Director Tommy Wirkola is keeping busy. Up next from the filmmaker is action thriller All Day & All Night, and Trap actor Josh Harnett is set to star.

Tommy Wirkola will direct from a script co-written with John Niven, the co-writer behind Wirkola’s ultra-violent thriller The Trip.

In All Day & All Night, “When his daughter gets into Harvard, reformed bank robber Billy Davies (Hartnett) returns to a life of crime to come up with the tuition money. But when the bank heist goes horribly wrong, he and his crew accidentally stumble onto the set of a failing reality TV show. Now Billy must stay on air long enough to figure out an escape plan from the cops trying to arrest him and the mob trying to kill him, while the producers must keep the show on air long enough to boost their ratings and evade cancellation.”

“I’ve been a fan of Josh Hartnett’s work for as long as I can remember, and I can’t wait to go make ‘All Day & All Night’ with him, along with my friends at XYZ,“ said Tommy Wirkola.   

“Tommy brings a singular vision to everything he creates, and we’re thrilled to collaborate with him once again to turn another genre construct on its head. Josh is an icon and was the first actor Tommy and XYZ approached with the project. Together, we’ve assembled the dream team to bring this film to life,“ said producer XYZ’s Guy Danella.

The news comes on the heels of Violent Night 2, which wrapped production last week, according to Wirkola’s Instagram, and is set for a December 2026 release. Also arriving next year from the filmmaker is the shark thriller Shiver starring Phoebe Dynevor.

As for Harnett, The Faculty breakout star is starring in Netflix’s mysterious Untitled Newfoundland Project.

Production on All Day & All Night is set for 2026. Stay tuned.

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Japanese filmmaker Kenichi Ugana’s extremist satire on the pursuit of perfection will make the audience wince, but left wanting more.

“Because you like chairs.”

There can be an incredible comfort in watching an expert simply work their magic in their trade. “Competency porn” is a real thing, and there’s something to be said about someone who goes above and beyond to be good at something, rather than phone it in and do the bare minimum. Curiously, serial killers can be the most obsessive and meticulous experts of them all, which is part of the reason that process-based murderers are so popular. It’s one thing for a killer’s craft to be deemed “art” in a figurative sense, but this all becomes infinitely more interesting when these murders are literally turned into a piece of art that’s meant to be admired and used, which is the case in Kenichi Ugana‘s Incomplete Chairs.

Incomplete Chairs is a disturbing, satirical commentary on auteurism, consumerism, and a society that’s perpetually interested in status and artisanal products, where price and scarcity automatically dictate quality, and reduces a person’s value down to their art. It’s a film about refusing to come to terms with the reality that perfection is not possible, but that this is okay, rather than something to painstakingly obsess over until it takes over your life. That’s self-destructive in any scenario, but especially when that meticulous behavior stems from grisly murders.Kenichi Ugana’s latest is a vicious, unflinching, uncomfortably funny look at how the pursuit of perfection can so easily fester into a bloodcurdling cry for help.

It’s as if Takashi Miike’s Audition, American Psycho, and Bryan Fuller’s Hannibal were torn to pieces and then fashioned into a horrifying chair, which is fitting for a movie about a serial killer who turns his victims into chairs. Shinsuke (Ryu Ichinose), a chair artist, meets with chair obsessives and experts, only to kill them and use their parts for his raw materials until he finally engineers the “perfect” chair. Meanwhile, Shinsuke concocts a piece of furniture that looks like it would make Leatherface wince. Incomplete Chairs, with the blackest of humor, uses Shinsuke’s revolting art to poke fun at the idea of beauty being in the eye of the beholder, even if the art is made out of eyes. 

It’s exactly the type of short story you’d find in a Junji Ito collection that endlessly doubles down on an upsetting concept until the audience has practically gone numb to this absurdist insanity. Incomplete Chairs doesn’t have the luxury of Ito’s unbelievable artwork to fall back on and instead turns to blunt brutalism to disorient and disturb. Shinsuke prides himself on professionalism, yet the film has the crude energy of a bunch of Hostel characters trying to put together IKEA furniture.

