Friday the 13th: The Final Chapter and Back to the Future actor Crispin Glover returns with his first directorial effort in nearly two decades.

No! You’re Wrong. or: Spooky Action at a Distance is a surrealist film-within-a-film that spans four generations. Watch the trailer below.

Glover writes and directs in addition to starring alongside his late father, Bruce Glover (Diamonds Are Forever), in his final role.

Glover is taking the movie on tour, with each screening also featuring his “Big Slide Show” — a dramatic narration of his various illustrated books — along with a Q&A session and a book signing.

• October 2 – New York, NY – Museum of Modern Art
• October 10-16 – New York, NY – IFC Center
• October 18-19 – Santa Monica, CA – Aero Theatre
• October 23 – Chicago, IL – Music Box Theatre
• November 3 – Boston, MA – Coolidge Corner Theatre

Keep an eye on Glover’s website for future tour dates.

No! You’re Wrong. or: Spooky Action at a Distance was shot on 35mm film between 2013 and 2018.

Malgorzata Bela (Suspiria), Caitin Stickels, Mika Mae Jones, Kristina Coolish, and Kansas Bowling (Once Upon a Time… in Hollywood) round out the cast.

Glover recently wrapped production on the Creepypasta adaptation The Third Parent in which he plays the villain Tommy Taffy opposite Rob Lowe.

The post ‘No! You’re Wrong. or: Spooky Action at a Distance’ Trailer – Crispin Glover to Tour with His Surreal New Movie appeared first on Bloody Disgusting!.

While he’s mostly known for 2001’s quirky rom-com Amélie, French Filmmaker Jean-Pierre Jeunet actually began his career by telling darker stories that felt like they were ripped straight out of childhood nightmares and dreamscapes. Back then, the director would often partner with his close friend Marco Caro, an animator and comic-book artist who co-directed some of Jeunet’s best work.

And with the duo’s award-winning steampunk fable, The City of Lost Children, currently celebrating its thirtieth anniversary, I feel like this is the perfect moment to look back on the anachronistic thrills of this genre-defying adventure and make a case for why horror fans might enjoy its hand-crafted aesthetics.

Jeunet and Caro met at an animation festival in 1974 and immediately hit it off, with the duo proceeding to partner on several short films combining stylized animation and intimate live-action storytelling. The duo’s ultimate goal was to create an elaborate feature film that would allow them to explore their penchant for larger-than-life characters and intricate production design, with the fantastical project that would one day become The City of Lost Children having been conceived as far back as the early 80s. Of course, the inherent cost of such an endeavor meant that they had to settle for a slightly less ambitious idea when the time came to produce their debut feature in 1991.

Thankfully, Delicatessen became an unexpected hit, with the post-apocalyptic cannibal romance even impressing audiences overseas. And thanks to the film’s success, the duo was finally able to finance their original passion project through a combination of private investors and European Cultural incentives. This is how The City of Lost Children finally entered production.

The larger budget didn’t necessarily make things easier, however, with most of the resources going towards the construction of massive indoor sets that could house the titular seaside city. While Caro dealt with art direction, Jeunet decided to search outside of his usual talent pool when looking for a protagonist. Frequent collaborators like Dominique Pinon and Jean-Claude Dreyfus were still present here in highly memorable roles, but Jeunet became enamored with American actor Ron Perlman due to his unique physical characteristics and inimitable screen presence.

At the time, Perlman was mostly known for playing the Man-Beast Vincent in CBS’s Beauty and the Beast series (which deserves an article of its own), but The City of Lost Children became the actor’s first starring role in a major motion picture – with the filmmakers even incorporating his limited French into the story.

The finished film takes place in a dystopian city where children are being kidnapped by a cult and taken to an offshore facility. Once there, mad scientist Krank (Daniel Emilfork) attempts to steal their dreams in order to combat his premature aging. When his little brother is taken by the cult, strongman One (Perlman) teams up with the orphaned thief Miette (Judith Vittet) for a rescue mission that will put them at odds with the city’s criminal underworld.

It’s certainly worth getting invested in this dreamlike story filled with enigmatic characters, but you could honestly watch The City of Lost Children on mute and still have a great time due to the sheer level of expert craftsmanship oozing out of every frame. From the anachronistic environments to the charming special effects that blend miniatures with digital matte paintings, there’s an animated quality to the visuals here that even veteran filmmakers like Tim Burton and Guillermo Del Toro struggle to replicate in modern productions.

Of course, it’s not just the odd designs that bring this world to life, as Jeunet also encouraged the actors to perform as if they were putting on a comedic stage show. Dominique Pinon is a great example of this, with his multiple roles as a series of identical clones, allowing the actor to show off his mastery of slapstick without breaking viewer immersion. Even Perlman is more energetic than usual here, despite his character only speaking in brief snippets of broken French and relying more on physical expression.

This theatrical quality is precisely what makes the film so memorable. While Delicatessen had its moments of over-the-top humor, The City of Lost Children expects viewers to understand that none of this is meant to be taken literally – especially when it comes to that Inception-like finale.

That being said, there is a coherent narrative to be found here if you’re willing to accept that the film operates on dream logic. In fact, the recurring themes of exploitation and economic obsession hint that the surreal story is more about society taking advantage of vulnerable populations than it is about a mad doctor literally stealing kids’ dreams.

And while it’s not quite as dark as Delicatessen (after all, that film dealt with cannibalism in a post-apocalyptic society), The City of Lost Children is still pretty grim for what could easily have become a family picture had it been produced in North America, and that’s why I think it might appeal to horror fans!

For starters, the film’s freakshow aesthetics harken back to movies like Freaks and Carnival of Souls, with the story featuring iconic tropes like hulking strongmen, conjoined twins, genetically altered freaks, and even a deus ex machina in the form of a literal flea circus.

There’s also a scene hinting at the same kind of genetic terror that would later make up the most memorable parts of Jeunet’s unfairly maligned Alien: Resurrection (which would once again see the director collaborating with Perlman). In fact, the whole mad science aspect of the film feels just as inspired by Frankenstein as it is by comic-book supervillains, with specific elements like the brain-in-a-jar Uncle Irvin reminding me of the underrated gateway horror cartoon Evil Con Carne.

There’s plenty more horrific imagery where that comes from, with the Cyclops cult members looking a lot like Warhammer’s grimdark Adeptus Mechanicus faction (and that’s not even mentioning the literal nightmares that the titular children are subjected to), but these darker elements only seem to make the intimate character moments that much more important – especially between One and Miette.

And if gamers in the audience think that some of the ideas and visuals here seem familiar, that’s probably because the movie’s sibling relationships and nautical imagery were a major inspiration for Bioshock. The game’s Little Sister mechanic was even inspired by Miette crawling around the vents in Krank’s laboratory, something that the character would also do in the film’s official adventure game adaptation developed by Psygnosis in 1997.

At the end of the day, The City of Lost Children won’t appeal to everyone (and even fans like myself have to concede that the movie is bloated and weirdly paced), but I’d argue that the film’s impeccable atmosphere and unforgettable characters have kept it fresh for the past 30 years and will likely continue to do so for decades to come.

The post Revisiting the Steampunk Nightmares of ‘The City of Lost Children’ 30 Years Later! appeared first on Bloody Disgusting!.

Chile’s Valeria Hofmann, who won best director for short “AliEN0089” at the Sundance Film Festival in 2023, is blending body horror and tech romance with her feature debut Dæmon.

The logline teases, “In a world where you can print DNA at home, why not print your own boyfriend?”

Set in the Chilean coastal town of Valparaíso, Dæmon follows “Liz, a solitary content moderator who finds unexpected intimacy in a virtual lover. But when she learns he’s not just code but a consciousness trapped within her computer, obsession takes root. As reality and simulation begin to collapse into each other, Liz becomes consumed with building him a physical form using a bioprinter that runs on blood — even if it means risking her own humanity.”

Madrid-based Amore Cine, founded by Paz Lázaro, Juan Pablo Félix, and Edson Sidonie, has boarded the project, Variety reports today.

Hofmann’s feature debut project won first place in Spain’s ICAA Selective Grant and is aiming to start principal photography in 2026.

“From the very beginning, ‘Dæmon’ captivated us with Valeria Hofmann’s audacious and deeply personal female gaze breaking into genre cinema. Supporting a debut of such ambition alongside this wonderful team of producers has been truly exciting, each one bringing an energy that makes the project grow in an organic and inspiring way,” said Úrsula Budnik, co-founder of recently launched production entity Maquina alongside Augusto Matte and Fernando Bascuñán.

Pascual Mena (“AliEN0089”) is also set to produce on the Chilean side.

Stay tuned for more on Dæmon as it arrives.

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It’s the final full week of September before October arrives with an onslaught of horror programming for the Halloween season, but that doesn’t mean it’s quiet. FIVE brand new horror movies have arrived to keep your horror watchlists busy.

Here’s all the new horror released from September 22 – September 26, 2025!

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

Out on VOD today is The Demon Detective, from writer/director T.C. De Witt.

Miles Mako is a professional exorcist who takes on a new client after she encounters a demonic presence who may have links to the detective’s dark past.

The film stars Doug Jones, Vivica A. Fox, Adrienne Barbeau, Eugene Young, and Tom Virtue.

The Cabin in the Woods meets Shaun of the Dead in the trailer for meta horror movie The Draft!

