MoreHorrorMovies.com - Something wild is prowling through Griffith Park, and it’s not a mountain lion. It’s Feral Female , a savage and blood-splattered horror comedy that’s tearing its way into homes with a brand new On Demand release… plus physical media for all you VHS freaks and disc hounds. Already turning heads (and stomachs), Feral Female  is being hailed by critics as “smart, scary, outrageous, and fun”—a deadly mix of horror and hilarity that dares you not to look away. At the center of the carnage is Ebba, played ferociously by Kate Lý Johnston ( Felines , Borderline ). Abandoned at birth and raised by wolves, Ebba’s all grown up and more than a little curious about the twinkling lights of Los Angeles. Unfortunately for its residents, curiosity comes with fangs, claws, and a very large appetite. What starts as a mysterious string of gruesome killings quickly spirals into full-on carnivore chaos. Enter Nigel B. Shearing (played by writer/director Jared Masters), a quirky and confident big-game hunter with a license to kill and a flair for the dramatic. Hired to track down the beast, he’s in for the most unhinged hunt of his career. But can anyone stop Ebba’s sun-drenched murder spree? Featuring outrageous kills, bare-knuckled lunacy, and a trail of bloody poodles (RIP Fluffy), Feral Female  leans hard into its grindhouse roots. It’s a slapstick slasher with organs on full display, gnarly kills in broad daylight, and enough black comedy to make you laugh while you wince. This marks the 19th blood-soaked entry from Jared Masters, affectionately dubbed “The Sultan of Sensationalism,” and the latest oddball offering from Maraschino Film Group. The cast is stacked with genre-bending performances from Rio Sage, Sophia Gabrielle, Andy Dick, Pamula, Emelia Linnea, Lauren Kravchenko, Erin Luo, Lorene Song, Jeffrey Dean Gray, Madalena Moray, Kendall Maye, Benjamin Masters, and Pollee Pockettes. Music comes courtesy of Seth Metoyer and Monster Party, with gory makeup FX by Karen Salas and production by Jeffrey Dean Gray and executive producer Stan Divranos. You can now stream Feral Female  On Demand or grab a copy on DVD. For collectors and fans of retro carnage, a signed VHS edition is also stalking around eBay, waiting to pounce. Watch the trailer, hide your pets, and keep your camera handy—you might catch a glimpse of Ebba before she catches you. Watch the trailer: 👉 https://youtu.be/IBaOQod79nQ Own the DVD: 💿 https://www.deepdiscount.com/feral-female/619470095654 Stream On Demand: 📺 https://athome.fandango.com/content/browse/details/Feral-Female/4262057

MoreHorrorMovies.com - TERROR FILMS RELEASING is back to ruin your peaceful forest hikes—this time teaming up with writer/directors Sean Brown and Luke Gosling ( Blood Myth ) for their latest descent into carnage: RUN FROM HELL . Starring Sanna Jeppsson, Tom Brooks, Amber Doig-Thorpe , and Agnes Roddy , this bloody survival horror flick throws a group of strangers into a merciless game of escape. After a harrowing captivity, they’re dumped into a dense forest... and hunted for sport by masked psychopaths. It's part horror, part human hunt, all hell. Brown and Gosling describe it as a savage evolution from their folk horror roots: “To follow up on the success of our debut film Blood Myth , we’ve moved from the mystery and twists of folk horror into the blood and terror of survival horror in Run From Hell , delivering a thrilling and relentless hunt of death and reckoning.” Sounds like Wrong Turn  got injected with a double dose of adrenaline—and we’re here for it. RUN FROM HELL  premieres July 18th, 2025 , and will be slashing its way across multiple streaming platforms including Chilling, Scare Network TV, Kings of Horror, Watch Movies Now, Shocks & Docs , and TERROR FILMS' official AVOD YouTube channel . So yeah... maybe reschedule that nature retreat. 🎥 Watch the official trailer here:

MoreHorrorMovies.com - Love is patient. Love is kind. Love is grotesque. If your relationship hasn’t turned you into a metaphysical meat puppet, can you even call it love? Enter TOGETHER , the upcoming body-horror fever dream from director Michael Shanks , making his feature debut with a film that’s equal parts The Fly , Possession , and a codependent spiral you can’t look away from. Real-life power couple Dave Franco  and Alison Brie  star as lovers who escape the noise of city life, only to be consumed by something far worse than traffic and brunch lines: each other. THE PLOT (AND THE ROT) Millie  and Tim  move to the countryside in search of clarity. What they find is something ancient, unseen, and impossible to ignore, a supernatural force that fuses not just their lives, but their literal bodies, minds, and wills. It starts with whispers and weird dreams. It ends with... well, you’ll see. There’s love. There’s loss. There’s... bodily fluids. This is the kind of horror that gets under your skin—then makes you question whose skin it really is. SUNDANCE SHOCKWAVES Premiering in the Midnight  section at this year’s Sundance Film Festival , TOGETHER  didn’t just raise eyebrows, it made people squirm. NEON  snagged distribution rights in a $17 million feeding frenzy, making it one of the first major sales of the festival season. Early reactions? 100% Fresh  on Rotten Tomatoes and whispers of “modern cult classic” status. CAST & CREW Dave Franco  (also producer) Alison Brie  (also producer) Damon Herriman  ( Justified , House of Wax ) Directed/Written by:  Michael Shanks Produced by:  Picturestart, Princess Pictures, Tango Entertainment, 30West, and more The cast is tight. The tension is tighter. And the direction? Let’s just say Shanks brings the pain—and the poetry. RATED R FOR: Intense body horror Graphic sexuality Disturbing imagery And a few scenes that’ll probably kill the vibe on date night In other words: It’s exactly  what we needed. THE CONTROVERSY No good horror film comes without a little off-screen bloodshed. TOGETHER  is currently facing a copyright lawsuit  from a filmmaker who claims the story is a little too close to their 2023 indie project. But Shanks, Franco, and Brie aren’t having it, insisting the script is original, personal, and in no way a knockoff. Hollywood drama? Check. Legal mudslinging? Check. Free press? Double check. WHY YOU SHOULD CARE Because this one’s got the bones of something real. We don’t get many horror films that go this hard into intimacy, let alone ones that treat emotional entanglement like a monster movie. TOGETHER  doesn’t just show you the horror, it invites  you into it. It asks what happens when two people merge beyond recognition. And it answers with flesh. Also, Franco and Brie are freakin’ fantastic. The chemistry’s real. The descent is realer. FINAL WARNING This isn’t jump-scare popcorn horror. This is arthouse horror with claws. The kind of film that’ll follow you home, whisper in your ear at night, and make you reevaluate every hug you've ever given. TOGETHER  hits theaters July 30  via NEON.

MoreHorrorMovies.com - Cinephobia Releasing  is dragging us back to the sun-scorched, blood-soaked sands of 1970s horror with BRUTE 1976 , the latest twisted vision from director Marcel Walz  ( Pretty Boy , That’s a Wrap ). This grimy homage to grindhouse legends like The Texas Chain Saw Massacre  and The Hills Have Eyes  hits VOD and digital platforms on August 26 , following a limited theatrical run. Written by Joe Knetter  ( George A. Romero’s Twilight of the Dead ), the film traps us in 1976, where a desert photoshoot goes south fast. Raquel and her girlfriend break down on a desolate stretch of road, at the same time, another crew arrives in the same unforgiving desert. Together, they stumble into a forgotten town crawling with a deranged, masked family straight out of your worst drive-in nightmare. Cinephobia Releasing  President Raymond Murray  puts it bluntly: “BRUTE 1976 is bloody and sexy, with a deranged family so demented they make Pink Flamingos  look like a Hallmark movie. It restored my faith in horror that shocks.” The cast includes Adriane McLean  ( Miracles of Christmas ), Sarah French  ( Blind ), Gigi Gustin  ( The Retaliators ), Dazelle Yvette  ( Garden of Eden ), and Adam Bucci  ( NCIS: Los Angeles ). The film features makeup effects by Robert Kern III  ( Prey , Creepypasta ) and cinematography by Marcus Friedlander  ( The Getback ). Produced by Neon Noir , with Walz, Knetter, and French leading the charge behind the scenes. Director Walz calls the shoot “hot, dirty, and bloody,” promising audiences will feel every grimy second on screen. Writer Knetter adds, “This is our love letter to ‘70s horror. We can’t wait for fans to meet the Birdy family in all their gory glory.” BRUTE 1976  lands on VOD/digital August 26 . 🎬 Watch the trailer:

By Seth Metoyer, I have to admit: when I first heard Robert Eggers was tackling Nosferatu, I felt a thrill run down my spine. You know when you just know a filmmaker was destined to tackle a particular story? That’s how I felt. And, wow, was I right. From the very first flicker of light on the screen, I knew I was in for something specialespecially since I watched the extended version. Right away, it felt like a séance. It’s not a soulless remake, nor is it some desperate ploy to modernize a classic. If anything, this adaptation feels like an ancient relic that’s finally clawed its way out of some forgotten vault in Germany, bringing centuries’ worth of dread with it. And trust me, that dread clings to you like cobwebs long after the credits roll. A Legacy of Shadows: Nosferatu and Dracula I’ve always loved the weird, tangled history of Nosferatu. It started life in 1922 as an unauthorized adaptation of Bram Stoker’s Dracula, which led to lawsuits from Stoker’s estate. They even won a court order to have every copy destroyed, and while many prints were indeed lost, a few survived, ultimately saving this cinematic gem from oblivion. The entire thing reads like a Gothic drama all on its own. Eggers clearly respects that legacy; he doesn’t just pay homage to the silent classic, he practically resurrects it, stitching its DNA together with Stoker’s original nightmare. The result feels both reverential and audacious, like two specters merging into a single, otherworldly beast. Faith, Superstition, and the Supernatural Eggers loves exploring the murky realms where faith and superstition collide. He did it in The VVitch, then again in The Lighthouse, and even in The Northman. Here, he dives deeper: the film is awash in arcane symbolism, Solomonic alchemy, nods to Kabbalah, faint whispers of Enochian magic. All this might sail over your head if you’re just looking for fangs and jump scares. But if you’ve ever poked around in old grimoires, or wondered how science and mysticism once converged under the same starry sky, you’ll find those little Easter eggs worth savoring. I love how Eggers doesn’t shy away from letting religion and occult beliefs butt heads. In this film, they’re basically dance partners at the devil’s ball, weaving in and out of each other’s orbit. We see this tension in Willem Dafoe’s devout fervor: he’s convinced we must eradicate sin from our hearts, even as he dabbles in knowledge that modern audiences might consider heretical. Back then, science, magic, and Christianity often walked hand in hand—an era when a star symbol didn’t automatically mean pentagram and Satanic worship, but could just as easily represent alchemy or angelic forces. It makes the horror feel cosmic, like the forces at play here are ancient, unstoppable, and fundamentally beyond human comprehension. And I’m all about that kind of existential dread. Performances That Transcend the Screen Let’s talk about Lily-Rose Depp. My jaw dropped watching her as Ellen. She has this haunting aura, equal parts fragile and fierce, that makes you wonder if she’s entirely of this world. There’s a palpable sense of someone half-possessed by forces they don’t fully understand. She doesn’t just perform; she embodies the role, drifting through scenes like an apparition you’re scared might vanish if you blink too long. (Side note: We also have to talk about Greta the Cat, the unexpected scene-stealer who prowls through several scenes like she owns the place. At one point, Ellen remarks, “She has no master.” That pretty much sums up every cat on Earth, and I loved it.) Then there’s Willem Dafoe. I’m convinced the man can do no wrong, especially in any film that involves madness, shadows, or a whiff of the supernatural. He brings such gravity to his Van Helsing-esque role that I almost felt like I was watching an extension of his work in Shadow of the Vampire. It’s meta, it’s fun, and it’s also deeply unnerving. You sense he’s been down this road before, and he knows it never ends well. And of course, there’s Bill Skarsgård as Orlok. Let’s be honest, Orlok’s never been a sexy, mainstream vampire; he’s pure nightmare fuel. But Skarsgård also infuses him with a sorrowful, almost tragic quality, transforming Orlok into a cursed relic that should have perished centuries ago but stubbornly lingers to torment the living. Sure, some people grumbled about the mustache, but I see it as a perfect nod to the period, no sleek, manscaped modern vampire here. Instead, we get a truly