Reviewed by Seth Metoyer, MoreHorrorMovies.com, One of my favorite films of all time is Rosemary’s Baby, so when I heard that Apartment 7A (streaming now exclusively on Paramount+ and available to purchase on digital) was a prequel diving into the mysterious past of Terry Gionoffrio and the Castevets, I was immediately intrigued. Revisiting that unsettling world, exploring the lives of the enigmatic characters that existed before Rosemary, had the potential to offer fans more layers to the iconic story. While Apartment 7A, directed by Natalie Erika James from a screenplay she co-wrote with Christian White and Skylar James, delivers on atmosphere and some key performances, it falls short in other areas, ultimately leaving much to be desired. Impeccable Set Design Captures the Essence of the 1960s One of the true highlights of Apartment 7A is its impeccable set design, which does an excellent job of capturing the look and feel of the 1960s. From the furnishings to the fashion, every detail feels authentic, transporting viewers back to the era in which the events unfold. The attention to period-appropriate decor, from the wallpaper to the vintage kitchen appliances, adds to the film's immersion and successfully recreates the haunting atmosphere that made Rosemary’s Baby so memorable. This commitment to authenticity helps ground the story in its time, making the visual experience a standout even when other aspects of the film falter. Diane Wiest’s Chilling Minnie Castevet One of the shining stars of this film is Diane Wiest, who steps into the shoes of Minnie Castevet, bringing a fresh yet terrifying portrayal of the character. Her version of Minnie is, in many ways, even more sinister than Ruth Gordon’s iconic performance in Rosemary’s Baby. While Gordon’s Minnie had a strange, neighborly warmth that made her ultimate intentions so shocking, Wiest leans fully into the darkness. There’s an unsettling edge to her that perfectly captures the creeping dread of the Castevets, and she’s a joy to watch as she manipulates and schemes. A Decent, But Forgettable Roman While Diane Wiest’s Minnie shines, Roman, played by Kevin McNally, doesn’t quite reach the heights of his predecessor, Sidney Blackmer. There’s a certain gravitas that Blackmer brought to the role, a mix of charm and malevolence that made Roman so unforgettable. In Apartment 7A, McNally does a serviceable job, but it’s hard to escape the shadow of Blackmer’s performance. Roman feels somewhat diminished here, though the chemistry between him and Minnie still holds the screen. The Rest of the Cast Struggles to Stand Out Unfortunately, beyond Wiest, the rest of the cast fails to leave much of an impression. Much of the movie feels hollow. I thought that the portrayal of Terry Gionoffrio played by Julia Garner was decent, but after the movie went on, it felt disjointed. Maybe that was intentional, but, something felt out of place there. While the idea of exploring Terry’s background and her relationship with the Castevets was promising, the execution feels underdeveloped and unraveled too fast, leaving her storyline feeling more like a missed opportunity than a gripping narrative thread. The storyline behind the misogynistic play director, Alan Marchand, played by Jim Sturgess left much to be desired. The way the character was dispatched from life was abrupt and lackluster. It really felt like the writers didn't know what to do with the character. I think the story might have worked better as a limited series than a movie. There was a lot more that could have been done with the characters and story. A Dance Scene Homage to Suspiria There are moments in Apartment 7A that work as pure cinematic spectacle. One particular scene—an eerie, contorted dance sequence that serves as a nod to Dario Argento’s Suspiria—stood out as a visual highlight. The lighting, the twisted movements, the unsettling choreography—it's a clear homage to one of horror’s great films. It’s these small details that suggest the filmmakers had a deep love for the horror genre, even if the overall storytelling doesn’t always deliver. The Forced "Nun Scene" A particular low point in the film comes in a scene involving a nun, which felt forced and ultimately hollow. It was as if the filmmakers were attempting to squeeze in a significant amount of exposition and information into a single moment, but the result was flat and unnecessary. Instead of enhancing the plot, the scene disrupts the pacing and adds little value. This misstep contributes to the overall feeling that the film is trying to do too much without fully developing the most important aspects of its story. Satan’s Uninspired Visuals Miss the Mark One of the most iconic elements of Rosemary’s Baby was how the film handled the presentation of Satan, shrouding him in mystery and leaving much to the viewer's imagination. In Apartment 7A, however, the visuals of Satan are far less subtle—and far less effective. The designs felt uninspired, undermining the eerie and ambiguous atmosphere that made the original film so terrifying. Instead of the brief, disturbing glimpse we got in Rosemary’s Baby, Apartment 7A opts for a more overt presentation, which feels out of place and robs the scene of any real tension. Easter Eggs for the Fans Fans of Rosemary’s Baby will enjoy spotting the Easter eggs scattered throughout Apartment 7A. Whether