Ichinose has the perfect disarming intensity for Shinsuke that can evaporate at a moment’s notice. It’s a chilling performance that’s simultaneously subtle and broad. It deserves to be in the same discussion as Christian Bale’s work as Patrick Bateman. Shinsuke repeatedly poses the question, “If there’s a ten-thousand yen chair and a one-million yen chair, which one would you sit on?” to his victims, moments before he eviscerates them. It’s unlikely that any potential answer would actually sate Shinsuke and prevent these deaths. It’s fitting that Shinsuke enters and exits the film in busy crowd shots, as if to indicate that anyone could be this caliber of killer and that Shinsuke isn’t anything special. He’s just a face in a crowd, and there could just as easily be five other Shinsukes in the mob, which is the most terrifying part of all this.

Part of the fun with Incomplete Chairs stems from the fact that it exists in a ridiculous, heightened world where everyone is obsessed with chairs. Everyday individuals casually engage in philosophical discussions about a chair’s true nature. Over-the-top and tongue-in-cheek dialogue feeds into this chair artist auteur universe and becomes the film’s saving grace by not taking itself too seriously. Despite some structural concessions, the odd energy and the chemistry between characters make sure that it remains engaging, even if there are some lumps in this chair that could be smoothed out. To this point, the film taps into a subversive rom-com element that works for it.  The film juxtaposes sweet dates with bloody wetwork. Incomplete Chairs just makes the audience complicit from the start, unlike Miike’s Audition. Also, let’s be honest, Audition works as well as it does because the killer who gets revenge is a female. It’s not the same when it’s yet another man who attacks an innocent woman.

What’s so fascinating about Shinsuke is that his entire life revolves around chairs, but there’s a distinct possibility that he’s completely indifferent to this furniture. It’s not that he’s obsessed over the artistry and minutiae of chairs, but more so that they’re the means to an end for someone who is thrilled by murder and dismemberment. Chairs are just what was convenient for Shinsuke. They’re the artifice. They’re the upholstery that hides his true material. These murders would still be happening, regardless of the excuse that’s used to rationalize this behavior. Ironically, many of Shinsuke’s victims care more about chairs and furniture than he does. However, Shinsuke would argue that he’s the one who is more committed to his craft. 

This is compelling material to explore that forces the audience to spend so much time with a reprehensible individual. The problem is that this all does fall into a bit of a cyclical pattern that feels like splatter, rinse, repeat. Incomplete Chairs certainly provides an extensive, unfiltered look into Shinsuke, but the audience gets a pretty good idea of what’s going on here from the start, only to spin its wheels. To some extent, it feels like Incomplete Chairs is meant to be a grueling exercise in endurance, akin to something like The House That Jack Built. The discomfort is the point. Incomplete Chairs doesn’t feel as precise in this regard and has the energy of a short film that’s generously padded.

Shinsuke’s kills aren’t remarkable. They’re routine. There are long, repetitive shots of Shinsuke breaking bodies, almost as if he’s bored by these massacres. His executions are presented like monotonous grunt work that’s a menial task and a means to an end, not the end of a person’s life. Yet, this passionless work is meant to breed perfection. The nature of Shinsuke’s kills is brutal, but one can’t help but laugh at how haphazard and reckless they become, even verging on broad parody. Alternatively, the brutality of Shinsuke’s handiwork is honestly a little too much at times and difficult to endure. There’s a “sanding” scene that involves bone removal that’s more intense than the grisliest Saw trap. The sound design alone is enough to make the faint of heart vomit or pass out. It’s sadistically violent and strives to provoke. 