monstrous, ancient visage edged with melancholy, and it’s absolutely unsettling in the best way. Aesthetic Perfection & Cinematic Atmosphere Visually, I felt like I was wandering through a museum of forbidden art. Every frame is drenched in candlelit gloom, every corner teeming with shadows. Eggers doesn’t just recreate the past, he transports you there, body and soul. The set design, the costumes, the subtle changes in film stock whenever reality starts to warp—these choices left me breathless. I swear, at times I felt like I could smell the damp stone walls and hear the scuttle of rats just outside my peripheral vision. And oh, the score. It’s that kind of haunting, droning music that wraps around you like fog. By the time the end credits rolled, I felt like I’d been lulled into some trance where nightmares were as real as the seat I was sitting in. This is not a film you simply watch; it’s one that seeps into your subconscious, leaving echoes of its eerie melodies rattling in your brain long after you leave the theater. Final Thoughts Listen, if you’re craving a quick scare or a bite-sized piece of pop-horror, this might not be your coffin of choice. Eggers moves at a slow, measured pace, like a centuries-old clock that only chimes when it’s good and ready. Some might find that frustrating or tedious, but personally, I found it mesmerizing. It gave me space to really sink into the dread, to let every candlelit corridor and whispered incantation rattle around in my head. One small critique, though: If the pacing didn’t feel so meticulously even, Eggers might’ve unleashed an even more disorienting, nerve-shredding experience. But hey, a director only has so many minutes to work with, even in an extended cut. I can’t help but wonder what might happen if he were given more freedom in a limited-series format, maybe exploring backstories or an entire origin for Ellen and Orlok’s twisted bond. Sure, there might not be enough material for a full season, but the thought of diving deeper into that dark, labyrinthine world is a delicious one. Nosferatu (2024) is, above all else, a feeling. It’s that unsettling sensation of something very old, very malevolent, breathing down your neck. It’s the convergence of faith and heresy, of history and horror, all culminating in a singular, suffocating atmosphere. Eggers has tapped into that primal fear again, the same terror we felt in The VVitch and The Lighthouse, only this time, he’s infused it with the full might of vampire lore. For me, it’s an unforgettable cinematic experience—one that gets under your skin and invites you to linger in the shadows a little longer than is probably safe. And honestly? I wouldn’t have it any other way.

by Seth Metoyer, MoreHorrorMovies.com - DROP released to Digital platforms on April 29, and will be released on 4K UHD / Blu-ray on June 10. Christopher Landon didn’t write DROP, and that might be the problem. I’ve been rooting for Landon ever since Happy Death Day flipped the slasher formula on its head and Freaky gave us a blood-soaked Freaky Friday remix that somehow worked. He knows how to play with genre, find heart inside horror, and direct actors through tonal gymnastics. But DROP, his latest film, feels like a ghost of what could’ve been. A competent ghost. But a ghost nonetheless. It wants to be a Rear Window by way of Knives Out, but who doesn’t want that? Stylish tension, clever clues, maybe some unexpected stabs (both literal and figurative). Instead, what we get is a sleek thriller with the soul of a mid-tier TV pilot. You can see the intent, especially in the cinematography and the way scenes are framed like puzzle pieces, but that vision never connects to anything emotionally grounded. The screenplay, by Jillian Jacobs and Chris Roach (Truth or Dare, Fantasy Island), reads like it was written by people who’ve watched a lot of human interaction on reality TV but never actually had any. Characters deliver lines that sound like AI approximations of “trauma response,” and react to red-flag situations like they’ve taken acting notes from cardboard cutouts. One moment stands out: Lex, played by Meghann Fahy, is visibly distressed, teary-eyed, and staring off into existential horror on her date—and the guy, Rob, played by Brandon Sklenar, just smiles warmly, nods supportively, and continues with dinner like he’s reading from a therapist’s script written by a robot. Mr. Perfect, activated. And