it’s subtle callbacks to scenes from the original or references to the Bramford building's eerie history, these moments feel like winks to longtime devotees of the story. But beyond these nods, the film fails to truly expand on the mythology in a meaningful way. It’s as if it’s too preoccupied with paying tribute to its predecessor rather than fully carving out its own identity. A Disappointing Narrative Void Despite its connections to Rosemary’s Baby, Apartment 7A struggles to fill the void left by the original. The film’s exploration of Terry’s life and her interactions with the Castevets feels surface-level, and the movie often drifts, feeling more like a collection of scenes than a cohesive narrative. While fans like myself may appreciate revisiting this world, the film doesn’t pack the emotional or psychological punch that made Rosemary’s Baby such a horror masterpiece. Paramount Plus Promo Perks On a lighter note, Paramount Plus sent over some great promotional items tied to the release of Apartment 7A. The box included Spiritless Old Fashioneds with branded glasses, a Bramford Hotel Candle, and some treats that added to the immersive experience of revisiting the world of Rosemary’s Baby. The attention to detail in the promo items was a nice touch, capturing the essence of the film’s haunting atmosphere. I’ve included a few photos of the items in the review below. Final Thoughts Apartment 7A is a mixed bag. While it has some standout moments, particularly thanks to Diane Wiest’s chilling performance as Minnie Castevet, it often feels hollow and underdeveloped. The forced "nun scene" and the lackluster visuals of Satan detract from the film's potential, leaving viewers yearning for the understated dread of Rosemary’s Baby. Fans of the original may appreciate the Easter eggs and callbacks, but the film struggles to capture the same level of menace and tension that made its predecessor so unforgettable. For more horror reviews and news, you can follow me on social media at @morehorror or visit my website, MoreHorrorMovies.com. Stream or purchase Apartment 7A on Paramount Plus www.paramountplus.com.

Reviewed by Seth Metoyer, MoreHorrorMovies.com, Social Media: @morehorror Sometimes, walking into a film blind can be the best way to experience a story, especially in the horror genre. Unfortunately, I wasn’t so lucky with Abigail. While the promotional materials make it clear that Abigail is no ordinary girl, I won’t spoil the specifics for those who might have avoided the trailers. Let’s just say the kidnappers quickly realize they’ve bitten off more than they can chew. Directed by the team behind Ready or Not and Scream (2022), Matt Bettinelli-Olpin and Tyler Gillett, Abigail starts with a classic crime thriller setup: a group of kidnappers, led by Joey (Melissa Barrera, Scream VI, Bed Rest), abducts a young girl from a powerful crime lord, demanding a $50 million ransom. The team, including Frank (Dan Stevens, The Guest), Sammy (Kathryn Newton, Freaky), Rickles (Will Catlett, Blacklight), Peter (Kevin Durand, The Strain), and Dean (Angus Cloud, Euphoria), has to hold her overnight in a secluded mansion, expecting the job to be a breeze. What they don’t know is that Abigail (Alisha Weir, Roald Dahl’s Matilda the Musical) is far from helpless. She's a centuries-old bloodsucker who’s been playing dead for a lot longer than her captors have been alive. Where Abigail shines is its blend of tension and gore. The film doesn’t wait long to show its cards, as one by one, the kidnappers find out they’re trapped inside with a girl who can tear them apart. Abigail, with her small frame and innocent appearance, uses her supernatural speed, strength, and bloodlust to take them down in brutal fashion. The kidnappers, now prey, have to find a way to survive until morning. Melissa Barrera delivers a strong performance as Joey, the reluctant leader trying to hold the crew together as things unravel fast. Dan Stevens is a standout as Frank, a crooked ex-cop who thought this would be his ticket to an easy life but finds himself in way over his head. Kathryn Newton’s Sammy brings some comic relief as the hacker whose thrill-seeking nature crumbles when faced with real danger, while Kevin Durand and Angus Cloud embody the muscle and madness of the group with chilling authenticity. The setting plays a crucial role, too. The mansion is the perfect mix of gothic horror and modern isolation, with plenty of dark corners and eerie rooms that heighten the film’s tension. You can almost feel the claustrophobia as the characters realize there’s no way out—and no one coming to save them. While the vampire twist may not be revolutionary, Abigail works because it leans into its strengths: high tension, great performances, and gory fun. Bettinelli-Olpin and Gillett craft a film that feels both familiar and fresh, with a narrative that mixes heist-thriller sensibilities with horror carnage. Abigail’s ancient vampire lore isn’t deeply explored, but her cold, calculated brutality more than makes up for any lack of backstory. By the time the credits roll, it’s clear: Abigail is a blood-soaked, nerve-wracking ride that delivers on its promise of carnage. Even if you know what’s coming, you won’t be able to look away. For horror fans looking for something that blends tension and terror with plenty of bite, Abigail is a must-watch.

