From director Osgood Perkins and distributor NEON, gruesomely demented horror movie The Monkey will be making its streaming debut courtesy of Hulu next month.

The Monkey will be streaming on Hulu beginning August 7, 2025.

Based on the Stephen King short story from 1985’s Skeleton Crew, the gory horror-comedy is written and directed by Osgood Perkins (Longlegs) and produced by James Wan.

In the film, “When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. 25 years later, the monkey begins a new killing spree forcing the estranged brothers to confront the cursed toy.” Theo James, Tatiana Maslany, Elijah Wood, Christian Convery, Colin O’Brien, Rohan Campbell, and Sarah Levy star.

Meagan Navarro wrote in her review, “With storytelling efficiency and a playful spirit, The Monkey delivers a King adaptation like no other. Perkins pushes back against logic in favor of entertaining midnight madness, and death has never been funnier or gorier as a result.”

The Monkey scared up $68.8 million at the worldwide box office, leading to a new pact between Perkins and NEON. In addition to launching his own production banner titled Phobos, alongside Chris Ferguson, Perkins has also signed a first look deal with NEON.

Up next from Perkins and NEON? New horror movie Keeper in November!

The post ‘The Monkey’ Streaming on Hulu Beginning the First Week of August appeared first on Bloody Disgusting!.

Zombies remain one of the most eternal movie monsters, whether their origin is viral in nature or voodoo-related. The reanimated corpses driven by an insatiable need to consume flesh provide fertile ground for horror, also doubling as a reflection of our current sociopolitical fears, making their evolution in film one of the most interesting.

With more seasons of “The Walking Dead” spinoffs still going strong and the recent releases of Ziam and 28 Years Later, this week’s streaming picks salute zombie horror movies that showcase flesh eaters in stylish, gory form. Here’s where to stream them this week.

For more Stay Home, Watch Horror picks, click here.

Dawn of the Dead – Netflix

Director Zack Snyder and writer James Gunn dial up the zombie intensity and then some in this update on George A. Romero’s classic 1978 zombie sequel. The zombie apocalypse begins with a subtle bite on a victim in a hospital and escalates with the world in flames the next morning. It’s fast and unrelenting. Dawn of the Dead ushered in a quicker, meaner brand of zombie. It’s not just the scarier take on the zombie that sets this remake apart, but a stellar ensemble cast led by Sarah Polley as the competent, level-headed nurse Ana. Dawn of the Dead leaves Netflix on August 1, so channel your inner fast-moving zombie and run to watch this one. While the original 1978 classic isn’t on streaming, it is available to rent on Digital.

Dead & Buried – Fandango at Home, Fawesome, Midnight Pulp, NightFlight+, Pluto TV, Screambox, Tubi

Gary Sherman’s underrated ‘80s horror film is unconventional for both its unique undead rules and for its mysterious atmosphere. Set in a small coastal town, Sheriff Gillis must investigate a series of grisly murders of visitors, only to discover that the town’s dead are reanimating. The walking undead in this town aren’t your cookie-cutter zombies, but to explain further would be stepping into massive spoiler territory. The narrative also pays homage to the original zombies, in which the dead were reanimated by way of voodoo (don’t worry, that’s not a spoiler). Though this was a story that favored chills and atmosphere over gore, Stan Winston’s makeup effects made the few gore scenes really stick their landing.

The Living Dead at Manchester Morgue – AMC+, Shudder, Tubi

Jorge Grau’s memorable zombie film centers around George (Ray Lovelock) and Edna (Christina Galbo), a couple of city hippies who meet when Edna backs into George’s motorcycle at a petrol station. She’s on her way to visit her troubled sister while he’s on his way to see friends. It so happens that the area is undergoing a new experimental pest control method in the form of ultrasonic radiation, and it intersects with our protagonists when it wakes the dead and causes a wave of grisly murders. The story plays out like a murder mystery of sorts with a target set on the counter-culture movement, building toward a gore-filled finale courtesy of special makeup effects artist Gianetto De Rossi (The Beyond, Zombie, High Tension).

Sugar Hill – Pluto TV, Prime Video, Tubi

Shot and set in Houston, the film follows Diana “Sugar” Hill (Marki Bey) as she summons Baron Samedi (Don Pedro Colley) to unleash zombie revenge for the murder of her lover. That voodoo plays a central role in the film’s story means these zombies aesthetically borrow from the early ‘30s and ‘40s style of the undead. Meaning there’s no viral contagion, and these zombies aren’t hindered by rigor mortis or decay. They’re Samedi’s slaves from beyond the grave. Directed by prolific producer Paul Maslansky (Raw Meat, Race with the Devil) in his only director’s credit, Sugar Hill introduces a stylish queen of zombie-enforced vengeance.

Zombie – AMC+, Fawesome, Screambox, Shudder

While Lucio Fulci’s “Gates of Hell” trilogy features no shortage of slow shambling zombies worthy of inclusion on this list, it’s hard to beat his gruesome take on the subgenre, with the film initially written as a sequel to George A. Romero’s Dawn of the Dead. Also known as Zombi 2 and Zombie Flesh Eaters, the film centers around a Caribbean island inundated by flesh eaters. It’s filled with unforgettable imagery from the famous shark versus zombie underwater sequence to one gnarly burst of ocular trauma. It’s a zombie movie whose gory reputation precedes it.

The post Five Must See Zombie Horror Movies to Stream This Week appeared first on Bloody Disgusting!.

New experimental horror comedy Buffet Infinity stitches together its narrative through commercials. Preview the film’s unique style through new exclusive images and four bizarre theater PSAs ahead of the film’s world premiere.

Buffet Infinity makes its World Premiere tonight, July 28, at the Fantasia International Film Festival.

In the film, “Echoing the Canadian comedy classic SCTV and picking from hundreds of hours of original, low-budget TV ads, filmmaker Simon Glassman tells the sinister tale of two restaurants battling it out in the fictional town of Westridge County. Ads for insurance, used car rivals, a local religious scholar, and a recording artist converge to tell the story of an expanding sinkhole, a cult, and an ever-growing restaurant that becomes unsettlingly sentient.”

It’s a synopsis that signals plenty of weirdness ahead. Just how weird?

Watch the four new Fantasia promo videos below featuring lawyer Moseley Rosin, one of the characters from the film, giving a rundown of what to see and how to behave at the festival and its screenings.

Kevin Singh, Claire Theobald, and Donovan Workun star in the film written and directed by Glassman.

“The concept of a film told through advertisements has been with me since the mid-’90s. At the time, The Simpsons were promoting a crossover episode with The X-Files where agents Mulder and Scully would be making cameos, and it was such a big deal that the network began referencing the episode inside other advertisements. Maybe it was just the Butterfinger commercial? Honestly, I can’t really recall… but I remember really liking that it was a strange, fully immersive experience,“ the director said in a statement.

Glassman continues, “With Buffet Infinity, I wanted to tell a story of a brand as a sentient intelligence and invasive presence… How it grows, struggles, transforms, and sometimes attacks. I began working on it as a 30-second YouTube sketch at the beginning of COVID, eventually expanding it into a feature. There was no script, just different scenes shot – and often re-shot – over five years. Hundreds of scenes were filmed and edited, and then never used. By my count, there are enough spare scenes to make another full feature film!”

Buffet Infinity was acquired for release by Yellow Veil Pictures ahead of its premiere, Variety recently reported, with release details to follow later this year.

The post ‘Buffet Infinity’ – Strange Images and Theater PSAs Highlight Surreal Horror Comedy Made From Low-Budget TV Ads [Exclusive] appeared first on Bloody Disgusting!.

Sound is everything in The Undertone. It’s a film about a horror podcaster, so it makes sense that the sound design plays an important role. It’s more than that, though; more so than any other recent horror film, The Undertone lives and dies on how sound and silence is used.

And it is used incredibly well.

The film follows Evy Babic (Nina Kiri), a horror podcaster who has moved home to care for her dying mother (Michèle Duquet). Mama is very near death: she hasn’t eaten or drunk anything for several days and a nurse clarifies to Evy to keep an ear out for the “death rattle” that will signal her mother’s impending death.

In between changing soiled sheets and talking to her mother, Evy hops on mic to chat with Justin (voiced by Kris Holden-Ried, who never appears onscreen), her co-host on All Things Creepy. Justin is the believer and Evy is the skeptic, though repeated references to “getting into character” suggests that these may simply be roles they have adopted for entertainment purposes.

The plot kicks in when Justin reveals that the pod was anonymously emailed ten mysterious audio files. Large chunks of the film are made up of the audio from these files, which document the domestic drama of couple Jemma (voiced by Keana Lyn Bastidas) and Mike (voiced by Jeff Yung), who appear to be the victims of a supernatural event. It begins with Jemma talking in her sleep and sleepwalking, but quickly escalates with each successive audio file.

What makes The Undertone unique is how focused the film is on sound. The entire movie takes place in Evy’s mother’s house and Kiri is usually acting by herself (98% of Duquet’s role involves laying in bed and wheezing). As a result, writer/director Ian Tuason‘s film is primarily made up of a single character listening attentively and reacting to sounds, including the tapes, Justin’s verbal commentary, and the sounds of the empty house around Evy whenever she removes her noise-cancelling headphones.