yet somehow not remotely believable. By the time he’s taking bullets for her, we’re expected to believe this romance has weight. That they’ve bonded over... trauma and fast food? The final scene, in which the pair share greasy fries and wistful smiles about wanting a “normal date,” made me audibly groan. There’s only so much manufactured sweetness I can take after a third act stitched together with clichés. That said, Landon’s direction is still the film’s saving grace. He knows how to frame tight spaces to make them feel claustrophobic without turning the whole film into a visual slog. There’s a crispness to the editing, a confidence in the visual storytelling that makes DROP watchable, even when the script is gasping for air. If this had been his writing, I imagine we’d have gotten some of the sly humor or humanity his other work balances so well. As for the performances, Brandon Sklenar does fine work, even if Rob’s behavior pushes the boundaries of believability. Meghann Fahy has the look of a rising star, but her performance often comes off wooden, emotionally one-dimensional, even when the script demands nuance. Maybe it was a directional choice to play Lex as emotionally numb, but it doesn’t translate into anything compelling onscreen. Just awkward silence and dead-eyed glances that never quite build into a character. And then there’s the villain, played by Dennis Boutsikaris, an actor I highly regard. His performance walks a strange line between sinister and cartoonish. One moment he’s giving off psychotic creep vibes, the next he’s grinning like a bafoon you’d expect to trip over his own evil monologue. He does have a slappable face when he smiles, though. That’s probably the best compliment I can give here. With big names like Michael Bay and Brad Fuller attached as producers, you’d think someone might’ve stepped in to tighten this thing up. There are flashes of a better film buried beneath the one we got. Something with wit, paranoia, and stakes. But DROP doesn’t rise to any of those ambitions. Instead, it plays like a sanitized thriller for people who don’t actually like thrillers but want something that feels vaguely smart. I wanted to like it more. I always do with Blumhouse releases. They’re great at conjuring concepts. But I wish they’d invest just as much in logic, dialogue, and letting characters behave like actual human beings. Until then, we’ll keep getting films like DROP: glossy, promising, and ultimately... a little empty inside. Rating: 2.5 out of 5 “normal dates.”

MoreHorrorMovies.com — There’s something wild in Griffith Park—and we don’t mean the coyote problem. Get ready to clutch your poodles and reconsider your next afternoon hike because Feral Female  is about to tear through the indie horror scene like a blood-soaked fever dream. Directed by underground shock auteur Jared Masters ( Slink , Club Lingerie ) and starring Kate Lý Johnston ( Felines , Borderline ) as the feral force of nature named Ebba, this horror comedy unleashes a primal scream straight from the wilderness. Abandoned at birth and raised by wolves, Ebba's reintroduction to civilization comes with a body count. Curious about the lights of Los Angeles but ravenous for something more... raw... she prowls the city in broad daylight, leaving a mangled mess of limbs and confusion in her wake. Is she a woman? A myth? A warning from nature itself? Enter Nigel B. Shearing (played by director Jared Masters), a flamboyant big-game hunter tasked with stopping the carnage. But Ebba isn’t some Saturday morning cartoon villain—she’s a walking catastrophe with teeth, and she's not going down without a gnarly, blood-splattered fight. Feral Female  promises a deliciously chaotic blend of dark comedy, gratuitous gore, and mid-day mayhem. Think Raised by Wolves  meets Death Becomes Her  on bath salts. The kills are outrageous, the satire is razor-sharp, and yes, organs will dangle. You’ve been warned. The film also features Rio Sage, Sophia Gabrielle, Andy Dick (yes, that  Andy Dick), Pamula, Emelia Linnea, and more, with special effects by Karen Salas and original music from Seth Metoyer, and Monster Party. This is the 19th feature from the “Sultan of Sensationalism” himself, Jared Masters—Hollywood’s trash cinema maestro who somehow keeps churning out chaos with a camera and a dream. Watch the trailer now… just don’t get too close to the screen. Feral Female  might bite.