By Seth Metoyer, Let’s talk about cognitive dissonance for a second. That uncomfortable feeling when something doesn’t quite add up the way you expect it to. Before you roll your eyes, close the browser tab and dismiss this as another hot take, take a deep breath, set aside your knee-jerk reaction, and stick with me. This isn’t just some rant about a popular movie I didn’t vibe with—it’s an examination of why Knives Out (2019) just didn’t click for me despite ticking so many of my usual boxes. I wanted to like Knives Out. I really did. On paper, it had all the ingredients: a murder mystery draped in fog, a cast stacked with talent, and a director known for subverting expectations. But somewhere between the self-satisfied dialogue and the cloying, winking-at-the-camera energy, I found myself staring at the screen like a kid realizing that the "punk" band they loved is just another corporate product in rebellion cosplay. This film has fans, legions of them, most of whom reside within a very specific subset of the horror community—the same people who embrace their love of horror like it’s a lifestyle brand. You know the type: tattooed (hey, I’ve got tattoos too), aesthetically curated, wielding film knowledge like a status symbol, but rarely venturing beyond what’s considered trendy and socially acceptable. Horror’s resident hipster class. I should fit in with them—I have the long hair, a metal music background, and around a 70k-deep horror following (@morehorror) on Instagram—but somehow, despite orbiting the same spaces, I’ve never quite been invited into their club. And Knives Out is exactly the kind of film that makes me understand why. The Mystery of Knives Out’s Appeal Rian Johnson crafted Knives Out as a throwback to classic whodunits, a genre steeped in deception, red herrings, and characters who drip with intrigue. But instead of weaving a tangled web of psychological depth, he presents us with a morality play as subtle as a neon sign. The rich are bad. The immigrant protagonist is good. The detective—played by Daniel Craig with an accent so thick it feels like he’s parodying Foghorn Leghorn—is brilliant but delightfully quirky. It’s not that I need my mysteries to be grim, but there’s something about the way Knives Out carries itself that feels less like storytelling and more like an exercise in self-congratulation. The twists aren’t really twists; they’re reveals designed to make the audience feel clever for keeping up. There’s no sense of dread, no real tension. Just a lot of "Oh, aren’t we smart?" energy from start to finish. And this is where it starts to click: the people who worship this movie don’t actually want mystery or suspense. They want affirmation. Knives Out gives them that. It lets them feel like they’re in on the joke, like they’re part of an exclusive club of "movie lovers" who get it. But really, it’s just entertainment designed to reflect their existing worldview back at them. The Horror Community’s Love Affair with Knives Out So why does Knives Out resonate so deeply with a particular horror niche? The answer lies in aesthetic and tone. The majority of the modern horror hipster scene thrives on movies that validate their identity rather than challenge it. The same people who praise Knives Out as brilliant are the ones who carefully curate their film opinions based on social currency. They’ll evangelize Midsommar and Hereditary, but scoff at something truly transgressive unless it has been pre-approved by their peers. Now, don’t get me wrong—I actually enjoy A24 films. Midsommar and Hereditary are fantastic in their own right, but not because they fit a brand. I love them for their oppressive atmosphere, their chilling scores, and their ability to drown the viewer in psychological dread. Not because someone on Twitter declared them to be "elevated horror." I don’t need a film to pat me on the back for enjoying it. I need it to challenge me, to sit with me long after the credits roll, to rattle something deep inside. To them, Knives Out isn’t just a movie—it’s a badge of cultural relevance. It’s got the right kind of humor, the right kind of political messaging, the right kind of polish. It’s "clever," but never challenging. "Dark," but never actually uncomfortable. It lets them cosplay as film aficionados while keeping them safely in their comfort zones. And that’s fine. Not every movie needs to punch you in the gut. But when people start holding Knives Out up as a masterpiece, I have to wonder: are they in love with the film, or with the idea of being the kind of person who loves the film? The Whodunit That Solves Itself A real whodunit should leave you uneasy, guessing, peeling back layers