It’s the 4th of July and the Jurassic World franchise has stomped its way back into theaters, but that’s not the only new movie hoping to keep you company over the long weekend.

Here’s all the new horror that released from June 30 – July 4, 2025!

For daily reminders about new horror releases, be sure to follow @HorrorCalendar.

The second movie from Talk to Me directing duo Danny and Michael Philippou, Bring Her Back is now available on Premium VOD for rent ($19.99) or purchase ($24.99) via A24.

Academy Award nominee Sally Hawkins (The Shape of Water) stars. In the film, “A brother and sister uncover a terrifying ritual at the secluded home of their new foster mother.”

Billy Barratt, Sora Wong, Jonah Wren Phillips, Sally-Anne Upton, Stephen Phillips, and Mischa Heywood also star in the film directed by Danny Philippou & Michael Philippou.

Meagan Navarro wrote in her review, “It’s impressively bold and shocking in the way the directors continue to push horror boundaries and shatter taboos, especially when it comes to kids, ensuring a nail-biting and grueling experience that’ll leave you wincing and squirming in your seat. But it’s so utterly soul crushing in its unwavering darkness that it’s hard to imagine anything coming close to beating it for the mantle of feel bad horror of the year.”

Writer/Director J.C. Doler’s directorial debut, the Irish folklore horror film The Twin was released onto VOD outlets this past Tuesday by Vertical. Check out the trailer below.

The movie stars Logan Donovan (Colony, Magnum P.I.), Robert Longstreet (Midnight Mass, Fall of the House of Usher), and Aleksa Palladino (The Irishman, The Penguin).

The film’s synopsis: “After the tragic loss of his son, Nicholas (Donovan) struggles with his grief and a strained relationship with his wife Charlie (Palladino). Under the watch of psychiatrist Dr. Beaumont (Longstreet), Nicholas begins experiencing terrifying visions of a shadowy figure that looks like himself. As reality unravels, Nicholas must confront his past and the supernatural force haunting him before it consumes him completely.”

J.C. Doler co-wrote the screenplay along with Paul Petersen, based on a story by Doler, Taylor Bracewell, and Chris Alan Evans. The indie horror film, previously titled The Fetch, was the winner of Best Screenplay at the 2021 Screamfest. The Twin had world premiered at the 2024 Austin Film Festival and won the Audience Award for Dark Matters Feature.

You’ve heard the story, but never like this. Enter the shadowed world of public domain horror movie The Death of Snow White on Digital today via The Horror Collective.

The twisted reimagining of the Brothers Grimm fairy tale stars Sanae Loutsis (Rose Blood: A Friday the 13th Fan Film) and Chelsea Edmundson (Army of the Dead).

Pursued by her stepmother for eternal beauty, Snow White flees into a terrifying forest and aligns with seven bloodthirsty dwarfs — cold-blooded assassins with a knack for brutal killings.

Jason Brooks (Friday the 13th Vengeance 2: Bloodlines) directs from a script he co-wrote with special effects makeup artist Naomi Mechem-Miller.

Tristan Nokes, Meredith Binder, Risa Mei, Jeremy Hallam, Ali Chapman, Colin Miller, Dillon Moore, Michael De Santo II, and Eric Pope round out the cast.

The seventh installment in the multi-billion dollar blockbuster franchise, Jurassic World Rebirth starring Scarlett Johansson is now playing in movie theaters nationwide.

Gareth Edwards (Rogue One: A Star Wars Story, Godzilla) directs a script by original Jurassic Park screenwriter David Koepp, based on characters created by Michael Crichton.

Five years after the events of Jurassic World Dominion, the planet’s ecology has proven largely inhospitable to dinosaurs. Those remaining exist in isolated equatorial environments with climates resembling the one in which they once thrived.

The three most colossal creatures within that tropical biosphere hold the key to a drug that will bring miraculous life-saving benefits to humankind.

Scarlett Johansson stars as skilled covert operations expert Zora Bennett, contracted to lead a skilled team on a top-secret mission to secure genetic material from the world’s three most massive dinosaurs. When Zora’s operation intersects with a civilian family whose boating expedition was capsized by marauding aquatic dinos, they all find themselves stranded on an island where they come face-to-face with a sinister, shocking discovery.

Cocaine incites a shark feeding frenzy in Great White Waters, a new Tubi original from the director of Sharknado that swam onto the free-streaming platform beginning today, July 4.

The film’s official synopsis reads, “When millions in cartel cocaine go missing off Florida’s coast, the search turns savage as vicious sharks close in on anyone daring to claim the stash.”