Review by Seth Metoyer – MoreHorrorMovies.com Grief has a strange way of showing up. Sometimes it knocks. Sometimes it whispers. And sometimes… it just stands silently in the yard. I’m not always the biggest fan of Blumhouse’s execution, but with The Woman in the Yard (available now on digital, and on Blu-ray May 27) , director Jaume Collet-Serra delivers a slow-burning, deeply atmospheric psychological horror film that lingers long after the credits roll, not because of what it shows, but because of what it suggests. This is horror rooted not in monsters under the bed, but in the monsters we live with every day. The ones we feed with our fears, regrets, and the quiet ache of loss. At the heart of the story is Ramona, played with disarming intensity by Danielle Deadwyler. At first, her performance may feel distant or even off-putting. In hindsight, that's exactly what makes it resonate. This is a woman crushed beneath invisible weight. She’s not "off," she’s unraveling. After the tragic death of her husband, she’s left to navigate the impossible terrain of single motherhood, grieving pets, financial pressure, and a mind teetering on the edge. And then there's her. The woman in the yard. A figure seen by the children, ignored by the neighbors, and eventually confronted by Ramona herself. She’s not your typical specter. There’s no cursed mirror or ancient burial ground. Just presence. Stillness. And grief, given form. The brilliance of the film lies in this abstraction. The woman is not explained because real grief often isn’t. What struck me most was how carefully the film resists horror cliché. It doesn't chase jump scares or rack up a body count. The horror here is internal, emotional, psychological. The quiet dread of simply not being okay. When you’re grieving, the world shifts in small and sometimes terrifying ways. This film lives in those spaces. The child actors—Peyton Jackson and Estella Kahiha—bring heart and weight to the film. Their performances feel honest, never overacted. There’s a silent understanding in their faces. A realism that grounds the film in something deeper than just supernatural tension. The pacing might not work for everyone. It takes its time, builds slowly, and asks for patience. But for those willing to sit in the quiet and listen, The Woman in the Yard speaks volumes. Without spoiling anything, the ending is deliberately open. Some might see light at the end, others might see darkness. That ambiguity is part of what makes it linger. It reflects real life. Real grief. It doesn’t wrap things up because grief doesn’t get wrapped up. It gets carried. The Woman in the Yard isn’t a film for everyone, but it’s a film for someone. For anyone who’s ever carried loss or tried to hold a family together while their own mind was falling apart, it will feel deeply personal. Sometimes the scariest thing in your yard… is you. Rating: 3.8 out of 5

MoreHorrorMovies.com — Get ready for blood, laughs, and campfire screams. Hell of a Summer , the directorial debut from Billy Bryk and Stranger Things  star Finn Wolfhard, is coming to home audiences. NEON has announced that the coming-of-age slasher-comedy will be available for digital purchase and rental starting April 22, with 4K Ultra HD, Blu-ray, and DVD editions arriving on July 8. Physical editions will include bonus features like director commentary with Bryk, Wolfhard, and Fred Hechinger, a blooper reel, a fireside chat, and more. Blending classic horror vibes with irreverent teen comedy, Hell of a Summer  is being described as Friday the 13th  meets Wet Hot American Summer . The story centers on Jason Hotchberg (Hechinger), a 24-year-old camp counselor trying to find his place among a crew of younger staffers—unaware that a masked killer is stalking the grounds and picking off counselors one by one. The film features a stacked cast of up-and-coming talent, including Fred Hechinger ( Gladiator 2 , The Nickel Boys ), Abby Quinn ( Knock at the Cabin ), D’Pharaoh Woon-A-Tai ( Reservation Dogs ), Pardis Saremi ( Death and Other Details ), and the co-directors themselves, Wolfhard and Bryk. Expect slashes, laughs, and maybe a little emotional trauma. Just like summer camp should be.

Deformed Lunchbox , the insanely popular YouTube horror hub with over 200k subscribers and a voracious appetite for the extreme, is about to premiere something seriously twisted next month—and trust us, you’ll want to watch this one with the lights on. HEIR   is a short film that doesn’t just flirt with taboo; it dives headfirst into it, cloaked in body horror and dripping with psychological dread. Brought to you by the minds behind indie horror hits Worm  and Familiar , HEIR  follows Gordon, a seemingly ordinary family man, and his young son Paul as they take a road trip that quickly devolves into a disturbing nightmare. What begins as an online connection with a stranger turns into a surreal encounter that peels back the skin of secrecy and exposes something monstrous. Robert Nolan plays Gordon with raw vulnerability, a man spiraling into a moral abyss, while genre legend Bill Oberst Jr. is absolutely chilling as Denis, whose first appearance in a diner sets off every internal alarm. You just know something is off, and it only gets worse from there. The creature work by Ryan Louagie of The Butcher Shop  is grotesquely brilliant. Think the biological horror of The Fly  mixed with the eerie elegance of Spring . Add in Michael Jari Davidson’s sharp cinematography and Christopher Guglick’s dreamlike score, and you’ve got a short film that looks and sounds like a full-on feature. But what makes HEIR  truly horrifying is its message. It’s not just about the monster on the screen—it’s about the ones we inherit, the ones we hide, and the ones we become. Powell leaves us with more than just shivers. He leaves us thinking. HEIR  will debut next month on the Deformed Lunchbox YouTube channel , known for curating bold, subversive horror with a massive and loyal following. Keep your eyes peeled. This one doesn’t just hit hard—it hits home. 🔗 https://www.youtube.com/DeformedLunchbox

This ain’t your average redemption arc. Kevin Bacon returns to our screens with The Bondsman, a gritty, supernatural series that drags bounty hunting straight through the gates of Hell—and back again. Dropping all episodes on April 3 exclusively on Prime Video, this new series delivers vengeance, demons, and one hell of a resurrection story. Bacon plays Hub Halloran, a legendary bounty hunter who gets murdered on the job… only to be resurrected by the Devil himself. But Hub isn’t back just to haunt the living—he’s got a job to do. His mission? Track down and drag escaped demons kicking and screaming back to the fiery pit they slithered out of. But it’s not just about the damned. As Hub hunts Hell’s fugitives, he starts confronting his own demons—literally and figuratively. Turns out his soul wasn’t exactly spotless when he died, and now he’s determined to right his wrongs. Maybe even find love. Maybe even play music again. You know, the usual post-death bucket list. From its blazing-hot concept to Bacon’s signature badassery, The Bondsman looks like it’s ready to set the supernatural series game on fire. All episodes streaming April 3 on Prime Video. Check out the trailer—you'll be sold before the first demon screams.

The Brothers Grimm just got grimmer. Coming April 8, 2025, to North America (and one day earlier in the UK), RUMPELSTILTSKIN twists the familiar childhood tale into a chilling folk horror fable soaked in dread, vengeance, and the eerie whisper of ancient woods. Written and directed by Andy Edwards (Punch) and distributed by Miracle Media, this English-language nightmare clocks in at 97 minutes of spellbound terror. What begins as a desperate bargain between a miller’s daughter and a sinister forest imp spirals into a generational curse that refuses to die quietly. After striking a deal to save her life by spinning straw into gold, a young woman finds herself queen, mother—and cursed. The price? Her firstborn child. When the creature known only as Rumpelstiltskin returns years later to claim what’s his, the queen must once again enter the dark forest, but this time it’s her son who’s missing—and the imp wants blood. Will a mother’s love be enough to break a curse born in shadow? Or is Rumpelstiltskin destined to collect what he’s owed? The cast includes Hannah Baxter-Eve (Escape), Joss Carter (Tarrot), Adrian Bouchet (Those About To Die), Colin Malone, Chris Mills (Space Sharks), and Mark Cook, all bringing a surreal, unsettling energy to a tale you only think you know. This film comes from Paranoid Android Films and is Not Rated—but if early footage is any indication, it's not for the faint of heart. Think: dark fairy tales dragged through a forest of broken teeth and twisted roots. Exactly the kind of vibe we love around here. Genre: Folk Horror Runtime: 97 Minutes Language: English Release Date: April 8 (NA), April 7 (UK) Production Company: Paranoid Android Films Distributor: Miracle Media