you didn’t even realize were there. Knives Out doesn’t do that. It holds your hand, reassures you that you’re one of the good ones, and delivers its story with the same kind of calculated quirkiness that modern moviegoers eat up like viral TikTok trends. You want a murder mystery that plays with genre tropes but still delivers a real whodunit? Try Clue (1985). It’s over-the-top, campy, and fully aware of what it is—yet still manages to be a sharper mystery than Knives Out ever was. The humor is broad, the characters are caricatures, but it works because it understands the mechanics of a true whodunit. Ask a Knives Out fan if they’ve even heard of it. I’ll wait. What Knives Out Didn’t Give Me I walked into Knives Out hoping for something sharp and biting. Instead, I got a movie that feels like a high-budget episode of Scooby-Doo—if Scooby had a Twitter account and made sure to let you know how much he hates capitalism between every bite of his Scooby Snack. And let’s get one thing straight—I’m all for rebelling against the rich. I champion inclusion in films, support marginalized voices, and have no love for most aspects of capitalism. But I also don’t fit into easy boxes. I don’t need my films to spoon-feed me moral lessons in the most surface-level way possible. A slick whodunit should leave you uneasy, guessing, peeling back layers you didn’t even realize were there, like Zodiac (2007) or Night Moves (1975). Knives Out doesn’t do that. It holds your hand, reassures you that you’re one of the good ones, and delivers its story with the same kind of calculated quirkiness that modern moviegoers eat up like viral TikTok trends. Maybe that’s why it doesn’t work for me. I don’t need my movies to tell me I’m smart. I need them to challenge me, disturb me, make me see something I hadn’t before. I love horror because it forces us to confront the things we don’t want to—fear, death, our own fragility. Knives Out doesn’t challenge you. It gives you the illusion of depth, the feeling of solving a mystery without ever making you do the work. It’s theater with training wheels—safe, polished, and eager to tell you how clever you are for liking it. And that, more than anything, is why it will never work for me.

By Seth Metoyer, MoreHorror.com - Parker Finn’s Smile 2 isn’t just a sequel—it’s an unrelenting, nerve-shredding showcase of what makes modern horror great. Right off the bat, this film establishes itself as one of the best horror movies of the year, though not without its imperfections. But really, what horror film is perfect? Picking up the torch from its predecessor, Smile 2 delves deeper into the sinister curse that thrives on trauma, fear, and despair. Skye (Naomi Scott), a grieving artist battling her own inner demons, becomes the latest victim in the ever-widening ripple effect of this malevolent force. As she races to uncover its origin and break the cycle, the line between reality and nightmare blurs, culminating in a finale as grotesque as it is polarizing. Finn proves yet again that he’s a director to be reckoned with, delivering an opening scene that grabs you by the throat and doesn’t let go. Cold, brittle, and masterfully shot, the opening sets the tone for the dread-soaked experience to follow. The eerie score—haunting yet understated—only heightens the tension, making it impossible to look away. Seriously, Hollywood, how has this guy not been snatched up for another major project between Smile and Smile 2? What are we doing here? The real crown jewel of Smile 2, though, is Naomi Scott as Skye. Her performance is nothing short of magnetic, elevating the film from a solid sequel to an unforgettable one. Scott, who previously dazzled in Aladdin (2019) (yes, I just referenced Aladdin in a horror review), steals every scene she’s in. Her ability to convey raw vulnerability while exuding strength is a rare treat, especially in the horror genre, which often sidelines its actresses into predictable tropes. Watching Scott in this role feels like a privilege, and it’s exciting to think about where her career will take her next. Adding depth to the ensemble is Ray Nicholson as Skye’s boyfriend, a character whose presence is brief but impactful. With his devilish grin—a nod to his father, Jack Nicholson—and surprising emotional range, Nicholson delivers a standout moment in a single car scene that lingers long after the credits roll. There’s a bit of Leonardo DiCaprio in his vibe, and it’s clear he’s someone to watch. Meanwhile, Lukas Gage injects some much-needed levity with his energetic performance, adding a spark to the darker moments. On the flip side, Rosemarie DeWitt takes on the thankless task of playing a