Yusron Fuadi directs from a script he co-wrote with Anindita Suryarasmi.

Five students decide to spend their weekend away at a remote villa. What starts as a fun trip soon turns into a holiday from hell when they find themselves in a battle against a powerful dark force.

Winner Wijaya, Anastasia Herzigova, Adhin Abdul Hakim, Anggi Waluyo, Haydar Salishz, and Ibrahim Allami star.

Look for The Draft! on Screambox now.

Corey Hawkins and Willem Dafoe star in the psychological thriller The Man in My Basement, now streaming on Hulu and Disney+.

Nadia Latif makes her feature directorial debut from a script she co-wrote with Walter Mosley, based on Mosley’s 2004 novel of the same name.

In the African American neighborhood of Sag Harbor, New York, Charles Blakey (Hawkins) is out of work, out of luck and on the verge of foreclosure on his ancestral home. A knock on the door from a mysterious businessman, Anniston Bennet (Dafoe), brings a bizarre and lucrative proposition; rent his dusty stand-up basement out for the summer and receive enough money to clear his debts for good.

Once Charles accepts, he finds himself led down a terrifying path that confronts his family’s ghosts and locks the men in a terrifying puzzle, at the heart of it, race, the source of their traumas and the root of all evil.

Anna Diop, Jonathan Ajayi, Gershwyn Eustache Jnr., Pamela Nomvete, and Tamara Lawrance round out the cast.

Renny Harlin (A Nightmare on Elm Street 4: The Dream Master, Deep Blue Sea) is back at the helm for The Strangers: Chapter 2, now in theaters.

In the middle chapter of this trilogy, The Strangers are back – more brutal and relentless than ever. When they learn that one of their victims, Maya (Madelaine Petsch), is still alive, they return to finish what they’ve started. With nowhere to run and no one to trust, Maya must survive another horrific chapter of terror as The Strangers – driven by a senseless, unceasing purpose – pursue her, more than willing to kill anyone who stands in their way.

Gabriel Basso and Ema Horvath also star in The Strangers: Chapter 2. Alan R. Cohen & Alan Freedland wrote the sequel’s screenplay.

Dacre Montgomery (“Stranger Things”) stars alongside Vicky Krieps (Phantom Thread) in Went Up the Hill, available on VOD now.

The film will chart how after being abandoned as a child, Jack (Montgomery) ventures to remote New Zealand to attend the funeral of his estranged mother and there meets her grieving widow, Jill (Krieps). His search for answers becomes dangerous when his mother’s ghost returns to inhabit both Jack and Jill, using each of their bodies to speak to the other, and instigating a life-threatening nocturnal dance between the three of them.

Samuel Van Grinsven directs from his script co-written with Jory Anast.

The post Friday, September 26 – These 5 New Horror Movies Released This Week appeared first on Bloody Disgusting!.

Lovecaftian monsters rise from the sea in Minore, coming to DVD and VOD next Tuesday, September 30, from Freestyle Digital Media.

The Greek cosmic horror-adventure-comedy is directed by visual effects artist Konstantinos Koutsoliotas (Guardians of the Galaxy, Nightmare Alley).

On a steamy summer night at the Greek seaside, a young sailor arrives in search of his absent musician father. As he navigates the local nightlife, he meets a sympathetic waitress. The strange old man at the hotel whom the sailor suspects to be his father introduces him to a group of local taverna musicians.

Life seems to go on as normal; however, strange creatures plague the city, attacking people and pulling others into the sea with strange dreams. The old man is hit by a car, and his wild ramblings hint that there’s a connection between the monsters and the local music he plays. The church congregation is turned into gooey corpses. The taverna is dramatically attacked and the army blockades the streets.

The musicians join forces with a bodybuilder, a granny, local thugs, an undead priest and the sailor for an ultimate showdown with the monsters at the local church if they can just find the right song.

Davide Tucci, Maria-Nefeli Douka, Eleftheria Komi, Efi Papatheodorou, Christos Kontogeorgis, Daphne Alexander, Stelios Dimopoulos, Nicolas Bravos, Apollon Bollas, Constantin Symsiris, Makis Papadimitratos, Meletis Georgiadis, Igor Górewicz, Christos Callow, and Giannis Zouganelis star.

Koutsoliotas co-wrote the script with storyboard/concept artist Elizabeth E. Schuch (Wonder Woman, Pacific Rim: Uprising).

“Minore is my love letter to Greece — a delirious cocktail of Lovecraftian monsters, splatter, bouzouki, awkward dinners, and unexpected song and dance,” said Koutsoliotas. “It’s Greece like you’ve never seen it: heartfelt, hilarious, and dripping with cosmic gore.”

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