It shouldn’t work, but Ian Tuason, along with sound designer David Gertsman, cinematographer Graham Beasley and Kiri, have created the film equivalent of an immersive aural horror experience. As Evy and Justin listen to the tapes, they discover anomalies in the audio, including sound cues that point them to the horrific history of children’s nursery rhymes, as well as a demon named Abyzou.

One of the film’s creepiest recurring elements is the creepy use of Baa Baa Black Sheep, which is played backwards and at various unsettling speeds. A key feature of the film is that Jemma and Mike’s audio files aren’t always clear, which requires Evy to frequently pause and restart sections, or crank the volume, or isolate a portion of the audio track and play it on a repetitive loop. Tuason shoots this in close-up inserts, as if to remind us that the audio is literally the most important element.

The result is both hypnotic and engrossing; these long stretches of Evy struggling to decipher what she’s hearing are so well done that audiences may find themselves empathetically leaning in and straining alongside her.

The result is an immediate and undeniable alignment with Evy. We’re along for every desperate web search; every creak from the floorboards above; every hair-raising development as Evy and Justin close in on the end of the ten audio files and inevitable doom. By the time the film reaches its sonically-oriented climax and all hell breaks loose, viewers have been primed to listen attentively to every aspects of the soundtrack – from the cheerily warped children’s voices all the way to the demonic voices.

That such a simple concept works as well as it does is a minor miracle. There’s nowhere for Tuason to hide if any element of the film were off balance: the entire enterprise rests on Kiri, the sound, and the slow, methodical movement of the camera, which slowly and frequently pans to fill the screen with negative space that anticipates something terrifying. Occasionally something is there (a tease of a specter in the mirror; a head turn from Mama), but just as often nothing happens. As a result even the simplest motion feels like it could erupt into a full-blown panic attack.

All of this anticipation comes down to the resolution, which incorporates all of the movie’s bag of tricks to stunning effect including an extended black-out sequence that relies entirely on the audio to produce spin-tingling thrills. While some may find the ending slightly disappointing, there’s no denying the film’s visceral impact right up until the final frame. I can’t remember the last time a movie made every hair on my body stand up, but The Undertone got me good.

The Undertone had its world premiere at Fantasia International Film Festival. Release info TBD.

The post ‘The Undertone’ Review – A Near Perfect Aural Horror Experience [Fantasia 2025] appeared first on Bloody Disgusting!.

 The Nun director Corin Hardy is back with cursed object horror movie Whistle, and a brand new teaser gives a closer look at the supernatural carnage unleashed from an ancient Aztec Death Whistle.

Whistle has been rated “R” for “strong violent content, gore, drug content, and some language” and will be released in theaters in 2026.

The new teaser withholds the full scope of the horror, but does set up some interesting kills and supernatural set pieces. Watch below.

The high school horror movie centered around an Aztec Death Whistle, known for its shrieking sound, stars Dafne Keen (Logan, “The Acolyte“), Sophie Nélisse (“Yellowjackets”), Sky Yang (Rebel Moon), Percy Hynes White (“Wednesday”), and Nick Frost (Shaun of the Dead).

In Whistle, “a misfit group of unwitting high school students stumble upon a cursed object, an ancient Aztec Death Whistle. They discover that blowing the whistle and the terrifying sound it emits will summon their future deaths to hunt them down. As the body count rises, the friends investigate the origins of the deadly artifact in a desperate effort to stop the horrifying chain of events that they have set in motion.”

The film was written by Owen Egerton (Blood Fest, Mercy Black), adapted from his own short story. It’s produced by David Gross (Room) for No Trace Camping and Macdara Kelleher (The Pope’s Exorcist) for Wild Atlantic Pictures with Black Bear handling international sales.

“Whistle is made with the same heart-on-sleeve, disenfranchised-teen-spirit found in my favorite genre movies that I grew up watching,” said Hardy previously. “I was drawn to the mysterious mythology surrounding the ‘Death Whistle’ and how it presented me with the opportunity to create a variety of cinematic, imaginative, and terrifying deaths.”

Hardy’s previous work on ultra-violent series “Gangs of London” and breakout feature The Hallow, as well as Conjuring 2 spinoff The Nun, should also ensure Whistle is on your radar for 2026 horror releases.

The post ‘Whistle’ Teaser – Dafne Keen Summons Death Curse in New Horror from ‘The Nun’ Filmmaker appeared first on Bloody Disgusting!.