character designed to irritate—and she nails it. While I’ve never been much of a fan (looking at you, United States of Tara and Poltergeist 2015), her turn here works because we aren’t necessarily supposed to like her. It’s a begrudging win in my book. For all its strengths, Smile 2 isn’t without flaws. The runtime, clocking in at over two hours, feels bloated. A tighter edit could have trimmed 10-15 minutes of drag, especially in scenes that belabor their points. And while the special effects are mostly solid, the creature reveal in the finale feels like a misstep. As much as I dug the "Lovecraftian" nod, the reliance on CGI in this critical moment undercuts the visceral terror that had been building, leaving a mixed impression that dampens the climax. Despite these quibbles, Smile 2 is a triumph of writing, acting, and filmmaking. Finn balances genuine scares with an unsettling atmosphere, creating a film that’s as cerebral as it is terrifying. And above all, it’s fun as hell. Smile wide—this one’s worth it. Rating: 4.2/5

MoreHorrorMovies.com - Adam Werth directs the new sci-fi action-horror film from Mahal Empire Productions, starring Robert Standley, Laura Mason, Tom Arnold, Kevin Sorbo, Glenn Plummer and Greg Tally. Las Vegas has survived mobsters, magicians, bachelor parties and more cinematic destruction than most cities could reasonably endure. In Alien Storm, Sin City faces something far stranger: a mysterious fog carrying a presence that no underground shelter can keep away. The new sci-fi action-horror film from Mahal Empire Productions follows Frank McConnelly, a successful businessman whose extravagant celebration descends into an apocalyptic fight for survival. Directed by Adam Werth, the 74-minute feature combines alien-invasion terror, bunker paranoia and high-concept action against the glittering backdrop of Las Vegas. Robert Standley stars as Frank, a devoted husband, father and businessman preparing to take his company public. To mark the occasion, he throws a massive party at his sprawling mansion, filling the estate with relatives, friends, colleagues and political figures. The celebration collapses when the President of the United States interrupts the evening with an emergency broadcast. A bizarre weather phenomenon has severed communications with major cities across the world, and citizens receive orders to shelter in place. Then the power disappears. A dense, impenetrable fog engulfs the mansion, isolating everyone inside. As panic spreads through the estate, Frank reveals the secret beneath his home: a completely self-contained underground bunker equipped with a yard, swimming pool and enough resources to survive a global catastrophe. For a few brief moments, the shelter appears to offer salvation. Something waits inside the fog, however; something ancient, alien and hungry. The bunker Frank built to protect his family from the outside world soon becomes the last line of defense against a force he never imagined. Trapped underground as the presence closes in, the party guests must confront a brutal question: Can any amount of preparation protect humanity from the genuinely unknown? A Sci-Fi Horror Story About the Illusion of Control Werth describes Alien Storm as both an extraterrestrial survival story and an exploration of humanity’s faith in its own preparations. “When I set out to make Alien Storm, I wanted to explore something deeply human—the illusion of control,” Werth said. “Frank McConnelly has spent years preparing for the worst, building something extraordinary beneath the surface. And yet, nothing he’s done can fully prepare him for what arrives in that fog.” That conflict is the films central pressure point. Frank has anticipated social collapse, infrastructure failure and the end of modern civilization. His bunker represents wealth, ingenuity and 0bsessive foresight carved into concrete. The alien force transforms that achievement into a seald chamber surr0unded by darkness. “That tension between preparation and helplessness is at the heart of this film,” Werth added. The director also approached the project as a full-throttle piece of genre entertainment, blending suspense and creature-driven horror with the spectacle audiences expect from a Las Vegas setting. “I wanted to make something that felt genuinely fun and scary at the same time,” he said. “Las Vegas is the perfect setting—a city that never sleeps, built on excess and spectacle. When the lights go out there, the darkness means something.” Werth previously directed Devil’s Knight and Bermuda Island, establishing a filmography grounded in independent action, horror and supernatural storytelling. He calls Alien Storm his