Angela Cole, Johnny Ramey, Steve Hanks, Ashton Leigh, and Hector Becerra star. Director Anthony C. Ferrante co-wrote the screenplay with Geoff Mead.

This marks the second team-up between Tubi and Ferrante when it comes to sharks; Ferrante stranded a couple with sharks in the 2022 Tubi original Blind Waters. Ferrante is also behind the first five Sharknado films, so he’s well versed in campy shark horror.

Ryan Coogler’s Sinners has made its streaming debut on HBO Max for the 4th of July, and Max is streaming the Black American Sign Language (BASL) version of Sinners alongside the original version of the film. Max notes in a press release, “This groundbreaking release marks the first time a streaming platform will exclusively debut a film interpreted in BASL.”

“The release of Sinners with BASL is a major step forward in accessibility, representation, and visibility in streaming,” Max explains. “BASL is a distinct dialect of American Sign Language (ASL) with its own dynamic history and unique grammar, signing space, rhythm, facial expressions, and cultural nuances. For the first time, the Black Deaf community will have streaming access to a more immersive experience in their language. Max subscribers, who sign in ASL but are unfamiliar with this dialect, will also be able to follow along with this interpretation.

“Sinners with BASL is interpreted by Nakia Smith, an influential voice in the Black Deaf community, who delivers a powerful interpretation with cultural depth and linguistic richness that aligns with the film’s themes and historical timeline. Rosa Lee Timm, Director of Artistic Sign Language, is a renowned performance artist and uses her expertise in sign language performance and visual storytelling to ensure cultural authenticity.”

“Accessibility within streaming is not a one-size-fits-all approach. Our goal at Max is to make these great stories accessible to all audiences in a way that is authentic to the content and the communities we serve,” said Naomi Waibel, SVP of Global Product Management at Warner Bros. Discovery. “Sinners with Black American Sign Language is an example of how culturally nuanced access can enrich the viewing experience for our audiences.”

“With ASL” titles, including Sinners, will be displayed on the Max app and indicated with key art featuring the sign language symbol. Look for both versions of the film on the 4th of July.

Written and directed by Ryan Coogler (Black Panther, Creed), the critically acclaimed vampire horror film stars Michael B. Jordan in a dual role as twin brothers Smoke and Stack.

Trying to leave their troubled lives behind, they return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.

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It’s that time again; we’ve reached the halfway point of the year. What a strange year it’s been so far, with the box office making it clear that audiences aren’t willing to venture out for anything and everything these days. With wallets tightening, it’s event films that are proving to be the biggest draw – the zeitgeist releases that get everyone talking.

For 2025, so far, that means that only a few horror movies have reached massive, runaway box office success. The Final Destination franchise sprung back to life with Final Destination Bloodlines, giving Tony Todd a heartwarming and proper send-off with a touching final appearance and an impressive franchise milestone: it’s the first to reach a $200 million. As impressive as its theatrical run has been, Ryan Coogler’s vampire epic Sinners smashed box office records, outpacing Bloodlines and earning horror a historic first ‘A’ Cinemascore.

Even the seeming misses aren’t too terrible, considering horror’s high margins nature. M3GAN 2.0, Wolf Man, and Until Dawn, for example, didn’t exactly set the box office on fire, but modest budgets and home video/streaming returns showcase horror’s ability to thrive regardless. While it means that predicting box office success is getting even trickier, horror’s dominance continues.

And this summer’s only getting warmed up for horror releases, with some of the year’s most anticipated titles on the immediate horizon. I Know What You Did Last Summer, Together, and Weapons are just around the corner, with The Toxic Avenger soon to follow. Beyond that? Expect an insanely packed Halloween season ahead.

As a refresher and to ensure great movies don’t fall through the cracks, here are the ten best horror movies released in the first half of 2025.

Bring Her Back

Danny and Michael Philippou’s follow-up feature to Talk to Me is a downer of the highest order. The filmmaking duo’s brand of grief horror is as visceral and brutal as you’d expect but without any tangible semblance of hope. Sally Hawkins delivers a riveting, powerful performance as Laura, the cunning yet broken-hearted woman desperate to bring back her deceased daughter at any cost. While that involves demonic activity, the true monster here is grief and its shocking ability to erode a once-kind soul. Bring Her Back is a more refined effort from the Philippous, but it’s also more restrictive and simple. It’s impressively bold and shocking in the way the directors continue to push horror boundaries and shatter taboos, especially when it comes to kids, ensuring a nail-biting and grueling experience that’ll leave you wincing and squirming in your seat.

