforgettable screen performances, EVER AFTER brings together actors whose careers have helped shape several generations of genre filmmaking. The film also features Maria de Sá, Lydia Pearl Pentz, Riana Emma Balla, and Philippe Reinhardt. Fairy-Tale Horror Goes International Produced by Intergalactic Pictures, Inc., EVER AFTER represents another entry in the long tradition of filmmakers reclaiming the disturbing roots of traditional folklore. There's something inherently unsettling about taking stories that have become synonymous with childhood innocence and returning them to a world where the monsters have teeth, the woods offer little protection, and happy endings come at a considerable cost. With its combination of forest-bound survival horror, recognizable fairy-tale villains, and a cast packed with genre royalty, EVER AFTER looks to deliver a particularly nasty bedtime story for horror fans. Following its theatrical engagements in the United States and Latin America, the film's digital rollout extends across North America, Europe, Asia, Oceania, and the Caribbean. Where to Watch EVER AFTER EVER AFTER is now available for digital rental and purchase, with platforms including Amazon Prime Video, Apple TV, and Google Play/YouTube Movies & TV. Availability varies by country and territory. The film runs approximately 125 minutes and is available through participating digital retailers. Watch or rent EVER AFTER: https://linktr.ee/everafterhorror Watch the official trailer: For more information, visit the film's IMDb page. If your idea of a good Halloween weekend involves twisted folklore, familiar horror faces, and a trip into the woods that goes spectacularly wrong, EVER AFTER might deserve a spot on your watchlist. Just remember, the original fairy tales rarely ended with everyone making it home alive.

Two horror films, one shared ensemble, and a filmmaker looking to rewrite the rules of independent distribution. More Horror interview's director Aaron Jay Rome ahead of the November 7 double-feature premiere. On Saturday, November 7, filmmaker Aaron Jay Rome brings two very different horror films to the big screen at Lumière Cinema in Beverly Hills. One follows a small-town postal worker whose life takes a violent turn. The other sends a fractured group of friends into an isolated lakeside nightmare involving ancient mysteries, buried guilt, and Tommy Wiseau. The films, DEAD DAWN and SILT, (Get Tickets Here) share a director, a producer, and several cast members. Their stories occupy entirely different corners of the genre, giving audiences a double feature that moves from pitch-black comedy into cosmic dread. Rome, whose previous directing credits include the psychological thriller END TRIP, wrote and directed DEAD DAWN, a 103-minute horror-comedy centered on Anna-Beth, an overlooked post office clerk struggling with a demanding boss, difficult customers, and a controlling ex. When her circumstances spiral into something considerably darker, Anna-Beth discovers a side of herself that changes everything. The film stars Ashley Lenz, Olivia Grace Applegate, Malcolm Goodwin, David Anders, Krishna Smitha, Michael Papajohn, and Isaiah LaBorde. SILT, meanwhile, takes audiences somewhere considerably stranger. The 110-minute cosmic-horror thriller follows a group of friends attempting to reconnect during a weekend retreat near a secluded lake. Their mysterious caretaker, Bartleby, claims the water contains "the genes of the Gods." As old wounds resurface, the group begins confronting forces that challenge their understanding of reality. The role of Bartleby is played by Tommy Wiseau, the filmmaker and actor whose THE ROOM achieved an almost supernatural level of cult-film notoriety. Rome directs SILT from a screenplay he co-wrote with producer Isaiah LaBorde, based on an original story by Vernon Davis and Tiffany Toney. Davis, the former NFL tight end turned actor and producer, also appears in the film. The cast includes Andrea Sixtos, Tommy Wiseau, Malcolm Goodwin, David Anders, Olivia Grace Applegate, Krishna Smitha, Vernon Davis, Michael Papajohn, and Isaiah LaBorde. One particularly interesting aspect of the production involves the crossover between the films. Rome assembled much of the DEAD DAWN ensemble before SILT entered development, then brought several performers into the second production to portray entirely different characters. One actor even returned to set with only three days to prepare for an unexpected replacement role. The filmmaker also has ambitions extending beyond these premieres. Through Demand the Screen, Rome and his collaborators are experimenting with a direct-to-audience theatrical model designed to give independent filmmakers greater control over distribution and revenue. The project draws inspiration from filmmaker-led distribution efforts and challenges the familiar obstacles separating independent productions from theatrical audiences. Ahead of the Beverly Hills premiere, More Horror spoke with Rome about both films, the unexpected casting of Tommy Wiseau, the influence of Kevin Smith's DOGMA, the making of two features with a shared ensemble, and his belief that independent filmmakers can reclaim more control over how their work reaches audiences. Exclusive Interview: Aaron Jay Rome SILT: Cosmic Horror, Tommy Wiseau and the Secrets Beneath the Water MORE HORROR: SILT originated from a story by Vernon Davis and Tiffany Toney. What initially drew you to the project, and how did you and Isaiah LaBorde develop that original concept into a cosmic-horror feature? AARON JAY ROME: We were deep into pre-production on DEAD DAWN when it landed in our laps. Isaiah had worked with Vernon before, and Vernon came to him with a script he’d written and an offer to fund it if we could put it together. Funding is the hardest thing to find in independent film, so we knew we had to move while the iron was hot. The script needed a rewrite, but the bones were really good. Vernon and Tiffany had some genuinely cool concepts, and it mostly needed structural work. That was a first for me: bringing my own sensibilities into a story someone else had started. At the same time, we already knew where we were shooting DEAD DAWN, so we went out on a location scout and found a place that felt made for this movie. Within about a month of getting the script, we had a story and a location that fit each other perfectly. MORE HORROR: The film originally carried the title LAKE VERNON before becoming SILT. What inspired the change, and does the new title carry a deeper significance within the story? ROME: Short answer to the second part first: yes, it carries a much deeper meaning. You’ll have to watch the movie to find out what it is. Originally, Vernon wasn’t planning to be in the film at all. He just wanted to see it come to life. But Isaiah and I looked at it and thought: Vernon is an actor and a pro football player with a big fan base that would love to see him on screen. So we wrote him in, invited him to the table read, and it fit perfectly. At that point, though, we had a movie written by, produced by, and starring a guy named Vernon, and calling it LAKE VERNON felt like a bit much. I’m a big fan of subtle, character-driven genre films, the kind A24, Neon, and Bleecker Street put out. SILT felt quieter, more intriguing, and more sinister. When I pitched it to Vernon, he was on board right away. It just fit the movie. MORE HORROR: One of the film’s more intriguing concepts involves a mysterious lake that supposedly contains "the genes of the Gods." Where did that mythology come from, and what interests you about exploring the intersection of human desire, supernatural power, and consequences? ROME: Any time you write characters who go into the woods, you’re one step away from a cabin-in-the-woods movie. I knew right away I didn’t want to fall into that. My goal was to bring the mysteries of the universe into what could easily have been a paint-by-numbers creepy-forest movie. I was inspired by films like Talk to Me, where you follow fully realized people, so you actually care what happens to them. The stakes feel real because these characters have the same problems as the person sitting in the theater. The cosmic side stays a mystery, because it’s unsolved by science. But I like grounding everything I write in logic, so I built my own understanding of what the lake is, what it does, and what happens when people play with something they don’t understand. And honestly, watching Tommy Wiseau fall in love with nature, then anoint the other characters in a ritual while he tells them about the genes of the gods, was too good to pass up. MORE HORROR: You’ve previously described SILT as exploring the unreliability of the human mind and the "Monkey’s Paw" effect of seemingly miraculous events. How do those ideas connect with Hadria’s unexplained guilt and the secrets surrounding the other characters? ROME: That’s exactly the question I want audiences asking. Every character walks onto that land carrying something, and the lake has a way of giving people what they want. Whether that’s a gift or a punishment, and whether they can even trust their own minds about what’s happening, is the whole ride. Anything more would spoil it. You’ll have to see it. MORE HORROR: Casting Tommy Wiseau as Bartleby is an intriguing choice, particularly given his unique place in cult cinema. How did he become involved, and what was your experience directing him? Did he bring anything unexpected to the character? ROME: If you know anything about Tommy, you know everything he does is unexpected. That’s why he has a cult following. I didn’t write Bartleby with Tommy in mind. I wrote a very eccentric character who owns a strange piece of land with a mysterious lake on it. We originally went to Christopher Lloyd, who Isaiah had worked with on Cold Moon (highly recommend it if you haven’t seen it), but the travel was too much for Chris. So we went through our network, and Tommy rose to the top fast. From the outside, I knew it might look like a risk. But Isaiah and I quickly realized that if Tommy was born to play any role, it was Bartleby. When you see the movie, I think you’ll agree. As for directing him: he takes his work as seriously as any A-lister, and I really respect that. MORE HORROR: Speaking of Bartleby, the name carries an interesting literary association with Herman Melville’s Bartleby, the Scrivener. Was that intentional, or does the name have another origin within the film’s mythology? ROME: The real origin is much humbler. I’m a huge Kevin Smith fan, and Dogma was one of my favorite movies growing up. I think it was the third DVD I ever owned. I loved Bartleby and Loki. During the nine days I spent furiously rewriting this script, the name Bartleby came to me and stuck. MORE HORROR: The film’s isolated setting, locked gates, strange wildlife, and mysterious lake create a strong visual atmosphere. How did you approach building that sense of cosmic dread through cinematography, sound design, and the surrounding environment? ROME: We got very lucky with our location. Instead of trying to fake production value we couldn’t afford, we leaned hard into what we had. That instinct goes back to where I started. My first film, which I co-directed and co-produced with my wife, Ashley Lenz (she also stars as Anna-Beth in DEAD DAWN), cost us $1,000 to make. When your roots are in shooting around what you have, you keep doing it even once you have more of a budget. The property was a deer preserve behind three separate gates, with 800 or 900 deer running around us at all times. The atmosphere was already there. My job was to frame it as a mysterious place that could be anywhere, cut off from the rest of the world. Sound was the next layer. I worked very closely with our sound design team so that the audience feels surrounded by nature for the entire film, the same way the characters do. The last piece was the lens. We shot on the Angénieux Optimo 24-290mm. In those big, open landscapes, it let us go wide or push into a tight close-up without losing time swapping lenses. At the long end, it compresses the background so the trees tower over the characters and look far taller than they really are. At the end of the day, this movie is told from nature’s point of view: nature watching tiny humans who think they’re important. DEAD DAWN: Small-Town Desperation and Pitch-Black Comedy MORE HORROR: DEAD DAWN follows Anna-Beth, an overlooked small-town postal worker who eventually discovers a darker side of herself. What inspired this character, and how did you approach transforming an ordinary person’s frustrations into a pitch-black horror-comedy? ROME: DEAD DAWN didn’t start as a comedy. It started from a very dark place. I wanted to make something that honestly showed the guilt a person would feel after accidentally killing someone close to them, and what it would take to hide that from the world. In most horror movies, people get killed, friends get maimed, and the final girl walks into the sunset with a sigh of relief. I’m much more interested in what happens after: someone living with the fact that they took a human life. Then an actor friend of mine, a tremendous comedic performer who was originally attached to the role, got me thinking: what if this wasn’t so dark? What if it was a comedy? Suddenly it slotted into a small-town tone somewhere between the Coen brothers and Edgar Wright, with my own twist. Once I saw the film through that lens, it just worked. MORE HORROR: DEAD DAWN and SILT share several cast members while exploring very different corners of the horror genre. Was that creative overlap intentional from the beginning? What were the biggest challenges in developing two distinct films with a familiar ensemble? ROME: I’d had the DEAD DAWN cast together for a long time before SILT came along. Once SILT fit so neatly into the same shooting window and location, it made sense to keep as many of those actors as we could. They’d spent so much time together on DEAD DAWN that they had a chemistry you can’t fake, replace, or imitate. When I finished the SILT draft, we held a table read with a lot of the DEAD DAWN cast, and it clicked. The biggest surprise was Krishna Smitha, who plays Anna in SILT. She wasn’t supposed to be in the film. She’d wrapped DEAD DAWN and flown home to Dallas on the one day off between the two shoots. Then the actor cast as Anna had to step away for family reasons, which was completely understandable. I called Krishna and asked if she wanted to come back and shoot another movie. She had three days between that call and walking on set as a brand-new character she’d never read, one who communicates in ASL. She absolutely stole the show. That’s the real story across both films: the actors are nearly unrecognizable from one to the next. Olivia Applegate plays Dawn in DEAD DAWN, and I don’t think most people would realize she’s in SILT unless I told them. Independent Horror, Creative Freedom and a New Approach to Distribution MORE HORROR: Your earlier film END TRIP explored psychological terror through an intimate, confined scenario. SILT expands into ensemble storytelling and cosmic horror. How has your approach to directing horror evolved, and what continues to attract you to the genre? ROME: END TRIP came out of a tiny budget and a new camera. The Sony A7S II had just come out, and it could shoot in near darkness for about $2,500. That got me thinking about a film built around the trust we put in big tech companies, and rideshare, which was still fairly new then, was the perfect vehicle. What connects END TRIP and SILT is the people. I try to fill my stories with deeply nuanced human beings. But SILT was my first chance to step a little further into sci-fi, which I’m really drawn to and which my next film, HUM, goes all-in on. SILT was the right middle ground for those first steps. As for why horror: drama can get very dark. And in a world already dealing with so much darkness, it’s ironic, but horror lets you explore ideas that would be too heavy for audiences to sit with any other way. You can wrap almost any subject in horror, and that gives you an enormous amount of freedom. MORE HORROR: You’re bringing both films to audiences through Demand the Screen, an audience-driven theatrical campaign. What inspired this distribution approach, and what do you see as the biggest challenges and opportunities facing independent horror filmmakers trying to reach theaters today? ROME: Two big inspirations: Markiplier’s Iron Lung, and Mark Toia’s self-distribution of Monsters of Man. I also run a company called One Grand Film, where we help filmmakers make their first features. (Humble brag: about 40 filmmakers have shot features with us in the last 13 months.) I built that company on paid ads and traditional marketing, so I know firsthand that independent distribution is broken right now. Minimum guarantees are hard to get, and at this budget level they’re a drop in the bucket. My team and I agreed that if we were going to do most of the marketing anyway, we should keep most of the profit instead of handing it to a distributor in exchange for their logo at the front of our movie. (That said, Blumhouse, A24: my inbox is open.) Mark Fischbach proved audiences will demand theatrical screenings of a film they’re excited about. But he did it with tens of millions of subscribers. Demand the Screen is about proving that model works without a built-in audience that size, using paid ads and traditional marketing, and then building the infrastructure so other filmmakers can follow the same path. DEAD DAWN and SILT are our crash-test dummies. Once the model is proven, we want to offer it to any filmmaker who wants to distribute independently and keep 90% of the profit. That’s the opportunity. For decades, studios have stood between filmmakers and audiences. Now we’re in a creator economy where you can go direct to consumer. If you have an audience, you can put up a landing page, tell your fans where it is, and earn far more than the fractions of a cent per hour you’d see from streaming. MORE HORROR: With both films heading to Beverly Hills on November 7, what are you most excited for audiences to experience? And when someone walks out of SILT, what’s the one question or feeling you’d love them to carry home? ROME: The twists and turns. When I write, my goal is to give audiences, and myself, something we’ve never seen. If I’ve seen it before, I steer away from it, and hopefully that adds up to a genuinely new experience. And you couldn’t have phrased that last question better. When someone walks out of SILT, I want them asking themselves one thing: Would I have done the same thing? DEAD DAWN and SILT: November 7 Beverly Hills Premiere Audiences can experience both films on Saturday, November 7, 2026, at Lumière Cinema at the Music Hall, located at 9036 Wilshire Boulevard, Beverly Hills, California 90211. The evening begins with the red carpet at 5:00 PM, followed by doors opening at 6:00 PM. DEAD DAWN screens at 6:30 PM, followed by SILT at 8:45 PM, with filmmaker Q&A sessions accompanying the screenings. All times are Pacific. The double feature also marks an important step in the filmmakers' Demand the Screen theatrical initiative, inviting audiences to support independently produced horror directly. Tickets and premiere information: https://demandthescreen.com/la-premiere Watch the Official Trailers DEAD DAWN: SILT: For more independent horror news, filmmaker interviews, and upcoming releases, bookmark MoreHorror.com. 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By Seth Metoyer | More Horror Some of the best horror stories begin with something familiar, something we associate with childhood and innocence, before twisting it into something deeply unsettling. A dollhouse seems like an unlikely doorway into cosmic horror, but writer-director Richard Oakes has some rather sinister ideas about what might be lurking behind those tiny doors. His feature film, JINX, is a wonderfully imaginative supernatural horror adventure that draws inspiration from the gateway horror films of the 1980s while introducing some genuinely strange mythology of its own. There's a little Stephen King lurking in its family dynamics, a strong dose of H.P. Lovecraft's The Dreams in the Witch House, and enough occult weirdness to make the whole thing feel like someone discovered a forbidden chapter of the Necronomicon tucked away in a child's attic. What makes JINX even more interesting is the story behind its creation. Oakes, whose extensive music-video background includes work with metal heavyweights Slipknot, Sleep Token, and Lamb of God, built much of this film alongside his wife and five children. The family helped construct sets, create props, develop costumes, and portray some of the film's most unsettling characters. The result is an impressive piece of independent filmmaking that delivers some surprisingly effective scares, a wonderfully creepy atmosphere, and an emotional payoff I genuinely didn't see coming. JINX Review: Something Wicked in the Dollhouse The story follows Mia Harper (Chloe Hews), a 12-year-old girl who cannot speak and who has recently moved into a new home with her family. When Mia discovers an unusual dollhouse in the attic, her curiosity leads her toward a supernatural mystery with some rather horrifying consequences. After her younger brother Todd (Issa Oakes) mysteriously disappears, she must unravel the dollhouse's secrets before an ancient curse claims him forever. It's a terrific setup, and Oakes takes the premise in some unexpected directions. The dollhouse itself is easily one of my favorite aspects of the movie. There's something inherently unsettling about miniature replicas of familiar environments, particularly when those replicas appear connected to forces beyond our understanding. Oakes turns this simple childhood object into the centerpiece of an increasingly elaborate supernatural mythology. One especially clever detail involves a miniature doll representing Mia herself. What initially seems like another piece of the dollhouse's strange collection eventually takes on a much greater significance. I loved how Oakes uses something so simple to establish a connection between the physical world and the supernatural realm. It's one of those creative touches that becomes increasingly fascinating as the story unfolds, and I'll leave the details for viewers to discover. The film's exploration of a spiritual realm adds another dimension to the story, giving its supernatural elements a sense of history and purpose. I particularly enjoyed the occult references and the clever nod to the Necronomicon. There's a definite Lovecraftian quality to the way the story approaches hidden worlds and the dangerous forces that exist within them. At times, JINX feels like H.P. Lovecraft's The Dreams in the Witch House collided with one of Stephen King's stories about childhood, family, and the terrifying things adults struggle to understand. It's a fascinating combination, and Oakes clearly enjoys exploring the possibilities. Visually, the film looks fantastic for an independent production. Oakes also serves as cinematographer, and his experience directing high-impact music videos shows in the lighting, compositions, and overall atmosphere. The environments have a convincing sense of place, and the movie maintains a polished visual identity throughout. Then there are the masks. The creature designs are wonderfully disturbing, with some genuinely creepy masks that feel as though they've crawled out of a particularly unpleasant childhood nightmare. The physical designs give these supernatural figures a distinct personality, and the film benefits enormously from that tangible, handmade quality. I also appreciated the attention given to the children and their family dynamics. The inclusion of bullying and the everyday difficulties kids face provides a recognizable emotional foundation for a story that eventually ventures into some extremely strange territory. Those grounded elements help establish Mia's world before the supernatural forces begin tightening their grip. Chloe Hews makes Mia an engaging central character, carrying a role that presents some interesting challenges because the character cannot communicate through conventional speech. Her relationship with her family, particularly her younger brother, gives the escalating danger a personal dimension. Another standout is Christopher Mulvin as Rick Specter, also known as Dr. Phantasma. This character brings an eccentric, wonderfully peculiar energy to the film. Imagine a spiritual alchemist with the enthusiasm of a mad scientist and a little of Jeffrey Combs' Herbert West from Re-Animator rattling around in his head. There's something deliciously strange about him, and Mulvin clearly understands the kind of movie he's inhabiting. As the story develops, Oakes introduces increasingly inventive supernatural concepts that expand the mythology well beyond the original dollhouse premise. I enjoyed discovering how these ideas fit together, particularly the film's interpretation of the spiritual world and the forces attempting to manipulate it. There's a real sense of imagination at work here, with some surprisingly ambitious ideas for a modestly scaled independent horror production. And then there's the ending. Without giving anything away, JINX delivers a genuinely heartfelt moment involving sacrifice that caught me completely off guard. It's a touching conclusion that adds real emotional weight to the supernatural adventure preceding it. It’s a reminder that even after loss, the things we cherish never truly disappear. I wasn't expecting the story to land quite that way, and I appreciated the filmmakers taking the time to give it that dimension. For a movie designed to introduce younger audiences to horror, JINX demonstrates a real understanding of what makes the genre memorable. The scares come through atmosphere, unsettling imagery, imaginative storytelling, and the occasional creature that might follow you into your dreams. Oakes has created something that feels connected to the adventurous spirit of 1980s horror while developing a mythology and visual personality of its own. A Family Affair: Building the Nightmare by Hand The production story behind JINX deserves some attention of its own. After previously directing more adult-oriented horror films, Oakes wanted to create something his children could experience and actively help bring to life. That ambition ultimately transformed the project into a family collaboration. His eldest son, Eli Oakes, plays the eerie character Whisper and spent months learning to perform on stilts to develop the creature's distinctive physical movements. His son Issa portrays Todd Harper, while his other children, Isaac, Nuri, and Kiowa, also appear in the film. Oakes' wife, Rachel, known as Roo, served as a producer and portrayed the Doll Mother, one of the film's principal antagonists. The family also helped build sets, create props, and assemble costumes, giving the production a particularly personal dimension. One of the more impressive behind-the-scenes revelations involves the Harper family home. Although the finished film presents it as one location, Oakes actually combined four separate environments: three properties for the exterior and different interior levels, plus a specially constructed attic set. That attic also served another purpose. The filmmakers engineered part of the structure to pull away, allowing the same set to function as an enormous side view of the dollhouse. It's exactly the kind of ingenious, resourceful filmmaking that makes independent horror so fascinating. The film premiered at the British Horror Film Festival, where it earned four awards, including Best Feature Film, Best Director for Oakes, Best Supporting Actor for Christopher Mulvin, and the Rising Star Award for Chloe Hews. Following my screening, I had the opportunity to speak with Oakes about his career in music videos, his family's involvement in the production, and the challenges of creating an ambitious supernatural adventure on an independent budget. Exclusive Interview: Richard Oakes on JINX, Heavy Metal, and Handmade Horror MORE HORROR: You've directed a lot of music videos and worked with major metal acts, including Slipknot, Sleep Token, and Lamb of God. How has that experience shaped your approach to filmmaking, particularly when it comes to atmosphere, lighting, and visual storytelling? RICHARD OAKES: It has been a massive benefit. Most indie filmmakers might shoot one to three projects a year, but when you are producing multiple music videos and live shows every month, you get endless reps to test different techniques, take creative risks, and push boundaries. On a practical level, music videos taught me how to move fast, work with minimal crews, and punch way above our weight on a low budget. Because music videos are often a one- or two-person operation out of necessity, you learn every single discipline from the ground up: concept writing, cinematography, directing, art design, color grading, VFX, and editing. Bringing that all-in-one background to a feature film gives you a comprehensive, hands-on understanding of every department, allowing you to guide the entire visual machine cohesively. MORE HORROR: You previously worked in more adult-oriented horror, but JINX takes inspiration from the gateway horror adventures of the 1980s. What inspired that creative shift, and which films or filmmakers influenced the kind of experience you wanted to create? RICHARD OAKES: My family is my world! I have five kids, and I really wanted a way to truly involve them in this filmmaking journey, but up to that point, I had only made R-rated horror movies. I wanted to pivot and make something suitable for all ages that still delivered genuine scares, reminiscent of the Amblin-style adventures we grew up watching in the 1980s, like Poltergeist, Gremlins, Beetlejuice, and even Ghostbusters to an extent. Shifting to that tone meant the whole family could not only experience it together in the cinema, but actually be a massive part of the physical production. MORE HORROR: One of the most fascinating things about JINX is that you made it with your wife and kids, creating sets, props, and costumes together. What was that experience like, and how did having your family involved influence the production? RICHARD OAKES: Not only did I want my kids to be able to watch this film, but I wanted them to be a core part of bringing it to life. Every single one of them is on screen in the film, either wearing a mask or not. Directing my own children for the very first time was a truly wonderful experience. My eldest son, Eli, read the script in one sitting and immediately asked, "So can I play Whisper?" He spent months practicing on stilts for hours a day to master the movement, and his performance completely blew me away. My other son, Issa, plays Mia's brother, Todd, marking another acting debut for the family. My other three children, Isaac, Nuri, and Kiowa, also joined in, playing the Cain family children and the doll children, while my wife, Roo, who was also a producer on the movie, stepped into the primary antagonist role as the Doll Mother. Beyond acting, we put our heads together as a family to build the sets, construct the props, and make and source the costumes. The whole production was a true family affair. Roo even went into the recording studio with the artist Chimpspanner to record the vocals for the synthwave end credits track titled "JINX IT," which is out now on Spotify. I am so proud of everything we have accomplished together. MORE HORROR: The trailer really caught my attention, especially the lighting and atmosphere. As someone who also works in independent filmmaking, I know how challenging it can be to create convincing environments with limited resources. What were some of your biggest technical or creative challenges, and how did you overcome them? RICHARD OAKES: We had quite a few logistical puzzles to solve on this film, but the biggest one was definitely the Harper family home and attic. We wanted the house to feel cinematic and authentically 1980s, but every single 1980s-style house we found on location databases was a single-story bungalow. To get what we needed, we ended up hiring three different properties, one for the downstairs, one for the upstairs, and one for the exterior, plus we built a fourth set for the attic at a completely separate location. In the end, the "single" house is actually four different locations seamlessly stitched together in the edit. Building that attic set came with its own engineering challenge, too. The whole side of the attic set was designed to pull away so it could double as a side shot of the dollhouse. We had to figure out how to remove a massive supporting wall from a giant set without the whole thing collapsing on the cast. It took some serious brain noodling, but we figured it out, and thankfully, nobody died! Another major obstacle came up during the driving conversation between Dr. Phantasma and Mia. Christopher Mulvin, who plays Dr. Phantasma, actually can't drive! To pull it off, we filmed passing environments out of a car window while driving around, then played that footage back on our home TV that we bolted right to the side window of his car while it sat stationary on my driveway. Instead of unbolting and rebolting the rig to the passenger window for the other side of the conversation, we just had Chloe, who plays Mia, sit in the exact same driver's seat Chris had been using, and then we simply flipped the footage in the edit. MORE HORROR: JINX follows Mia, a 12-year-old girl who discovers a cursed dollhouse while searching for her missing younger brother. What inspired the story, particularly the dollhouse and its supernatural mythology? How did you approach balancing genuine scares with a story intended for younger horror audiences? RICHARD OAKES: The spark for the story hit when I was spitballing new concepts with my producer, Marc Zammit. He knew I was looking for an idea that could reach a younger audience, and he suggested a cursed dollhouse. That idea instantly stuck because it captured that perfect intersection of eerie, dark atmosphere with childlike play and wonder. I love a good creepy story, and so do my kids, but every time I go to suggest a movie, I remember it usually comes with a lot of adult elements that just aren't suitable for them. So I thought, what if I made a film that delivered genuine creepy moments and scares, but had no bad language, sexual themes, or gore? It is so rare to find a horror film like that today. At the same time, we knew that just having scares wasn't enough; balancing in the humor and a strong sense of adventure was essential to really captivate that younger audience. So weaving that comedic and adventurous spirit alongside the horror was a key focus for us. So far, it has been amazing to see both younger and older audiences enjoying it. It's really become the ultimate film for horror lovers to share with their own families, without having to kick anyone out of the room. MORE HORROR: JINX premiered at the British Horror Film Festival and took home four awards, including Best Film and Best Director. After everything your family invested in making the movie, what was that experience like? What did that recognition mean to you personally? RICHARD OAKES: That recognition meant the world. When you pour your heart and soul into something, especially a project built alongside the people you love most, having other people connect with and recognize that effort makes every challenge worthwhile. I'm so endlessly proud of my wife and family, as well as our fantastic cast and crew, for everything they poured into this film. It has easily been the most special project I've ever made. MORE HORROR: Now that JINX is available to audiences, what do you hope families and younger horror fans take away from it? And looking ahead, has this experience inspired you to explore more gateway horror or return to darker material? RICHARD OAKES: I hope they get to rediscover that magic we experienced as kids and enjoy those classic scary adventure films we grew up watching in the '80s. I think adults will get a wonderful nostalgic kick out of what we've built, while also coming away with an emotionally satisfying story. As for the future, I would love to make more gateway horror movies, though a lot of that will depend on how well this one performs! Beyond that, I still have plenty of genres I am eager to explore, including thriller and sci-fi. Final Thoughts: A Little Dollhouse With Some Big Nightmares I came away from JINX genuinely impressed. Richard Oakes and his family have created an imaginative supernatural adventure with strong production values, memorable creature designs, an inventive mythology, and an unexpectedly touching emotional core. I particularly enjoyed the film's exploration of the spiritual realm, its ingenious dollhouse concept, and Christopher Mulvin's wonderfully eccentric performance. The Lovecraftian touches give the story an additional layer of weirdness that I found especially appealing. There's also something refreshing about a filmmaker taking his experience in darker horror and applying it to a project that younger audiences can discover alongside their families. Oakes understands that horror can be frightening, adventurous, funny, and heartfelt within the same story. For viewers who grew up with the supernatural adventures of the 1980s, JINX offers an entertaining return to that particular kind of cinematic magic. It's a very well-made independent horror film, and the ingenuity behind its production makes the accomplishment even more impressive. Definitely worth checking out, especially for horror fans looking for something creative, creepy, and a little different. Props to Richard Oakes and the entire JINX cast and crew. Where to Watch JINX JINX (2026) is available digitally through Amazon. Watch on Amazon: https://www.amazon.com/gp/video/detail/B0HHBC4FZL Follow the filmmakers on Instagram: @darkfablerich | @jinx_movie Disclosure: This feature is part of More Horror's Fast & Scary promotional program. The review reflects the writer's independent assessment of the film. Watch the Official JINX Trailer [INSERT OFFICIAL TRAILER EMBED HERE] Trailer: JINX (2026) Full Cast & Crew Credits Cast Chloe Hews — Mia Harper Anto Sharp — Jack Harper Alyssa Morgan Haymor — Liz Harper Issa Oakes — Todd Harper Christopher Mulvin — Rick Specter Eli Oakes — Whisper Elspeth Young — Daisy Tabitha Gooding — Kali Alice Mukunku — Jess Linda-Jean Barry — Mrs. Jenkins Anthony Maynard — Detective Dan Rachel Oakes — Mrs. Cain / Doll Mother Marc Zammit — Mr. Cain Marc Zammit / Eli Oakes — Doll Father Richard Oakes — Doll Father (Voice) Isaac Oakes — Cain Son 1 / Doll Son 1 Austen Neighbour — Cain Son 2 Nuri Oakes — Doll Son 2 Kiowa Oakes — Cain Daughter / Doll Daughter Rachael Young — School Teacher Joe Vince — Police Deputy Dean Addison — Police Boat Man Obadiah Quirk — Noah Harper Cameron Chatterton — Bullied Boy School Children Extras Finlay Powell, Sam Moody, Nathan Dolan, Rachel Dolan, Noah Hurley, Kimberley Nam, Annabel Nam, Aeron Neighbour, Nuri Oakes, Eli Oakes, Isaac Oakes. Search Party Extras Paul Chinnery, Chrissie John, John Neighbour, Sarah Neighbour, Mathew Neighbour, Bella Elise Cox. Police Dog Lele Police Dog Handlers: Paula Tuduri Marin, Carl Gordon Voice-Overs Rachel Oakes — Mother Doll Richard Oakes — Father Doll Kiowa Oakes — Daughter Doll Isaac Oakes — Doll Son 1 Production Crew Written & Directed by - Richard Oakes Produced by - Rachel Oakes, Richard Oakes, Marc Zammit Executive Producers - Rachel Oakes, Tess del Carmen-Regan Co-Producer - Ruth DesRoches Associate Producers - J.P. Erwyn, Mark Fantone, Kimberly Bland Lauck, Kieran's Music Videos / The Silent Magician, Edward Haddon, Jason Twigger, James Fuller Production Assistant - James Fuller 1st Assistant Director - Marc Zammit Director of Photography - Richard Oakes Camera Operators - Richard Oakes, Dean Addison, Timothy Carr, George Burt 1st Assistant Camera - Dean Addison Drone Operator - George Burt Gaffer - Dean Addison Digital Imaging Technicians - Dean Addison, Timothy Carr Sound Recordists - Ben Turnbull, Joe Vince, Tobias Withers Sound Mix - Joe Vince Sound Design - Joe Vince Foley Artists - David Engellau, Nicolas Gamboa, Elin Soderberg Music by - Benjamin Symons Featured Songs "The Mountain" - Written by Alexander Westaway and Daniel Haigh; Published by Horsie In The Hedge Music (BMI) "JINX IT" - Paul Ortis featuring Rachel Oakes "Whispers Rising in the Night" - Lord Gozillas featuring Rebekah Knight Visual Effects VFX Supervisors - Richard Oakes, Timothy Carr 3D Design - Issa Oakes VFX Compositing - Richard Oakes Special Effects - Timothy Carr Creature Design - Neal Harvey at Rubber Gorilla 3D Printing - Dean Addison Costume Design - Rachel Oakes Art Design - Richard Oakes, Rachel Oakes Set Construction - Richard Oakes, Rachel Oakes Runner - Nick Tuck On-Set Photographers - Dean Addison, Paul Welford Behind-the-Scenes Filming - Eli Oakes Additional Production Support Picture Printing - Chris Preston at PresstoPrint.co.uk Building Supplies - Chadzy's LTD Newcastle Emlyn Locations - Scouty, Dude Ranch (Wales), Orion Hollidays, Location Works, MainHouse Pictures, Benson Saw Mill, Cholsey School Location Coordinators - Nick & Caroline Oakes, Mike Attwood, Luke Main, Mark Wilkinson, Keri Newman, Heidi McSweeney, Kevin Lindsey Car Hire - Alan Greenhill at Greenhill Restorations Special Thanks Our Lord & Saviour Jesus Christ Nick & Caroline OakesChristine & Hugh JohnJohn & Sarah NeighbourLaura, Mark & Megan HewsEmma LesterMathew & Emily NeighbourOwen & Christy NeighbourSian & Andie LaidlawBethany & KieranThomas, Marcus & Bradley OakesThe Quirk FamilyAlex WestawayDan HaighAlex GingellCharles FitzGeraldMathew FowlerOlivia EmeryKevin at Cotswold Water ParkEd PolgardyAndrew Mark SewellAlok MishraEvrim ErsoyAdam MastRachael Orr & TomElla & Cammy ChattertonDaniel WrightPaul ChinneryKimberly WalkerSamantha AttanoJeffrey MarvinHayley EvansMonika OpasR DesRochesRebecca Z.MotherDuckieKimberly Bland LauckTess del Carmen-ReganSalvatore Angelo Cento Jr.Ebrahim SaidJonathan KinchKaren WoodhamLance NeilsonDavid FreedmanLee CravenTom ChattertonRebekah KnightMark FantoneCrystal MillerElizabeth ChappelleSandra Howard-WilliamsJ.P. ErwynJeremy MartinKieran's Music Videos / The Silent MagicianMegan TremethickBrandon UlaskyLee HeathNatalie Raffaele PavoneMark FantoneJason ScottPaul ChinneryAndrew BrownGerhard SanftJacqueline A BrownBrandon HinesAngela TuatagaloaMark FantoneGawain CoxAlyssa GalarzaLynn MosquedaMark FantoneHenk BruggeHope TylerRuss MartocciR DesRochesAlec James BookerJames DentonKevin HaldonAntonio PantojaJames BusheChris MukunkuJulian GoodingRachael YoungKayleigh PowellKayi NamChloe HurleyJen & Matt Dolan Equipment APUTUREBLAZAR In Loving Memory Of Jason TwiggerEdward Haddon Film credits and review screener courtesy of Richard Oakes and the JINX production team.

By Seth Metoyer | More Horror Some people procrastinate on laundry, bills, or cleaning the house. Penelope procrastinates on raising an army of the undead. For 665 days, to be exact. And when your father happens to be the Lord of the Underworld, that's probably going to make for one hell of an awkward family reunion. Making her film directorial debut, Fiona Rene (Tracker, The Lincoln Lawyer) also stars in PENELOPE, a wonderfully twisted little horror comedy written by Heston Horwin. It follows an eccentric undead young woman who wakes up on the 666th day of a very important assignment. Her father sent her to the surface to assemble an army of undead soldiers, promising to retire and hand over control of the Shadow Realm once she completes her mission. There's just one problem. She slept through almost the entire thing. Now she has a single day to pull together an army worthy of Hell, and her recruitment strategy is about as sophisticated as you'd expect from someone who affectionately talks to a baby pigeon and considers sleeping a legitimate personality trait. First, Fiona Rene is absolutely hilarious as Penelope. She's bright, bubbly, wonderfully awkward, and ridiculously adorable, even when she's casually turning people into undead servants with the snap of her fingers. There's an almost childlike enthusiasm to everything she does, and Rene plays the character with such infectious energy that I found myself smiling through most of the film. She's basically a walking contradiction, an undead creature of darkness who acts like she's perpetually excited about her first day at summer camp. Visually, the film has that unmistakable Tim Burton flavor, particularly the playful gothic weirdness of Beetlejuice, with a little Lisa Frankenstein thrown into the mix. Everything feels just slightly removed from reality, with colorful characters, exaggerated performances, and a morbid sense of humor that embraces the ridiculousness of its premise. Rene clearly understands the world she's creating, and her direction gives the film a cohesive personality. The supporting characters also provide plenty of laughs. Penelope's desperate recruitment drive includes an angry neighbor who starts throwing around accusations about Satanism, Christianity, and being un-American, along with a couple of stoners who quickly discover that insulting the daughter of the Underworld might be a poor life decision. There's some genuinely funny social commentary scattered throughout, particularly when Penelope's father finally arrives to inspect his daughter's rather pathetic military accomplishment. His disappointment includes a few hilarious political observations, and his eventual demand for more Republicans in the undead army got a laugh out of me. The satire fits naturally into this bizarre little universe, with the film taking playful shots at cultural attitudes and human behavior along the way. Ethan Flower is also terrific as Penelope's demanding father, a ruler of Hell who's apparently reached the point in his immortal existence where he'd rather retire, pursue taxidermy, and do some traveling than continue managing the Underworld. Honestly, after an eternity of dealing with humanity, I can understand the appeal. But there's another side to PENELOPE that caught me by surprise. Penelope's interactions with Robbie (Mason Conrad), a gloomy young man living next door, introduce a surprisingly sweet element to the story. Robbie has his own struggles with life, parental expectations, and finding his place in the world. Their conversations are hilariously awkward, particularly as Penelope attempts to hide her increasingly obvious crush on him. There's something genuinely touching about the fact that Penelope, who can turn people into undead followers almost effortlessly, seems particularly interested in keeping Robbie among the living. Their connection gives the film some emotional weight, and Conrad's wonderfully understated performance provides a perfect counterbalance to Rene's manic energy. That relationship also ties into the film's larger theme of parental approval. Penelope desperately wants to make her father proud, even though she clearly has her own ideas about life, death, and what actually matters. When her father begins lecturing her about the value mortals place on their limited existence, the story reveals a surprisingly thoughtful perspective underneath all the absurdity. There's a recognizable human experience buried in this supernatural comedy. Penelope wants validation from a parent whose expectations seem impossible to satisfy, and she's slowly discovering that her own happiness might involve something entirely different from the future he has planned for her. It's a clever way to explore the complicated relationship between parental expectations and personal identity, especially through a character who has literally had centuries to figure herself out and still seems completely lost. For a short film running just over twelve minutes, PENELOPE packs in an impressive amount of personality. Horwin's screenplay is clever, the performances are consistently entertaining, and Rene demonstrates a strong sense of comedic timing both in front of and behind the camera. For her film directorial debut, it's an impressive achievement. The production looks great, and the humor feels perfectly suited to this peculiar little corner of the horror universe. I really enjoyed this one. It has the charm of an offbeat gothic comedy, a wonderfully strange leading character, some sharp satire, and just enough heart to make you care about what happens to Penelope beyond her latest attempt to impress Daddy Dearest. And seriously, I'd happily watch Fiona Rene play this character again. There's enough personality here to make me curious about what other disasters Penelope could unleash if someone gave her a little more time. I'd also love to see what Rene does next behind the camera. If PENELOPE is any indication, she has a real knack for finding the funny side of the macabre. On a personal note, I've followed Fiona Rene's career for well over a decade and have interacted with her occasionally over the years. Somehow, it took writing this review for me to discover that she was born in Great Falls, Montana, which happens to be my hometown as well. Small world! It's a fun little connection to discover after all these years, and it makes seeing her bring such a wonderfully strange character to life even more enjoyable. The Verdict: A charming, darkly funny, and unexpectedly heartfelt horror comedy that finds the humor in family dysfunction, undead recruitment, and the eternal struggle to make your parents proud. Fiona Rene is an absolute riot, and her film directorial debut makes a convincing case for more Penelope. PENELOPE (2026) Director: Fiona ReneWriter: Heston HorwinProducer: Michelle CraigStarring: Fiona Rene, Ethan Flower, Mason ConradRuntime: 12 minutes, 30 secondsGenre: Horror / Dark Comedy / Short Film

By Seth Metoyer | More Horror The Louisiana bayou has always been fertile ground for horror. Ancient folklore, dark waterways, and miles of unforgiving wilderness provide the perfect setting for something sinister. Throw in a band of bounty hunters, a bloodthirsty cryptid, and killer clowns, and you've got GRUNCH, a newly completed Southern Gothic monster-western directed by Jonathan Walter, written and co-produced by Sean-Michael Argo, and produced by Garret Andrew Ahrens. Set in 1870s Louisiana, GRUNCH follows a determined English aristocrat who hires a team of bounty hunters to escort her into the haunted bayous in search of a missing man. Their journey takes them into territory haunted by the legacy of a cursed carnival, where grotesque highwaymen in clown greasepaint stalk the wilderness alongside something considerably older and more terrifying. For Argo, the film brings together several longtime creative interests, including Westerns, supernatural horror, and the darker corners of Louisiana folklore. "I have been a lover of horror westerns since the 90s when a tabletop RPG called Deadlands appeared," Argo told More Horror, recalling how the game combined Wild West mythology with supernatural elements. His enthusiasm for the genre continued through films such as The Missing, Bone Tomahawk, and Ravenous, along with the video game Hunt: Showdown, whose atmospheric Louisiana setting proved especially influential. The project began taking shape when Walter approached Argo about developing a film inspired by the legendary Grunch creature from Louisiana cryptid folklore. "He said he'd go with it as a western, but only if I found a way to add killer clowns," Argo explained. "To this day I don't know if he was joking or fully expected me to find a way, because we did." And just like that, a monster-western with killer clowns found its footing. Bringing the Grunch to Life The film's central creature draws from multiple variations of the Louisiana legend, combining human sacrifice, supernatural curses, and the disturbing remnants of an 1800s carnival. Creature designer Dru Conklin, who previously collaborated with the filmmakers on The Hoodoos, returned to develop the monster using Walter's original concept artwork. The filmmakers approached the creature with practical effects as the foundation, incorporating digital enhancements to complete its disturbing appearance. Their version of the Grunch retains traces of its humanity, wearing tattered clothing while sporting blackened skin, claws, and an articulated skeletal mask. Argo describes a creature whose face appears stripped down to bone and ichor, bringing a particularly gruesome interpretation of the folklore to the screen. Beyond the creature design, the filmmakers drew inspiration from Predator for its escalating encounters in hostile wilderness. Alejandro Jodorowsky's surreal Western El Topo also influenced the film's willingness to linger on strange and uncomfortable imagery. Killer Clowns and Chaos Behind the Camera Actress Devanny Pinn (who I've known for about 15 years now) joined the production later in the process, prompting the filmmakers to create a character specifically for her. "Each of the clowns is a different type, and mime was what we had left," Argo explained. Pinn embraced the role of Tulip, a sinister mime who quickly became a memorable presence in the film. "She took that small character and transformed Tulip into a dominating presence on screen," Argo said. Of course, making an independent horror film deep in the Louisiana wilderness brings challenges that even the most experienced filmmakers struggle to anticipate. Argo personally constructed the film's fortified hunter's camp, spending several weekends transforming a patch of forest into an elaborate defensive position complete with wooden barricades, barbed wire, spiked gates, and antler-mounted lanterns. The finished structure looked impressive in person. Unfortunately, much of that painstaking detail practically vanished on camera during nighttime photography. "Even after being at this for over 20 years I can still make painful mistakes," Argo admitted. The production also encountered some unexpectedly dangerous moments while attempting to create atmospheric swamp fog. Improvised fogging equipment occasionally malfunctioned, producing bursts of flame and forcing the crew to implement additional fire safety measures. As if that weren't enough, Argo says the Los Angeles-based cinematographer contracted West Nile virus during the shoot. Thankfully, he recovered and has continued working with the team on subsequent productions. It's the sort of behind-the-scenes madness that independent horror filmmakers know all too well, where ambition, resourcefulness, and the occasional brush with disaster become part of the story. What's Next for GRUNCH? With production complete and a trailer available, the filmmakers have turned their attention toward securing distribution. Their previous collaboration, The Hoodoos, enjoyed a digital release earlier this year, with a Blu-ray edition also planned through Scream Team Releasing. For GRUNCH, Argo hopes to take things further. The team is currently negotiating with a potential distribution partner, with aspirations for a Baton Rouge premiere and possibly a limited theatrical run across the country. A physical media release also remains a priority. "We are also very committed to a blu ray release, as physical media is coming back and we're thrilled about that," Argo said. At present, the filmmakers have announced no official release date or confirmed distribution agreement. With its blend of regional folklore, practical monster effects, gunfighters, and murderous carnival characters, GRUNCH looks to carve out its own peculiar territory within the horror-western genre. And judging by the stories behind its creation, the filmmakers experienced a few genuine horrors of their own along the way. Watch the GRUNCH trailer below, then continue reading for our exclusive five-question interview with Sean-Michael Argo. EXCLUSIVE INTERVIEW: Five Questions with GRUNCH Writer-Producer Sean-Michael Argo From Louisiana cryptid legends to murderous clowns and the unpredictable realities of independent filmmaking, GRUNCH writer-producer Sean-Michael Argo had plenty to share about bringing this unusual monster-western to life. In our exclusive conversation, Argo takes us deeper into the creative influences, practical effects, and behind-the-scenes experiences that shaped the film. 1. More Horror: What inspired GRUNCH? Horror Westerns occupy an interesting corner of the genre, and we'd love to hear what sparked the idea of bringing these two worlds together. Is there any connection to the Grunch creature from Louisiana folklore? Sean-Michael Argo: I have been a lover of horror westerns since the '90s, when a tabletop RPG called Deadlands appeared. It combined the Wild West mythos with supernatural elements in a fun and playable way. So my mind was already there when films like The Missing, Bone Tomahawk, and Ravenous came out. Of course, no western horror conversation can be had without acknowledging the video game Hunt: Showdown, as that really nailed the vibe, and close to home for me as a Louisiana filmmaker. I have been very vocal in my peer group about wanting to make a horror western, and so when director Jonathan Walter came to me with a desire to make a film out of the Grunch from Louisiana cryptid folklore, he was not surprised when I spun it into a "bayou western." He said he'd go with it as a western, but only if I found a way to add killer clowns. To this day I don't know if he was joking or fully expected me to find a way, because we did. After a bit of back and forth, we had our story. 2. More Horror: Tell us about the monster itself. What went into developing its appearance and mythology? Did you primarily use practical creature effects, CGI, or a combination? Sean-Michael Argo: Dru Conklin, our puppet master from our previous film The Hoodoos, came on board to create the creature using some of Jonathan's concept art. We knew that we were going to use digital FX to enhance some elements of the creature, but still needed it to feel like something that had once been a human being. As such, our Grunch is very clearly a man, with tattered pants and a shawl, but also with ink-black skin, claws, and a beast mask that Dru was able to make articulate. The final result is a creature that looks like it has had the flesh and skin torn away from its skull, revealing the bone and ichor underneath as it roars. There are several Grunch variations, and we decided to combine several of them for ours, which is how we ended up with a monster that was the result of a blend of human sacrifice, twisted humanity, and voodoo curses, all set to a backdrop of an 1800s carnival. 3. More Horror: What were some of your biggest influences going into this project? Were there any particular Westerns, creature features, or horror films that helped shape the atmosphere and direction? Sean-Michael Argo: Hunt: Showdown for sure. I mean, we started off with a bayou western with monsters and bounty hunters, so the parallel is quite clear. What is great is that the look and feel of our movie is much more colorful and vivid, so while the settings are extremely similar, our style and execution are unique. We also pulled a lot from Predator, in that whole sense of how to keep an audience engaged during a story that mostly amounts to a group of characters wandering the wilderness and having escalating antagonist encounters. We also took a note from El Topo, and sometimes we linger on the uncomfortable or the weird for an extra beat, just to cement the strangeness of our setting, story, and characters. 4. More Horror: Independent filmmaking always comes with its share of interesting stories. Was there a particularly memorable, challenging, or crazy moment during production that stands out? Sean-Michael Argo: I took it upon myself to build the key set of the "hunter's camp," and over the course of several weekends (and a few days during the shoot), I transformed a patch of forest into a massive fortified camp. It had walls that stood about three feet, sometimes four feet high, of stacked dead trees and branches that I pulled from the area, then above that three strands of barbed wire with bullet casings hanging down. For the gate, I built two spiked palisades that could be opened or closed, and all around the camp we tied antlers to trees so that a multitude of lamps could hang from them. To the naked eye, it is a formidable and impressive place, and looks more than capable of keeping out the wandering zombies and killer clowns of the film. However, on camera, and at night, the barbed wire all but disappears to the eye, and so it only looks as badass as it is in close-ups. A classic example of how sometimes the labor put into something does not always translate to value in the frame. Even after being at this for over 20 years, I can still make painful mistakes. Devanny has been great. She was a late addition to the cast. We realized there was a conjunction of her availability and our shoot, and so we created Tulip for her. Each of the clowns is a different type, and mime was what we had left, and she took that small character and transformed Tulip into a dominating presence on screen. We needed haze for almost every scene, and when you are out there in the woods with no budget for generators to keep the hazers going, you have to get creative. We bought a handful of insect foggers and mixed mineral oil with water, and used them as battery-powered mobile foggers. They worked great, except once a unit got overheated, it would turn into a flamethrower in an instant. So after a while, you never really knew if the fogger was going to throw fire or fog until you pulled the trigger. Needless to say, we had to develop a fire safety plan pronto. But hey, we accidentally discovered a DIY flamethrower. Our Los Angeles-based cinematographer insisted that if we dragged a whole cast and crew out into the bayou for two weeks, somebody was going to catch something. Turns out he was right, and though everyone else was okay, he contracted West Nile. Thankfully, he is okay and has made several more films with us, so isn't holding it against us. 5. More Horror: Now that the film is complete and the trailer is out, what's next for GRUNCH? Are you planning a festival run, theatrical screenings, or a streaming/VOD release? Do you have any confirmed or tentative release dates that we can share with readers? Sean-Michael Argo: Our first film, The Hoodoos, enjoyed a strong Amazon release in July, and is now a top new release title at Tubi as of October, with a Blu-ray coming TBD from Scream Team Releasing. That has been a great release, but with Grunch we are making an attempt to kick it up a notch. As such, we are working with our sales representative to hopefully secure a high-profile brand to be released under. That deal is currently being negotiated. Depending on the particulars of that, we will be doing a premiere in Baton Rouge, and possibly working on a limited run nationwide, fingers crossed. We are also very committed to a Blu-ray release, as physical media is coming back and we're thrilled about that. No confirmed dates, but keep an eye out. More Horror thanks Sean-Michael Argo for taking the time to share the story behind GRUNCH and offering an inside look at the creative process. GRUNCH is directed by Jonathan Walter, written by Sean-Michael Argo, and produced by Garret Andrew Ahrens. For additional film information, visit GRUNCH on IMDb.

Terror Films Releasing is bringing the Scottish survival horror thriller Savage Prey to streaming platforms worldwide on November 13, 2026, with Five Nights at Freddy’s voice actress Marta Svetek leading the cast. MoreHorror.com Written and directed by David Ryan Keith, the film follows Ava (Svetek), a grieving mother who returns to the remote Scottish Highlands one year after her son's mysterious disappearance. Her search for answers takes a terrifying turn when she becomes the target of a sadistic predator who exploits her desperation and grief. Svetek will be familiar to gaming fans through her performances as Gregory, Roxanne Wolf, and Vanny in Five Nights at Freddy’s: Security Breach. She stars alongside Steve Weston, Hannaj Bang Bendz, and Chris Torres. Keith describes the film as a combination of psychological horror and survival thriller, with the isolated Highland landscape playing an essential role in the story. "The threat is not simply physical. Ava's attacker understands her vulnerabilities and uses them against her, forcing her to question what is real, what she believes and how much she is prepared to sacrifice," Keith explained in the film's official press materials. The director also emphasized the emotional weight behind the film, exploring how grief and the need for answers can drive someone into increasingly dangerous territory. Following its festival run, including a world premiere at Popcorn Frights in August, Savage Prey heads to streaming through Terror Films Releasing on November 13, 2026, with announced platforms including Tubi, Chilling, The Roku Channel, and Fandango at Home. Watch the official trailer below. For additional information, visit Terror Films.

Independent filmmaker shares promotional trailer for a new slasher exploring trauma, vengeance, and the monsters society creates. MoreHorror.com Independent horror continues to thrive through the determination of filmmakers willing to bring their darkest visions to life. Queens-based writer, director, and producer Curtis W. Harrison is looking to do exactly that with SOUL SLASHER, an upcoming psychological horror feature currently seeking $50,000 in production funding. You can help support the indie horror community by donating to the film production here. Blending classic slasher suspense with psychological mystery, Soul Slasher explores childhood trauma, buried secrets, violent revenge, and the disturbing question of what ultimately creates a monster. Soul Slasher also won "Best Trailer" at the 2026 "The Magic of Horror" Awards. The story follows a man whose history of childhood abuse and his mother's murder drives him down a violent path. After escaping prison, he becomes the masked Soul Slasher, targeting abusers who have escaped justice. As detectives close in, his deadly crusade raises questions about vigilantism, morality, and the lasting consequences of trauma. The film aims to explore the increasingly blurred line between justice and vengeance, bringing a psychological dimension to the familiar masked-killer formula. Beyond the Mask: The Psychology of Soul Slasher While the masked killer remains one of horror cinema's most recognizable figures, Soul Slasher draws inspiration from the psychological darkness beneath the violence. On the film's official blog, Harrison explores the concept of a "soul slasher," describing a figure who targets something deeper than the physical body: a person's fears, emotional wounds, and sense of self. The filmmaker draws comparisons to horror icons such as Freddy Krueger, Pennywise, and the entity from The Babadook, characters whose terror extends into dreams, trauma, and psychological vulnerability. That thematic approach connects directly to Soul Slasher, where childhood abuse, personal tragedy, and an obsession with vengeance shape the central killer's descent into violence. The result is a premise that invites audiences to consider an unsettling question: What happens when the victim of unimaginable cruelty becomes the very thing others fear? Bringing Soul Slasher to the Screen Harrison is currently seeking $50,000 to support production, with funding going toward cast and crew, filming locations, camera and lighting equipment, production design, special effects, sound, and post-production. The filmmaker has released a promotional trailer offering horror fans an early look at the project's visual direction and atmosphere. For Harrison, the project represents an opportunity to explore suspense, psychological conflict, and the darker corners of human behavior through independent filmmaking. With the feature still in development, an official release date has yet to be announced. WATCH THE SOUL SLASHER PROMOTIONAL TRAILER BELOW: How Horror Fans Can Support Soul Slasher Independent filmmaking often depends on the support of audiences who believe in a project long before cameras begin rolling. Harrison is inviting horror fans to help bring Soul Slasher to the screen. Those interested can explore the film's official website, watch and share the trailer, learn more about the project, and contribute toward its production. Visit the official website: https://www.soulslasher.org/ Support the production: Visit the official website for donation information. Follow the project: Visit the official website for updates, or follow the filmmakers through their official Instagram. Horror fans can also help spread the word by sharing the promotional trailer and introducing the project to fellow genre enthusiasts. As Soul Slasher continues its journey toward production, More Horror will keep an eye on Harrison's ambitious independent horror project. Brought to you by our More Horror, Fast & Scary Visibility Boost

By Devin Smock | More Horror SPOILERS THROUGHOUT I try to avoid trailers for movies I plan to review unless I cannot escape them at a theater. With a title like Hallowarrior, though, I needed some evidence before committing my time. This could have been a fun, scrappy horror movie or a huge piece of trash. Nothing in that title eliminates either possibility. The trailer made me curious. The movie, while far from great, is not a waste of time. Writer-director Ben Sottak and cinematographer Steven Jacob Russell establish the movie’s strongest qualities almost immediately. The rural setting is beautifully photographed, the lighting has actual shape and the compositions feel considered. Sottak shot the movie around Syracuse, Tully and Jordan, New York, taking advantage of the real autumn landscape rather than trying to manufacture October in postproduction. It pays off. I really appreciate horror filmmakers who treat location and composition as essential parts of the movie instead of things to worry about after the blood, masks and jump scares have been figured out. That does not happen nearly enough. Pumpkin’s farmhouse feels isolated without looking like somebody simply found a cheap place to shoot. The fields, trees and empty roads give the apocalypse a scale that the budget probably could not have created any other way. Pumpkin, played by Milly Shapiro, has apparently survived alone for four years after a plague wiped out most of humanity. She is sixteen, living in her old family home and still celebrating Halloween as if trick-or-treaters might wander out of the wasteland at any moment. She decorates the house, sets out candy and sends radio messages hoping someone, somewhere, will answer. Her Halloween obsession is more than production design. It is routine, memory and probably the only thing separating her from complete despair. The early suggestion that Pumpkin is considering suicide gives all the pumpkins and decorations an unavoidable sadness. She is not pretending the world is normal because she is naïve. She is desperately preserving the last thing that still makes her feel connected to the world that disappeared. You really feel her need to interact with another person. Shapiro makes Pumpkin talkative and socially awkward without turning her into a joke. Four years alone would probably destroy anyone’s ability to read a room, especially someone who was barely a teenager when the world ended. When strangers finally arrive, we understand why she overlooks every warning sign. Loneliness has made her vulnerable in a way that no amount of practical survival experience can fix. I knew I had seen Shapiro somewhere, and yes, she played Charlie in Hereditary. This is reportedly her first major feature role since that film, and she carries nearly every scene here. She is easily the strongest part of Hallowarrior. Pumpkin could have become an irritating collection of Halloween quirks, but Shapiro finds the sadness and hope underneath all of it. The visitors are Thalia, played by Shannyn Sossamon, Royce, played by AJ Bowen, and Wendy, played by Ajani Russell. They initially entertain Pumpkin’s excitement and allow her to believe she may have finally found people again. That does not last, obviously. The movie shifts from a lonely post-apocalyptic character piece into a home-invasion story with a little Home Alone survivalism thrown in. That transition mostly works, but the movie becomes less interesting once it settles into more familiar territory. The opening gives us a distinctive character in an unusual situation. The second half gives us scavengers, masks, traps and people trying to kill each other inside a house. It is competently done, and sometimes fun, but I have seen variations of that part before. Sossamon is effective as Thalia because she never has to push very hard to seem dangerous. Bowen is dependable as Royce, although the character never becomes much more than another threatening man wandering around the property. Russell gets more to work with as Wendy, whose guarded hostility slowly gives way to an actual connection with Pumpkin. The performances are generally okay. Nobody is outright bad, but Shapiro is operating on another level from most of the supporting cast. There are some nice practical effects and a few properly nasty moments. The syringe near the eye is a solid piece of gross-out horror, at least until the neon-orange drug begins pushing the movie into a much more artificial visual world. The orange is intentional. It belongs to the hallucinogenic substance Thalia calls medicine, and when Pumpkin is injected, the movie attempts to show us her distorted perspective. Fair enough. But what in the bullmess is this trippy syringe shit? The oversaturated orange hallucination sequence feels like it wandered in from another movie. Up to that point, Hallowarrior has built a tactile world out of real locations, autumn light, old Halloween decorations and practical grime. Then the contrast gets cranked up and everything starts looking cheaper and more digital. Understanding the purpose of a choice does not automatically make the choice effective. Some digital work was probably unavoidable. This is a post-apocalyptic movie with limited resources, and the filmmakers cannot destroy civilization for real. Most of the effects stay within the scale of the story, and the movie wisely keeps us close to the farmhouse. At its best, it becomes a nice little monster-outside-the-house movie, even though the monsters are other people. The Halloween imagery helps distinguish those familiar home-invasion mechanics. Pumpkin’s decorations and homemade traps make the violence feel like an extension of how she has kept herself alive. She has turned the house into a haunted attraction because the whole world has effectively become one. The title itself is clunky, but it also sounds exactly like something Pumpkin would invent for herself, so I can forgive it. The screenplay is less convincing when it makes the characters explain too much. Pumpkin’s loneliness is strongest when we see it through her rituals, behavior and desperate excitement. We do not need every emotional detail spoken aloud. Some of the dialogue feels designed to catch the audience up instead of coming naturally from people trapped in this situation. The supporting antagonists are also fairly disposable. Thalia has enough presence to register as a genuine threat, but most of her followers exist to give Pumpkin and Wendy somebody to fight. The movie hints at a larger, uglier world outside the farmhouse but never develops much of it. At around 80 minutes, it moves quickly, although the short runtime also keeps its better ideas from growing into anything substantial. The relationship between Pumpkin and Wendy gives the ending some heart. Both have been damaged by isolation in different ways, and neither fits comfortably into the group that was supposed to protect them. Watching them bury the bodies, gather what remains of Pumpkin’s Halloween decorations and leave together on their bicycles is quietly hopeful without pretending the world has suddenly become safe. Hallowarrior is strongest when it is about a lonely girl using Halloween to keep herself alive. It becomes more ordinary when the scavengers arrive and the killing starts, which is an odd problem for a horror movie to have. The setup promises something stranger and more emotionally complicated than the home-invasion story ultimately delivers. Still, the location work is strong, the cinematography is consistently above what I expected, several effects land and Shapiro gives Pumpkin enough humanity to hold the movie together. Sottak’s feature debut shows real visual instincts, even when some of the writing and that bizarre orange hallucination sequence work against them. I went into Hallowarrior wondering whether the title belonged to a movie worth watching. It does. Just barely more trick than treat, perhaps, but certainly not an empty wrapper. 6.2/10 Hallowarrior is now streaming on Shudder.

The landmark streaming agreement brings the found-footage horror franchise together as the original film prepares for its 10th-anniversary theatrical release. MoreHorror.com The doors to the Abaddon Hotel are opening once again, and this time, the entire HELL HOUSE LLC franchise is checking into Shudder. Terror Films Releasing has announced a new three-year licensing agreement with Shudder, making the horror streaming service the exclusive subscription streaming home of the HELL HOUSE LLC franchise across all Shudder territories through November 2029. The deal brings together the films from writer and director Stephen Cognetti's popular found-footage horror series, giving longtime fans and newcomers a single destination to explore the increasingly sinister mythology surrounding the Abaddon Hotel and its terrifying legacy. Under the agreement, HELL HOUSE LLC, HELL HOUSE LLC: THE DIRECTOR'S CUT, HELL HOUSE LLC II: THE ABADDON HOTEL, and HELL HOUSE LLC III: LAKE OF FIRE will join the streaming platform alongside the latest installment, HELL HOUSE LLC: LINEAGE. Shudder will also retain exclusive streaming rights to HELL HOUSE LLC ORIGINS: THE CARMICHAEL MANOR. Joe Dain, CEO of Terror Films Releasing, described the agreement as an important milestone for a franchise the company has supported since its earliest days. "This agreement represents an incredible next chapter for a franchise we have believed in from the very beginning," said Dain. Originally released on digital platforms in 2016, HELL HOUSE LLC follows a documentary crew investigating a deadly incident at a Halloween haunted house attraction. What begins as an examination of a mysterious tragedy gradually exposes something far more disturbing lurking within the abandoned Abaddon Hotel. Cognetti's approach to found-footage horror helped the film develop a devoted following. Its unsettling atmosphere, carefully constructed scares, and now-iconic clown imagery turned a modest independent production into a modern cult favorite. The original film has since earned recognition among the genre's standouts, landing at No. 7 on Entertainment Weekly's list of the best found-footage movies of all time and appearing on IndieWire's own ranking of the genre. That success eventually expanded into a multi-film mythology exploring the sinister forces connected to the Abaddon Hotel, the Carmichael Manor, and the surrounding supernatural events. HELL HOUSE LLC Returns to Theaters for Its 10th Anniversary The streaming announcement arrives alongside another major milestone. The original HELL HOUSE LLC will receive its first nationwide U.S. theatrical release in celebration of its tenth anniversary. Terror Films Releasing has partnered with Iconic Events Releasing for a special four-night engagement running October 29 through November 1, 2026, with plans to screen the film in as many as 400 theaters across the country. For a movie that built much of its reputation through word of mouth and streaming discoveries, the theatrical event offers fans an opportunity to experience its carefully crafted scares on the big screen. Stephen Cognetti reflected on the franchise's journey and the significance of bringing the films together while celebrating the original release. "It's hard to believe it has been ten years since Terror Films first released Hell House LLC and gave the film an opportunity to find its audience," said Cognetti. The filmmaker also expressed appreciation for the continued support from Terror Films and Shudder, describing the anniversary theatrical release and new streaming agreement as a full-circle moment for the franchise. From an independent found-footage experiment to an internationally recognized horror franchise, HELL HOUSE LLC has spent the past decade demonstrating the staying power of atmospheric horror built around mystery, unsettling imagery, and the terrible things waiting just outside the camera's frame. While Shudder will serve as the franchise's exclusive subscription streaming destination, audiences will still have the option to rent or purchase individual films through digital retailers, including Fandango at Home, Google Play, and other participating platforms. HELL HOUSE LLC: 10TH ANNIVERSARY arrives in theaters October 29, 2026, for four nights only. For theatrical tickets and participating locations, visit Iconic Events Releasing. For additional information, visit Terror Films Releasing and Shudder. Stay scary with MORE HORROR™ for more horror movie news, streaming updates, and independent film coverage.

By Damian Hex | More Horror Horror is everywhere you look. It's on your screen, in magazines, and in books. But people often overlook one thing: toys and collectibles. As a kid, I collected all sorts of figurines, mostly action figures like Spider-Man and X-Men, but I also sought out anything unsettling, like monster figures. Fast forward to today, and I still hunt for weird, creepy toys. Just check out my Living Dead Dolls collection if you don’t believe me. As an adult, I attend all sorts of conventions that align with my hobbies, and CollectedCon is no exception. This year, it took place on October 17th, 2026, in Brooklyn's Industry City. One of horror's most exciting aspects is the variety of subgenres it offers: aliens/sci-fi, kaiju, killer robots, zombies, and lab-created creatures. I promised myself I wouldn’t hurt my wallet once I entered the venue. Did I succeed? Read on to find out. CollectedCon stands out by showcasing artists at every level, from novices to seasoned professionals. I spent about an hour strolling through the first row of artists because everything caught my attention. I needed time to take it all in. One multimedia artist who immediately grabbed my gaze was Daniel Salcedo, aka Cat Mynt. This Mexican-based artist is known for their trippy colors and cat-themed work. They debuted a cool 12-piece Halloween cat figure collection titled TRICK OR CATs. Each cat had a fittingly campy name: Frankitty, Conde Catula, Scarface Meow, Oni-Neko, Stitchy Paws, Fangy Spookitty, Regan’s Vomit, Witchy Whiskers, Lagoonie, Pink Lagoonie, and Purrmpkin. By the time I wanted to purchase something, Cat Mynt had sold out of the collection. Sad for me but happy for them. Next, I visited MoonBat Animation, led by the talented Mariana Martins and Gregory Pierce. With backgrounds in art and technology, they create unique pieces that blend animation with physical media. If I had a lawn, I would definitely buy their outdoor Angler Fish Light, a creepy anglerfish featuring neon pink eyes and bright green scales that emits hypnotizing light from its soulless gaze. I also fell in love with their Leftover Larry Pizza magnets, which depict cursed pizza slices possessed by demons, each slice boasting an evil grin and piercing eyes. I'll never forget the pizza in my fridge again! Next, I noticed Frenemy, a tattoo artist, muralist, illustrator, worldbuilder, and storyteller. Their art style mixes bright, trippy colors with childlike wonder and cute monsters. I was especially drawn to their Ghoul Gang puzzle box set, which featured charming ghosts, witches, jack-o'-lanterns, and swamp creatures. With a special penchant for vampires, I was thrilled to discover Eddie P, also known as eddieinthecity Design. His booth featured a Vampire Hunting Kit toy set in a blister card, including a stake. For those unfamiliar with toy packaging, a blister card is a clear, thermoformed plastic bubble heat-sealed to a printed cardboard backing, with a hang-tab peg hole. So, if you've ever visited a toy store, you’ve likely seen this type of packaging. Eddie specializes in vinyl figures and toys and is well-known for his luchadores and monster figures. He also works for pop culture company CultureFly and offers preorders for the Mortal Kombat Scorpion and Sub-Zero statues. If you know me, my love for the color pink is no secret. Heart Bat Studio, run by an artist named Rachel, brings a girly pop twist to kaiju and creature art. Seeing Godzilla, King Ghidorah, and Mechagodzilla in pastel colors opened my eyes to a whole new aesthetic I didn’t know I needed. If kaiju isn’t your thing, you might be charmed by Rachel’s Cat Bats—cat-bat hybrids that come in shades of pink, purple, and blue. She also offers enamel pins and keychains. My final stop was Newtown HQ, a collectibles brand with a store in Astoria, Queens. Though they are known for their soft aesthetics, I appreciated their selection of horror-themed products. They were selling Halloween Kewpie dolls created by Mexican artist Miss Dirty Boots (the brand associated with Frida, a Mexican artist and designer), who masterfully blends cute and creepy styles. I felt it was destiny when I found the last Dracula Kewpie doll. I am drawn to anything vampiric. Like drawing blood. Lol I’m grateful I attended CollectedCon, which introduced me to a diverse array of artists (more than I mentioned) and let me connect with fellow attendees who share similar interests. The turnout was impressive, with general and VIP tickets selling out online. Shout-out to Cindy Cortez, co-owner of CollectedCon and owner of Newtown HQ, for being a powerhouse behind this incredible event. I want all the horror collectibles, but this horror head bought only two pieces of art. Go me.

By Damian Hex | More Horror October summons Halloween, and Halloween means horror movies! I know creating the perfect watch list for the season can feel overwhelming, but fear not; this horrorhead has some scary recommendations from my favorite horror streaming service, Shudder. Let’s start with an obvious one: John Carpenter’s Halloween (1978). This iconic film takes you to Haddonfield, Illinois, with its crunchy leaves, chilly air, and a murder or two. As a fan of both scary things and drag, I recommend The Boulet Brothers Halfway to Halloween Special and The Boulet Brothers Resurrection. Halfway to Halloween showcases a fun, campy variety show celebrating the season, while Resurrection features alternative drag artists battling it out in a Halloween-themed competition. October is meant for me. Next is V/H/S HALLOWEEN, a 2025 anthology series where each segment tells a completely different story. If you enjoy body horror, check out Fun Size, directed by Casper Kelly. My personal favorite, Home Haunt (by Micheline Pitt-Norman and R.H. Norman), depicts a man’s haunted attraction gone horribly wrong. Or horribly right in my opinion. As a devoted horror fanboy, I dedicate time each week during October to watch two movies or shows. It’s a commitment I happily accept. Another Shudder gem is the seven-season anthology series Tales from the Crypt. Who doesn’t love a corpse, complete with a wholesome laugh, as the host? Religious horror ranks high on my favorites list, so I def recommend Late Night with the Devil, released in 2023 by Australian brothers Colin and Cameron Cairnes. Late-night talk show host Jack Delroy (played by David Dastmalchian) encounters demonic forces and reveals dark truths. If that calls to you, and you love furry babies like dogs, try Good Boy (by Ben Leonberg). This standout film offers Indy’s (the dog’s) perspective as he cares for his ill owner, Todd (Shane Jensen). You’ll root for Indy while fearing for him as a supernatural presence invades their secluded home. No October celebration would be complete without acknowledging witches. Enter Mother of Flies, directed by John Adams, Zelda Adams, and Toby Poser (The Adams Family). This story takes you on an uncomfortable journey through mortality as Mickey (Zelda Adams) confronts cancer and desperately seeks a cure. Her quest leads her to a witch (Tobey Poser) who offers a solution at a high price. Another witch-focused movie is Huesera: The Bone Woman (by Michelle Garza Cervera), released in Mexico in 2023. This film tackles themes like heteronormative expectations, queer identity, family, and pregnancy trauma. I love foreign horror, and if you are of Latino/Hispanic descent, this piece might resonate with you. So far, I’ve shared eight solid recommendations, and I’ve got one last witchy movie for you: Forbidden Fruits (by Meredith Alloway). This film mixes retail girly cult drama, witchcraft, and murder. Gen Z and horror is something I didn’t know I needed. Finally, don’t miss The Boulet Brothers Dragula Season Seven. No, it’s not out yet, but it's releasing on October 27th. Get ready for thrills, chills, and plenty of drag drama. Everyone, let’s say, “Thank you, Shudder!”