most ambitious project to date. Familiar Faces Enter the Fog Standley leads the cast as Frank McConnelly, with Laura Mason playing his wife, Ophelia McConnelly. The supporting cast includes Tom Arnold as Mayor Walker, Kevin Sorbo as the President of the United States, Glenn Plummer as Major Haines, Greg Tally as Solomon Justice and Wesley Cannon as Paul. Professional wrestling personalities The Godfather and D’Lo Brown also appear in celebrity cameos, adding two recognizable WWE legends to the ensemble. Sonny Mahal and Michael Mahal produced the film through Mahal Empire Productions, the independent company behind a growing catalog of action, fantasy and horror titles. The producers developed Alien Storm as a containd survival thriller built around an ensemble cast, a fortified location and an otherworldly threat pressing against the walls. The premise taps into a distinctly modern fear. Survivalists can stock food, generate electricity and reinforce steel doors. Wealth can construct an artificial world beneath the desert. Every system still depends upon an understanding of the danger outside. In Alien Storm, the danger arrives without a rulebook. Alien Storm is an English-language sci-fi action-horror film from Mahal Empire Productions. The 2026 release runs 74 minutes and has not been rated. Find on Amazon Prime Video and Apple TV. Watch the trailer below:

MoreHorrorMovies.com - Terror Films Releasing has teamed with writer/director Joshua Brucker and director Hunter Nino to bring the found-footage horror film Night Terror to streaming audiences worldwide beginning September 4, 2026. Starring Hunter Nino, Marleigh Arnold, Berkeley Slightom, and Madlyn Wierda, Night Terror follows Shelly, a young woman suffering from chronic sleep paralysis and recurring night terrors. When Shelly makes an urgent plea for help, she catches the attention of two college students who decide to document her condition as part of an academic project. What begins as an attempt to understand her experiences gradually develops into something far more disturbing. Brucker says the film grew from his longtime fascination with found-footage horror and his own experiences growing up in isolation. “I have long considered myself an enthusiast of found-footage horror films, a passion ignited in my childhood when I first rented The Blair Witch Project with my family. Although I didn’t spend much time in the woods as a child, growing up on a secluded farm instilled in me a sense of isolation that was always unsettling. “Night Terror is heavily inspired by those early experiences, capturing the isolation I felt as a youngster and reflecting some of my deepest fears. I was also in college when the first Paranormal Activity film was released, and it was then I realized I wanted to pursue a career in film. In many ways, Night Terror unites these two pivotal moments in my life. “Without revealing too much, I believe the film takes a dramatic turn in the third act, one that will leave audiences genuinely surprised.” Terror Films Releasing will release Night Terror on September 4, 2026, with the film available across platforms including Tubi, Chilling, The Roku Channel, Fandango at Home, and additional streaming outlets. Check out the official trailer below.

MoreHorrorMovies.com - Roadside Attractions and Saban Films are unleashing a new eight-legged nightmare this fall with CRAWLERS, arriving in theaters October 16, 2026. Directed by Ángel Gómez Hernández and starring Matilda Lutz, the upcoming creature feature traps its characters inside an apartment building after a catastrophic infestation of venomous spiders triggers a police-mandated quarantine. Lutz stars as Serena, the building manager who suddenly finds herself responsible for keeping the residents alive as the spiders spread throughout the complex and multiply at an alarming rate. Serena knows the building better than anyone, giving her a possible advantage against the infestation—provided she can confront her own deep-seated fear of the creatures hunting them. The newly released trailer offers a bloodier look at the film’s combination of claustrophobic survival horror, creature mayhem, and enough crawling legs to make arachnophobes reconsider apartment living entirely. Watch the Official Trailer: Crawlers | Official Trailer | In Theaters October 16 CRAWLERS was written by Jayson Rothwell and produced by Scott Strauss, Peter Welter, Jayson Rothwell, Basil Iwanyk, Erica Lee, Josh Weinstock, and Alexandra Milchan. Andrew Schwartzberg, Jon Shiffman, and Diarmaid McGrath serve as executive producers. Roadside Attractions and Saban Films will release CRAWLERS exclusively in theaters on October 16, 2026.

