Directed by David F. Sandberg, this year’s Until Dawn movie – now available on Digital at home – is home to a host of different threats, including Wendigos, a slasher maniac, and even a particularly nasty case of spontaneous human explosion. But one monster that was left on the cutting room floor, we’ve now learned through deleted scenes, was a werewolf!

Both an alternate scene shared by Coming Soon and another deleted scene found on the film’s home video release feature the werewolf that was ultimately cut out of Until Dawn!

For starters, one of the deleted scenes shows a man showing up to the Glore Valley Visitor’s Center, first appearing as a raving and terrified man before transforming into a werewolf and terrorizing the film’s core group of characters during a full moon. The transformation mostly takes place behind a closed door, with the sound design painting the picture.

“It’s a fucking werewolf!” one of the characters shouts after catching a glimpse of the fully transformed beast.

A later alternate scene, the one shared exclusively by Coming Soon, shows Max and Megan being attacked by the werewolf, which ended up becoming a Wendigo attack in the final cut. You can watch both deleted scenes below, which show the werewolf in all its glory.

Why did Until Dawn‘s werewolf end up entirely on the cutting room floor? That’s a question we’ll have to ask director David F. Sandberg. David, if you’re reading this, we’d love to talk!

You can rent Until Dawn on Digital for $19.99 or purchase the film for $24.99.

Werewolf deleted scenes from Until Dawn pic.twitter.com/I9znnGjTPS

— Werewolf Movies Daily (@werewolfdaily) May 26, 2025

The post ‘Until Dawn’ Deleted Scenes Reveal There Was Originally a Werewolf in the Movie! [Video] appeared first on Bloody Disgusting!.

It’s safe to say that body horror is having a moment between recent releases The Substance, Grafted, and The Ugly Stepsister. It’s a welcome trend; body horror has a way of getting under our skin like no other, figuratively and otherwise. There’s no end to the creative ways body horror violates, mutilates, and mutates basic biology, finding endless ways to test the gag reflex in the process. Body horror has also long provided fertile ground for groundbreaking filmmakers to explore the psychologically and physically disturbing ways human anatomy can be abused.

There’s a wide world of body horror beyond Society, The Thing, Tetsuo: The Iron Man, Raw, Titane, or even David Cronenberg‘s horror output. For those looking to venture deeper into the stomach-churning abyss, here are 10 body horror movies you maybe haven’t seen from gateway horror to gross-out gorefests.

Attack of the Mushroom People

This early body horror movie and precursor to The Last of Us works as an easy gateway into the subgenre or for squeamish types. Released initially as Matango, this Japanese horror movie sees a group of passengers and crew aboard a yacht on a day trip capsized by unpredictable weather. They wind up on a deserted island that’s scarce in food resources, save for mysterious mushrooms and a shipwreck onshore containing remnants of radioactive testing. They don’t realize until it’s too late that the mushrooms transform them into fungal humanoid creatures. Directed by Ishirō Honda, the mind behind prominent kaiju films Godzilla, Rodan, Destroy All Monsters, and more, Attack of the Mushroom People offers something far more atmospheric and eerie. 

Antiviral

Possessor and Infinity Pool filmmaker Brandon Cronenberg’s feature debut follows Caleb Landry Jones as Syd, an employee at a company that acquires diseases and pathogens from celebrities and then, for a pretty penny, injects them into fans who long to connect with their coveted idols. Syd injects himself with an unknown pathogen from celebrity Hannah Geist (Sarah Gadon) to incubate and sell on the black market but finds himself drawn into a deadly mystery instead. Surreal, twisted, and grisly, Antiviral explores the lust for fame with bloodshed. But don’t expect this body horror entry to get nearly as graphic or stomach-churning as its counterparts.

Bite

Love triangles are tired, but love triangles with gross-out body horror are a different story. Before her wedding, Casey (Elma Begovic) enjoys a bachelorette trip with her best friends in Costa Rica. Worried about her pending nuptials, she ignores a strange bug bite. Once home, however, that bug bite causes bizarre body changes. As she transforms into an insect-like creature with murderous impulses, it coincides with reveals about her friendships and fiancé that lead to a gruesome implosion of Casey’s life as she once knew it. The love triangle is never as interesting as Casey’s gag-inducing transformation, which is worth the price of admission thanks to an emphasis on goopy practical effects.

Blue My Mind

In the vein of Ginger Snaps, Blue My Mind brings gruesome body horror to the female coming-of-age and puberty story. Of course, what fifteen-year-old Mia (Luna Wedler) is becoming isn’t a werewolf, but something entirely different. That she’s undergoing such a strange change amidst average teenage growth makes for an extra angsty time. It’s a drama first and foremost, but that doesn’t mean Mia’s transition into adulthood doesn’t come with a few skin-crawling body horror moments. Blue My Mind isn’t just Lisa Brühlmann’s first feature, it’s her film school thesis film, too. 

Curse II: The Bite

The time-honored tradition of Italian-made horror movies getting retitled to fit within existing franchises continued with this unrelated follow-up to 1987’s The Curse, loosely based on H.P. Lovecraft’s “The Colour Out of Space.” Curse II bears only its title in common with its predecessor and follows a young couple, Clark (J. Eddie Peck) and Lisa (Jill Schoelen, The Stepfather), traveling through the desert, unwittingly passing through an abandoned nuclear test site that’s become a breeding ground to venomous snakes. The couple find themselves in a grotesque nightmare when Clark gets bitten. Curse II is distinctly ’80s, and its plot brings the cheese, but it’s offset by Schoelen’s natural charm and SFX legend Screaming Mad George’s (Society) goopy, slimy practical effects.

Exte: Hair Extenstions

Beware to those whose skin starts crawling at the site of hair clumps; this Japanese horror-comedy revolves around killer hair extensions. A fetishist working as a morgue’s night watchman becomes obsessed with a corpse’s luxurious hair and decides to sell it to various hairdressers. The hair inflicts visions of death before killing them, and it’s up to an aspiring hairstylist to solve the curious case. Hair gets everywhere and invades everything, leading to some rather gruesome demises. 

In My Skin

Marina de Van wrote, directed, and starred in this gruesome French extremity horror film that sees a woman becoming obsessed with her own body after an accident. As in, the woman develops a compulsive need to feed on her own flesh. Naturally, her life spirals, and things get pretty gruesome. A thought-provoking story that unfurls with unhurried pacing, de Van doesn’t shy away from the grisly exploration of self-mutilation.

Infection

An understaffed and underfunded hospital sets the stage for a catastrophic mistake that unleashes a virus that renders the infected into a liquid pile of green goo. Director Masayuki Ochiai (Parasite Eve, 2008’s Shutter) combines a variety of subgenres in this eerie psychological body horror movie that emphasizes the potential horrors lurking in hospitals. Released as part of the “J-Horror Theater” theatrical film series, Infection (Kansen) dwells on dread and paranoia over graphic body melts, framing some of the worst deaths off-screen. It’s surrealistic body horror with way more on its mind than the contagion causing green goo to ooze from every orifice.

Thanatomorphose

Consider this expert-level body horror for only the steeliest of stomachs. Its title sums up the entire plot, or what semblance of one exists, in which a young woman finds herself rotting alive from a mysterious ailment not long after an evening of rough sex. Expect a methodical and excruciatingly intimate journey with slow decay. Writer/Director Éric Falardeau’s feature debut doesn’t offer much in the way of story, action, or form. It makes up for that in revolting and effective practical effects that sell just how gnarly, horrifying, and depressing it’d be to slowly rot away. This arthouse-meets-splatter film isn’t an easy watch or recommended for any but the most extreme horror lovers, but it’s bound to leave jaws on the floor in more ways than one.

Xtro

There’s nothing else quite like this insane alien abduction freakout movie that features no shortage of WTF-style horror, especially when it comes to the human body. Despite a rather simple setup, in which dad Sam Phillips (Philip Sayer) is abducted by aliens right in front of his son’s eyes only to return altered three years later, it quickly becomes something far more complicated and gory. From the goriest of kills and the squeamish, cringe-inducing ways in which these extraterrestrials seek reproduction, and even the various creature effects for each different iteration of the alien beings, Xtro is impressively revolting.  There are gnarly impregnations and subsequent birthing of a fully-grown man, human juice-boxing and bizarre egg-laying in the bathtub. It’s as outrageous as it sounds. 

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One week after scaring up the franchise’s all-time highest opening weekend, we can now report that Final Destination Bloodlines is officially the saga’s highest grossing movie!

Final Destination Bloodlines has now hit $186,707,397 at the worldwide box office, surpassing The Final Destination‘s record-setting $186,167,139 worldwide total back in 2009.

What’s most impressive here is the fact that Bloodlines has only been in theaters since May 15, with that number sure to hit a massive $200 million milestone in the coming weeks.

For the sake of comparison, here are the franchise’s total worldwide numbers:

• Final Destination (2000) – $112.8 million
• Final Destination 2 (2003) – $90.9 million
• Final Destination 3 (2006) – $118.8 million
• The Final Destination (2009) – $186.1 million
• Final Destination 5 (2011) – $157.8 million
• Final Destination Bloodlines (2025) – $186.7 million

Final Destination Bloodlines is also currently the second highest grossing horror movie released here in 2025, with its worldwide total only bested by Ryan Coogler’s Sinners so far.

The newest chapter in New Line Cinema’s hit franchise is said to “take audiences back to the very beginning.” In the brand new sequel, “Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle and save her family from the grisly demise that inevitably awaits them all.”

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Netflix Tudum 2025, the streaming giant’s global fan event, will take place on May 31 at 5pm PT/8pm ET live from the Kia Forum in Los Angeles, and one of the films that’ll be part of the celebration is Guillermo del Toro’s Frankenstein. Even better, it seems we’re getting a trailer!

Guillermo del Toro took to Bluesky over the long holiday weekend to tease that the first trailer for Frankenstein will premiere as part of the Netflix Tudum event on Saturday, May 31!

The event will also feature appearances from “Wednesday” and “Stranger Things.”

In Guillermo del Toro’s new adaptation of Mary Shelley’s seminal 1818 novel, Victor Frankenstein, a brilliant but egotistical scientist, brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

Oscar Isaac plays mad scientist Victor Frankenstein in the film, alongside Jacob Elordi as Frankenstein’s monster, plus Mia Goth and Christoph Waltz as Elizabeth and Dr. Pretorius.

“This film has been on my mind since I was a child. I’ve been trying to make it for 20-25 years. Some people may even think I am a little bit obsessed with Frankenstein,” del Toro recently said. “And they probably would be right. Over the decades, the character has fused with my soul in a way that it has become an autobiography. It doesn’t get more personal than this.”

Del Toro’s Frankenstein is expected to come alive on Netflix in November 2025.

First Trailer in 7 days…

[image or embed]

— Guillermo del Toro (@realgdt.bsky.social) May 24, 2025 at 11:45 AM

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For more than two years, Joe Lipsett has dissected Amityville Horror films to explore how the “franchise” has evolved in increasingly ludicrous directions. This is “The Amityville IP.”

It’s something of a fool’s errand to try and contain just what an Amityville film is. While part of the goal of this project has been to chart how different entries evolve, expand or detract from the public’s perception of the brand, the reality is that Amityville is no one thing. Particularly not as we close in on entry 60 (!) of these damned films!

Still, it is interesting to explore what happens when certain filmmakers return to play in the sandbox with multiple entries. That’s the case with director Mark Polonia, who returns for a fourth “franchise” entry with Once Upon A Time in Amityville, a period film released in 2024 that he co-wrote with Aaron Drake.

What’s unique about Once… is that it both embodies the same qualities as Polonia’s other films while simultaneously charting a new genre course. That genre is, of course, the Western, which is almost entirely new territory for the “series,” even if most of the cast are Polonia regulars.

In the film, bounty hunters Miles Oakley (Titus Himmelberger, Amityville in Space, Amityville Island and Amityville Exorcism) and Carson Weaver (Ken Van Sant, Exorcism and Amityville Death House) are in pursuit of bank robber Mathias Black (Noyes J. Lawton). The criminal provides the film’s cold open as he’s chased through the woods by fiery red eyes in the sky before his horse is brutally dispatched. When his path leads the bounty hunters to Amityville (population 37), Miles and Carson discover the newly settled lumber town is nearly empty.

The sole remaining residents are all openly hostile, including Jed (Tim Hatch, Amityville Turkey Day, Amityville Thanksgiving, Space and Island), hotel owner Angela (Natalie Himmelberger, Space), and crooked business Mr. Malcolm (Polonia himself). Only Regis (Jeff Kirkendall, Space), hard at work on a visually familiar set of window frames, seems somewhat amenable to the newcomers.

This being an Amityville film, it’s not long before Miles and Carson note the odd behaviour as well as the strange lights in the sky. Too late they realize that the townspeople aren’t hiding Mathias; he’s already dead and they’re next. In this way the film combines several famous titles that inspired it, including Sergio Leone’s Once Upon A Time in the West and the cult aspects of Quentin Tarantino’s revisionist Manson text.

Alas this elements make the film sound more interesting than it actually is. The biggest criticism of Polonia’s Once… is that the text is kind of boring. A predictable, straightforward narrative doesn’t have to be a dealbreaker, but the reality is that there simply isn’t enough here to sustain the film’s ~70 minute runtime. Throw in stilted and amateurish acting along with shallow characterizations and there’s not much here to hang your (10 gallon) hat on.

The film’s biggest selling feature is that it’s a Western Amityville film, which is immediately novel. Polonia does what he can with costume and a decent, albeit small, set of frontier buildings to disguise the budget limitations. Still, the scope feels limited, particularly when characters ride across the same stretch on horseback or exhaust the range of the set in a matter of minutes.

The effects are also a mixed bag. The CGI visual effects used to simulate a malevolent force in the sky are identical to Amityville in Space (they may literally be repurposed from that earlier film), which is to say: they look cheap. But there’s a high camp value when the winged creature is revealed in the climax to be a cryptid bat puppet, which is summarily dispatched by a steam powered locomotive (operated by a single man!) with a giant makeshift cross attached to the front (!!).

When Once… leans into exceedingly dumb territory, then it’s entertaining. It’s unfortunate that these highlights happen so late in the film because it’s too little, too late by this time.

And so, Polonia’s return to the “franchise” is more miss than hit, but he deserves props for trying something slightly different. Amityville films tend to be low budget/big swings and while this likely won’t be remembered for being anything other than “the Western one,” that still stands out among the nearly sixty other titles in the run of this “franchise.”

The Amityville IP Awards go to…

• Satan? Mr. Malcolm offers Carson a bizarrely cult-y explanation for what’s going on. Apparently select members of the community pledged allegiance to Satan (the red horned spectre in the sky) in exchange for power, which required them to sacrifice the other residents (all ~30 of them). It’s never clear what the power looks like, apart from the occasional ability to briefly phase in and out and sport an unflattering white demon face (shades of Polonia’s previous entry, Amityville Exorcism) But also: Satan?! The series has never attributed its hauntings or demons to SATAN!
• Best Dialogue: Carson, surveying the rotting body of what is obviously a horse: “Good god – that looks like a horse.”
• Continuity Gap: When they discover Mathias’ body with its face ripped off (which actually looks pretty solid), Miles and Carson bemoan “Well, there goes the reward money.” But then, only a few scenes later, Carson cheers Miles up with the comment: “the reward said dead or alive.” Well, which is it?!
• Practical FX: As noted above, whenever the FX is computer generated, it looks extremely cheap (and not in a fun, endearing kind of way). The practical FX, meanwhile, is touch and go. With that said, even when it doesn’t work – such as several of the film’s unconvincing decapitations – the dummy work is so silly that everything is forgiven. Note to indie filmmakers: lean into the comedy when you don’t have the budget for Nicotero or Savini because it goes a long way to endearing your film to viewers.
• A Head Scratcher: With that said, I truly don’t know what to make of the moment when Carson comes across the decapitated head of Miles in their room. It’s basically just the actor’s head peeking out from a pile of sheet! It’s so laughably bad that it *has* to be intentional…right?
• Amityville Experience: In case you forgot, Polonia is behind the following titles: Amityville Island (the prison women on an island with laser sharks), Amityville Death House (the entry with the spider lady finale), Amityville in Space (exactly what it sounds like) and Amityville Exorcism (also exactly what it sounds like).

Next time: A BlueSky connection alerted me to the fact that there’s a random new found footage film called Amityville Void (2024) on YouTube. So let’s check that out next!

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