Sister Midnight

In truth, writer/director Karan Kandhari’s energetic, infectious feature debut leans more into magical realism than horror. But it’s such a stylish genre-bender with a winsome and comically put-upon protagonist that it feels tailor-made for the adventurous horror cinephile. Radhika Apte stars as Uma, a young woman horrified to find herself transformed into a disturbing and ruthless figure after entering into an arranged marriage. What begins as a domestic comedy, with Uma begrudgingly navigating her new housewife role, slowly unfurls into an unexpected journey involving stop motion, zany night encounters, and vampirism. It’s unpredictable and vibrant, with Karan Kandhari embracing the absurdity of Uma’s plight with a wry wink and endless panache. 

Presence

Unsane director Steven Soderbergh reunites with Kimi screenwriter David Koepp (Jurassic World Rebirth) to give an innovative new spin on the quintessential ghost story. Presence frames its haunted events entirely from the perspective of its ghost, but using the camera’s gaze as the ghost’s observing eyes isn’t the only trick up Soderbergh and Koepp’s sleeves. The presence itself may not be something to fear, but that doesn’t mean Presence lacks any intensity or horror. The moody story builds into a thrilling finale that devastates, subverting expectations around the spectral entity haunting a family of four. Soderbergh, working as cinematographer under pseudonym Peter Andrews, wields the camera in breathtaking ways that infuse the incorporeal character with personality. It’s breathtaking in style and form, but it’s the reveal of the actual threat that haunts.

A Desert

Director Joshua Erkman’s feature debut presents a captivating and stylized blend of neo-noir and horror via a road trip through the American Southwest. A photographer (Green Room’s Kai Lennox) sets out to revive his career by capturing abandoned roadside structures and buildings in desolate stretches of the Southwestern desert, but instead finds himself caught in a strange, tangled web. Erkman, who co-wrote the screenplay with Bossi Baker, hangs this genre-bender on the familiar framework of neo-noir. Themes of isolation, alienation, and paranoia saturate the frame and its characters. The debut filmmaker juxtaposes a landscape abandoned and eroded by time with larger-than-life characters, nearly all of them operating in shades of moral decay or corruption. It makes for a deeply engaging journey, one that continues to signal alarm bells from the moment Alex meets Renny right through its bleak final act.

Heart Eyes

Director Josh Ruben (Werewolves Within, Scare Me), working from a script by Phillip Murphy (The Hitman’s Wife’s Bodyguard) and Christopher Landon (Drop, Freaky) & Michael Kennedy (Freaky), gives romance and horror equal weight in this seamless fusion of slasher and romcom, ensuring that the gore hits just as hard as the sizzling hot chemistry between leads Olivia Holt and Mason Gooding. Heart Eyes walks the fine line between a ’90s slasher with a modern savage edge and a romcom with rare, white-hot chemistry without ever feeling gimmicky. It’s simply a breathlessly entertaining ride that leaves you cheering for love and creative kills in equal measure. It’s not the steadfast commitment to intense thrills and suspenseful set pieces that earns easy rooting interest in Heart Eyes, though that certainly helps, but rather its magnetic cast.

Dead Talents Society

Detention director John Hsu shifts gears from scares to cheers for the endlessly charming horror-comedy Dead Talents Society, which feels like a better answer to Beetlejuice than its recent sequel. It follows the timid and recently deceased Rookie (Gingle Wang) as she tries to navigate life as a ghost. That means learning how to scare the pants off of people before fading away permanently in an afterlife where ghosts strive to become the spookiest urban legends and famous stars in the underworld. And competition is fierce. The Rookie teams with tenured diva Catherine (Sandrine Pinna) to do so, but Catherine has her hands full with her gentle mentee. Hsu, who co-wrote the script with Vincent Tsai, lovingly pokes fun at supernatural tropes without ever losing a sense of heart or horror. It’s a comedy where the characters are endearing and the jokes land, but it’s also surprisingly bloody and, occasionally, spooky. The competition is fierce in the afterlife, yielding one of the year’s biggest crowd-pleasers that’s sadly slipped under the radar. Run to Netflix and watch this gem asap.

28 Years Later

Director Danny Boyle and screenwriter Alex Garland return to the world they created in 28 Days Later with a polarizing start to a new planned trilogy. Instead of venturing down the expected path, Boyle & Garland introduce a quarantined UK largely forgotten by the outside world, with its survivors having forged new communities and simplified ways of life post-outbreak. The infected are merely part of the equation in newcomer Spike’s (Alfie Williams) coming-of-age story that touches on everything from Brexit to the inevitability of death. Boyle plays with form, introducing a sensory assault through rapid cuts, a punishing soundscape, and immersive camerawork that employs a variety of techniques, including strapping cameras and iPhones to actors to evoke danger and suspense. Yet it’s the surprising third act, pivoting from intense horror to a cathartic, poignant meditation on death, along with an insane hook for the second installment, that proves most divisive. That Boyle and Garland are so willing to take drastic risks like this makes 28 Years Later one of the most exciting releases of the year so far; any movie that inspires passionate debate and analysis like this is ultimately a win for the horror genre.

The Ugly Stepsister

Norwegian writer and director Emilie Blichfeldt harkens back to the bloody Brothers Grimm origins of Cinderella for her feature debut.  Instead of whimsical romance set in the Renaissance, Blichfeldt gets graphic with the medieval torture women endure in their pursuit of happily ever after. In Blichfeldt’s version, the little ash girl is Agnes (Thea Sofie Loch Naess), but the familiar fairy tale is framed from the perspective of stepsister and romantic rival Elvira (Lea Myren). It’s not just the dedication to the gory transformation that impresses, but the way Blichfeldt adds dimension and new layers to these classic characters. The only true villain here is the society that demands impossible standards and casts aside those who don’t meet them. The production design is stunning and immersive, creating an almost ethereal backdrop to a grim, gory body horror tale, and the characters are wonderfully nuanced and authentic. It’s elegant, stylish, and gnarly. But maybe don’t go in with an empty stomach; the film’s final burst of prolonged body horror might make you lose your lunch.

Dangerous Animals

In an increasingly overcrowded sea of shark horror movies, leave it to the director of The Loved Ones and The Devil’s Candy, Sean Byrne, to give the well-trodden subgenre a welcome shakeup with a potentially game-changing entry. Here, cinema’s favorite ocean predators aren’t the villains but merely the modus operandi of one sadistic and charismatic serial killer. Jai Courtney delivers an electric, career-defining performance as Captain Tucker, a disarming and gregarious behemoth of a man who lives in and operates a shark diving tour boat. For Tucker, it’s less about a source of income and more about luring prey for his true passion: feeding his tortured prey to the sharks he attracts with buckets of chum. The propulsive blend of serial killer thrills and aquatic terror makes for a high-stakes ride that leaves you breathless. This is the type of filmmaker who makes his characters earn their survival, if they can, by plunging them into a grim gauntlet of pain and suffering. The ones who make it come away battered and scarred, but never without hope. 

Sinners

Music is a conduit in Sinners, making for an electric, lively first horror effort from Ryan Coogler. Opening text establishes the horror that won’t arrive until much later, revealing that, rarely, a musician comes along with talent so great that their music can pierce the veil between the living and the dead. That it can be a beacon for evil. That’s exactly what happens, of course, but it’s merely one component of Coogler’s engrossing epic that’s so ambitious in form and scale that it firmly holds you in its grip from the outset and never lets go. Sinners is the type of movie that will explore grief with heartbreaking emotion in one breath and feature a swirling Irish vampire jig in the next. It’s this type of cross-pollination between prestige cinema and blockbuster-style entertainment that makes Coogler’s latest feel innovative and daring. The style, ensemble cast, rich world-building, and, of course, the music all make for one of the most epic features of the year.

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Actor Matt Gomez Hidaka, who appears in Ari Aster’s Eddington, has joined the cast of horror thriller Send a Scare, Deadline reports today.

The actor joins previously announced cast members Victoria Justice (“Victorious,” Fun Size) and Robbie Amell (The Babysitter, “The Flash”).

Josh Trank (Chronicle, Fantastic Four) is set to direct from a script he co-wrote with Andrew Ryan.

The film centers on an interactive horror startup that gives thrill-seekers a way to send scares to friends and family… but when potential investors host a demonstration, the experience gets hijacked by a real masked killer with a deadly agenda.

Karan Soni (Deadpool), Noel Fisher (“Shameless”), Mackinlee Waddell (“GCB”), and Adain Bradley (Tarot) are also attached.

Ryan Scaringe of Kinogo Pictures and Austin Lantero of Range Media Partners will produce. Steven Schneider (Paranormal Activity, Insidious) is set to executive produce alongside Trank, Ryan, Justice, Amell, and Amy Lippens.

Gomez Hidaka plays plays Eric Garcia, the son of Pedro Pascal’s character in Eddington, out later this month. The actor’s credits also include the Apple TV+ series Silo.

Send a Scare is currently in production, so stay tuned for more as we learn it.

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Simon Kassianides (“The Mandalorian”) is stepping behind the camera to direct a psychological thriller titled The Walker for Warner Bros. Sweden, Deadline reports this afternoon.