MoreHorror.com - Black Mandala returns to its internationally successful horror anthology franchise with a third chapter built around ritual, grief and one seriously bad idea involving an ancient mirror. Black Mandala is heading back into the darkness with THE 100 CANDLES GAME: DARK MIRROR, the third installment in its supernatural horror anthology franchise. The previous 100 Candles Game films reached more than 70 territories and received theatrical releases in 20 countries, building the series around a simple ritual with increasingly sinister consequences. This time, three friends reunite inside an abandoned house hoping to contact Mary, a missing friend they have never managed to leave behind. Their method involves the legendary 100 Candles Game. One hundred candles surround an ancient mirror. Each participant must tell a terrifying story, then extinguish a candle in front of the glass. As the flames disappear one by one, the barrier separating the living from the dead begins to weaken. Eventually, the mirror stops behaving like a mirror. It becomes a gateway. And something on the other side wants through. Like the earlier films, DARK MIRROR uses its central supernatural story as the framework for a collection of individual horror tales, with this installment digging further into the mythology surrounding the ritual. The anthology also brings some recognizable genre talent into the fold. Emma Bell, known to horror fans as Amy from The Walking Dead and for roles in Final Destination 5 and Adam Green’s Frozen, directs one of the film’s stories. The cast includes Bel Deliá, star of Australian found-footage cult favorite The Tunnel, whose credits also include The House: A Hulu Halloween Anthology and HBO’s Perry Mason. Georgia Eyers also joins the ensemble following her starring role in Godless: The Eastfield Exorcism, which received a U.S. release as a Tubi Original. At the center of everything sits the Dark Mirror itself, turning a séance-like game into a progressively more dangerous attempt to make contact with the dead. The stories explore ritual, grief and the consequences of reaching into places that probably should remain sealed. By the time those final candles go dark, whatever waits behind the glass may already have found its way through. THE 100 CANDLES GAME: DARK MIRROR continues the franchise with a new collection of stories and an expanded supernatural mythology centered around its most dangerous ritual yet.

MoreHorror.com - Moeka Hoshi of Shōgun stars as a wandering medium who discovers the living may prove far more dangerous than the dead. Award-winning supernatural horror film NEVER AFTER DARK is heading to theaters September 25, bringing with it some serious festival momentum and a haunting new spin on the familiar ghost-story setup. The film won the SXSW Midnighter Audience Award and the Grand Jury Prize for Feature Film at the Overlook Film Festival. NEVER AFTER DARK stars SAG Award and Critics’ Choice Award winner Moeka Hoshi (Shōgun) as Airi, a wandering medium who has devoted her life to helping restless spirits leave the world of the living behind. Her latest assignment takes her to an isolated country house, where she encounters a grotesque apparition whose abilities fall far outside anything she has faced before. As Airi begins digging into the history of the house, buried secrets start surfacing and the nature of the threat changes. Soon, she finds herself hunted by something considerably harder to understand than a restless spirit. This time, the most dangerous presence in the house may still have a pulse. Writer-director Dave Boyle assembles a cast that also includes Kento Kaku (House of Ninjas), Kurumi Inagaki (House of Ninjas), Mutsuo Yoshioka (Chime), Bokuzo Masana (Tokyo Vice) and Tae Kimura (All Around Us). The premise gives NEVER AFTER DARK an intriguing hook: a protagonist already comfortable navigating the supernatural suddenly discovers that her knowledge of ghosts offers little protection when human motives enter the equation. NEVER AFTER DARK opens in theaters September 25. Check out the official poster and trailer below.