Incomplete Chairs explores rich themes and communicates its ideas in an extremely aggressive manner, which makes it all the more disappointing that the film’s disjointed pieces don’t accumulate to a more satisfying and cohesive piece of art. It’s ironic, or perhaps even intentional, that a film about a perfectionist struggles to stick its landing and is burdened by so many flaws. Kenichi Ugana’s Incomplete Chairs, just like Shinsuke’s chairs, are brutal, extreme, and unforgettable, but they’re also both imperfect and plagued by their own standards and expectations.

Incomplete Chairs screened at the Brooklyn Horror Film Festival; release info TBD.

The post ‘Incomplete Chairs’ Is Brutal, Blood-Soaked Body Horror Satire That Hits Bone Deep [BHFF Review] appeared first on Bloody Disgusting!.

A feature adaptation of the video game Finding Frankie is in the works from producer Sean Robins (Mortal Kombat, Haunt), Deadline reports.

Steven C. Miller (Silent Night, Escape Plan 2: Hades) will direct from a script by Cory Todd Hughes & Adrian Speckert, with whom Miller previously collaborated on this year’s Under Fire.

Described as “blending the thrilling intensity of Squid Game with the haunting atmosphere of Five Nights at Freddy’s,” the survival horror adventure involves a deadly game show set in the world’s largest trampoline park.

Robins will produce alongside 13 Films and So It Goes Entertainment.

“Finding Frankie is a wild mix of tension, heart, and world-building that feels tailor-made for film,” said Robins. “With 13 Films, So It Goes, and Steven C. Miller at the helm, we’re building something unique, a survival story with soul that takes the viewer on a harrowing adventure they won’t forget.”

SuperLou Games, the company behind the game, added, “Fans have been eager to see the story of Finding Frankie continue and discover what happens next in this twisted parkour game show. We’re beyond excited to be partnering with 13 Films, Sean Robins, Steven C. Miller, and So It Goes Entertainment to bring a feature film adaptation of Finding Frankie to life.”

Finding Frankie was released in October 2024 on Windows, PlayStation 5, and Xbox.

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The final week of October has arrived, which means it’s time to kick Halloween festivities into overdrive. We’re dedicating the final days of October to Halloween’s favorite pastime: inducing scares. “It’s Halloween. I guess everyone’s entitled to one good scare,” Sheriff Brackett says in John Carpenter’s Halloween.

This week’s streaming picks are dedicated to terrifying horror movies that bring the perfect Halloween scares and atmosphere. Many of which happen to be set on or around the best holiday of the year. These titles employ every fear tactic and technique in the arsenal to induce Halloween frights, from classic ghost stories to visceral suburban nightmares.

Here’s where you can watch them this week.

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

The Autopsy of Jane Doe – AMC+, Kanopy, Showtime, Shudder, Tubi

The Last Voyage of the Demeter director André Øvredal goes full throttle for the scares in this quiet little chiller that sees a father and son coroner team stumped over the bizarre mysteries contained within the body of an unidentified young woman. Well-executed scares, clever twists, and earnest performances by Brian Cox and Emile Hirsch give this supernatural haunter serious heft. While the narrative bides its time unveiling the truth behind Jane Doe’s battered body, it’s heavily steeped in witchcraft. In other words, The Autopsy of Jane Doe presents a new take on the subgenre. More importantly, it’s seriously scary.

The Changeling – Fandango at Home, Midnight Pulp, NightFlight+, Pluto TV, Roku Channel, Screambox

George C. Scott stars in this seminal haunted classic as a music professor attempting to start fresh after his wife and child’s death. He relocates to Seattle and moves into a historic Victorian mansion with plans to work on his music, but he experiences strange phenomena from the moment he arrives. The more the paranormal activity increases, the more he’s drawn into a decades-long mystery involving a child. The Changeling is a quiet chiller grounded by a fantastic lead performance and an intriguing murder mystery. Mostly, though, it’s full of dread and creepy moments – no other horror movie will make you afraid of bouncing balls quite like this one.

Ghostwatch – AMC+, Shudder

The initial airing of this made-for-TV movie stirred up controversy for network BBC, as the special Halloween event had viewers convinced that what they’d witnessed was real. It plays like a live TV special with a camera crew on-site attempting to investigate the truth behind the most haunted house in the country, one that borrows heavily from the Enfield Poltergeist. Neither they nor the viewer were prepared for the scares that would ensue—even the subtle ones. Pay close attention to every frame; Pipes hides in plain sight. Subtle chills build to a cacophony of terror. Don’t skip this one, as it’s a streaming rarity.

Sinister – Disney+, Hulu, MovieSphers+, Roku Channel, Tubi

True crime author Ellison Oswalt has uprooted his family and moved them into a home where a family was previously murdered, unbeknownst to them. He’s researching the murder for his new book, hoping the research will lead him to the whereabouts of the murdered family’s missing 10-year-old girl. When he finds a box of Super 8 home movies in the attic, he discovers the murder might be the work of a serial killer whose work dates back to the 1960s. Scott Derrickson and C. Robert Cargill’s feature consistently ranks high among the scariest horror movies, and it’s not hard to see why. Eerie atmosphere, iconic jump scares, and a memorable boogeyman all make for a noteworthy genre movie.

Terrified – AMC+, Hoopla, Shudder

The cinematic equivalent of enjoying a haunted attraction, Demián Rugna’s feature is an onslaught of terror from beginning to end. Plot-wise, there’s not much to it, nor is there a lot of explanation for those who prefer answers. However, that doesn’t stop a cop on the cusp of retirement and a slew of paranormal experts from trying to get to the bottom of a series of bizarre activities plaguing a Buenos Aires neighborhood. With creative and innovative scares aplenty, Terrified is the type of horror film that lives up to its name; it’s freaking petrifying. Make it a Rugna double feature with visceral possession shocker When Evil Lurks, also streaming on Shudder.

The post Five Terrifying Horror Movies to Stream This Week That Bring Halloween Scares appeared first on Bloody Disgusting!.

Cassandra Naud’s CW is trading the tropics for France for her latest killer obsession in our exclusive new poster for writer/director Kurtis David Harder’s sequel, Influencers. 

Fresh off its Audience Award at the Brooklyn Horror Film Fest, Influencers debuts on Shudder on December 12, 2025.

In Influencers, “In the sun-drenched countryside of southern France, CW lives a quiet, idyllic life with her girlfriend Diane, hiding a dark obsession with murder and stolen identities. During an anniversary getaway, they cross paths with Charlotte, a bold, alluring influencer whose curiosity quickly turns intrusive. When CW acts on a violent impulse, the consequences spiral out of control, and as Diane begins to suspect the truth, CW’s carefully constructed life threatens to collapse around her.”

Emily Tennant (Influencer), Georgina Campbell (Barbarian), Lisa Delamar, Jonathan Whitesell (“Chilling Adventures of Sabrina”), Veronica Long (“Upload”), and Dylan Playfair (“Letterkenny”) also star.

Filmmaker Kurtis David Harder said in a statement, “I was so blown away by the response we got on our first film that it was a dream to come back and expand the scope and see how much further we could travel with these characters in the ever-evolving world of social media. I loved seeing audiences connect with the story — and with CW, portrayed pitch-perfectly by Cassandra Naud.

“This time, we get to explore how much has changed with technology since the first film and introduce a new cast of characters that CW must contend with. Influencers takes the story to new heights, expanding across three continents with breathtaking locations, shocking and bloodier kills, and a deeper dive into the many sides of CW’s character.”

The new poster below emphasizes Harder’s promise for bloodier kills.

Our own Joe Lipsett wrote his 4-star review out of Fantasia, “Influencers can go all-in on these messy, complicated women without compromising on the fun thrill ride of seeing them face off. Influencer worked well as a standalone film, but Influencers is a great sequel that takes the series in a fun, satirical, and often deliciously mean new direction.”

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