The actor wrote the film and will produce via his Plot Monster Productions.

Deadline details in today’s report, “Set in Dublin, the film is about a local detective who works with a British profiler to hunt down what appears to be a serial killer.

“The more they investigate, the more it begins to look like there might be some truth behind the British profiler’s paranoia that some immortal evil entity is behind the evil that men do.”

Kassianides said in a statement, “Launching my production company Plot Monster out of Cyprus, the country my family comes from, sees a lifelong dream coming true. WBITVP Sweden and I have been developing projects for several years and I couldn’t be more supported and championed. The same applies to my strategic partners in the US, Roserock Films. Finding a fellow Cypriot based production partner with both local and international reach like Copper Island is a great addition to the team. I plan to bring future productions to Cyprus in the short term, whilst continuing to work and collaborate internationally. It’s an exciting time.”

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Homeownership is an insane hell in the new teaser for the action-packed horror-comedy Hold the Fort, set to premiere later this month at the Fantasia International Film Festival. 

Watch the new teaser below, which unleashes a kitchen sink of raucous horror fun, from bad neighbors to over-the-top monster mayhem.

Hold the Fort follows “Lucas and Jenny, who think their life is finally coming together when the couple become homeowners. Little do they know that their new house comes with a big catch. Lucas and Jenny soon find themselves in a fight for their lives when they become trapped in a battle between their Homeowners Association and an onslaught of monsters from hell. The horror-comedy takes the timely concern of homeownership and wraps this up in an entertaining, action-packed thrill ride.”

The horror-comedy is written and directed by William Bagley (The Murder Podcast), with story by Scott Hawkins.

The aim of Hold the Fort, according to the director, is to deliver a fun time. Bagley said in a director’s statement, “My goal with this film was to make a hilarious, fast-paced thrill ride while also telling a great story with heart. Hopefully, through all the blood, laughs, fights, and gags, you leave the film feeling inspired to tackle whatever life throws at you. Or, at the very least, you have a great time!” The teaser, featuring an onslaught of monsters, certainly supports that.

Chris Mayers (“Creepshow”, “Ozark”), Haley Leary (“The Walking Dead”), and Julian Smith star.

Hold the Fort makes its world premiere at Fantasia on July 16. Stay tuned for our coverage and details on this horror-comedy as they arrive.

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The final wave of programming for this year’s Fantasia International Film Festival was announced this afternoon, with the fest running from July 17 through August 3, 2025.

Fantasia 2025 will mark the World Premiere of director Lily-Hayes Kaufman’s documentary Occupy Cannes, which will premiere at the festival on July 31, 2025. The documentary shines a spotlight on Troma’s unique approach to the Cannes Film Festival over the years, spotlighting their most recent effort to sell the film Return to Nuke ‘Em High at the event.

Iconic director Lloyd Kaufman and the Troma Team wage a punk-spirited battle championing independent art at Cannes in Occupy Cannes, presented through the lens of Kaufman’s daughters, Director Lily-Hayes Kaufman (Innards, Rare Birds of Fashion), Cinematographer Charlotte Kaufman (The Jinx; The Alabama Solution) and Producer Lisbeth Kaufman.

Lloyd Kaufman and the Troma Team have been a staple of the Cannes Film Festival since 1974. Renowned for guerrilla tactics and provocative artistry to sell films, Troma’s audacious performances spark controversy and curiosity. Occupy Cannes asks: does Kaufman’s defiant stance attract coveted buyers, or ostracize Troma from the industry’s inner circle?

The documentary features performances and appearances by Catherine Corcoran (Terrifier, Best Friends Forever, Attack of the Killer Tomatoes reboot), Zac Amico (Zac Amico’s Morning Zoo), Justin A. Martell (The Last Drive-In with Joe Bob Briggs), Doug Sakmann, Lloyd Kaufman and of course, The Toxic Avenger himself.

Occupy Cannes is presented by Lloyd Kaufman and Michael Herz, a Troma Team Production and Saturday Candy Film. Executive Producers Julie Corman and Roger Corman.

The doc is made possible with support from the New York State Council on the Arts.

Known for a universe of superheroes with a global cult following, NYC-based Troma Entertainment may be the last surviving truly independent film studio. Troma has acquired thousands of films that big studios ignore. Trey Parker, Matt Stone and James Gunn, are Troma proteges, and there are hundreds of other artists who have found a voice with the company.

But, like hundreds of thousands of species on this planet, Troma is at risk of going extinct. After 40 years of selling films at Cannes, this could be their final trip…

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