MoreHorror.com - A marriage retreat, cannabis-fueled rituals and a knife-wielding demon bear collide in writer-director Whit Whitman’s bloody new indie horror-comedy. Breaking Glass Pictures is bringing SMOKEE, a new stoner horror-comedy from writer-director Whit Whitman, to genre audiences. The film is currently streaming on Fawesome, with Breaking Glass pursuing additional streaming and digital platforms. The setup sounds like the kind of therapy session that could only exist in a horror movie. A group of guests heads to a remote marriage-counseling retreat expecting relationship therapy, relaxation and a chance to work through their problems. Cannabis-fueled rituals and old grudges soon derail the weekend when the group accidentally summons Smokee — a knife-wielding demon bear. What follows turns the retreat into a bloody fight for survival as secrets, betrayals and the bizarre truth behind the gathering begin crawling into the light. Blending stoner comedy, supernatural horror and old-school creature-feature chaos, SMOKEE leans into a deliberately strange premise with plenty of blood and absurdity. “Smokee is the kind of movie I love making: weird, funny, handmade, and completely committed to its own personality. We made it with limited resources but a lot of imagination,” Whitman said. “I chose Breaking Glass because they understand independent filmmakers and offbeat genre movies. They saw what made Smokee different and felt like the right team to help it find its audience.” Breaking Glass Pictures CEO Rich Wolff added, “Smokee is exactly the kind of unique independent genre film we love. It’s funny, bloody and completely unpredictable.” The film stars Lynn Lowry, Alexis “Lexi” Andrews, Timothy Pogue, Elley Ringo, Billy Crank, Anne-Marie Olsen, Juan Szilagyi, Joshua M. Hancock, Robert Rose, Jessica Claire Crosby, Joshua Michael Collins, Brian Patrick Thomas, Don Langley, Amanda Rose Mattingly, Jason Donahue, Rachel Atterholt, Casey Miracle, Brandon Murphy, Jonathan Licata, Dakota Jones, Destiny Elexis, Vanessa Jarrard and Kathrine Horgan. Whitman directs the film, with Rich Wolff, Susan Helfrich and Whit Whitman serving as producers. SMOKEE comes from Little Monsters Entertainment. With its collision of weed-fueled comedy, supernatural weirdness and creature-feature carnage, SMOKEE looks aimed squarely at horror fans who enjoy their bloodshed with a heavy dose of absurdity. Think Evil Dead II wandering into Tucker & Dale vs. Evil after spending the afternoon with Pineapple Express. SMOKEE is currently available to watch on Fawesome.

MoreHorror.com - Indonesian genre master Joko Anwar is back, and he’s bringing something vicious. The official trailer for his new action‑horror thriller GHOST IN THE CELL has just dropped, giving fans a first look at a high‑security prison where gang warfare, corruption, and something far more sinister collide. The film storms into U.S. theaters October 2, 2026, and if the trailer is any indication, audiences are in for a claustrophobic, blood‑slicked ride. The footage teases a fortress‑like penitentiary ruled by rival factions and a warden whose cruelty is legendary. But when a mysterious new inmate arrives, the prison’s fragile balance shatters. Bodies begin appearing in grotesque, ritualistic displays, and panic spreads as inmates realize the killer may not be human at all. Forced into uneasy alliances, they must confront an invisible, otherworldly predator stalking the cellblocks with murderous intent. GHOST IN THE CELL blends Anwar’s signature atmospheric dread with bursts of chaotic action and dark humor, all set against the grim reality of a prison where no one is safe. The cast includes Abimana Aryasatya, Almanzo Konoralma, Aming Sugandhi, Arswendy Bening Swara, Bront Palarae, and Dimas Danang Suryonegoro, with Tia Hasibuan producing. Clocking in at 106 minutes, the film promises a genre‑bending mix of action, comedy, horror, and thriller elements — a cocktail Anwar has proven he can deliver with style. WATCH THE OFFICIAL TRAILER — SHARE IT — SPREAD THE FEAR Studio materials including the trailer, poster, and image stills are available for download for press and fans eager to dive deeper into the nightmare. GHOST IN THE CELL hits theaters October 2, 2026. Prepare for lockdown.

MoreHorrorMovies.com - Uncork’d Entertainment is set to release the psychological creature horror film, THE ROOM BELOW, featuring Jonathan Rhys Meyers (The Tudors, Velvet Goldmine) and Alyssa Sutherland (Evil Dead Rise, Vikings), available on Digital and On Demand from September 1. Filmed in Sydney, Australia, THE ROOM BELOW is the creation of writer-director Kurt Martin (Moon Rock for Monday). The narrative follows a mother, haunted by the loss of her son, who finds hope in a boy entering her life at a crucial time. However, as a creature lurking within her home becomes increasingly perilous and challenging to manage, a retired detective probing a missing child case begins to untangle a web of secrets leading to her doorstep, culminating in a deadly confrontation with reality. Irish actor Jonathan Rhys Meyers is renowned for his extensive film and television repertoire, including Velvet Goldmine, The Tudors, and Dracula. Alyssa Sutherland recently appeared in the successful horror film Evil Dead Rise and is also recognized for her role in the acclaimed series Vikings. The cast further includes Bobby Gilchrist (Shapeless, The Invisible Raptor) and Gilbert Bradman (Transfusion, The Twelve). The film's creature is brought to life by the award-winning special make-up effects studio, Make-Up Effects Group, known for their work on Furiosa: A Mad Max Saga and Talk to Me. Watch the Trailer: