Blumhouse has announced this afternoon plans to adapt James Tynion IV and Werther Dell’Edera’s horror comic book phenomenon Something is Killing the Children into both a feature film and an adult animated series.

Series co-creator James Tynion IV will shepherd the development of the TV series.

Something is Killing the Children was first published by BOOM! Studios in 2019 and tells the story of Erica Slaughter, a monster hunter from a mysterious organization more concerned with keeping the secret of monsters from the world than saving their victims.  In this world, only children can see monsters.

“It’s easy to see why audiences and critics alike have praised Something is Killing the Children,” said Jason Blum, Blumhouse CEO and Founder. “James and Werther’s comic book series taps into our most primal fears, luring us into a fascinating world and introducing Erica Slaughter, the ass-kicking hero we all wish we had to fight the monsters that lurk in the dark.”

“Something is Killing the Children is the comic book that changed my life and career forever,” said James Tynion IV. “Finding a partner who understood the potential of Erica Slaughter and world Werther Dell’Edera and I have built was crucial, and we have found that partner in Jason Blum. Nobody understands horror better than Blumhouse, and I can’t wait for the world to see what we all have planned together.”

Stephen Christy and James Tynion IV will produce the film for BOOM! Studios/Penguin Random House. Jason Blum will produce for Blumhouse with Shaun Sutton and Ryan Turek serving as executive producers. Adam Yoelin and Mette Norkjaer will also executive produce. Series co-creator Werther Dell’Edera will act as co-producer.

James Tynion IV will executive produce the adult animated series, with series co-creator Werther Dell’Edera Co-Executive Producing. Stephen Christy will executive produce the series for BOOM! Studios, with Adam Yoelin and Mette Norkjaer co-executive producing.

An adaptation of this Eisner Award-winning comic series was previously in development at Netflix. 

Stay tuned.

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Nothing says fall, especially the Halloween season, quite like a great witch movie. One of the best is the cult film Night of the Eagle (1962), perhaps better known under its American release title, Burn Witch, Burn. Based on one of the seminal horror novels of the twentieth century, the film explores the nature of faith, the shifting gender roles in the modern era, and even office politics in wholly unique ways. It is about the collision of the rational modern world with old-world practices that some would call superstitions and others would call magick and ancient spirituality. Above all, it is a film about love and partnership and the power of that bond over all else. Though it is only slowly being rediscovered over recent years, it is a hidden gem well worth seeking out and adding to your autumnal watchlist.

As Richard Matheson told it, he and Charles Beaumont, who both worked for American International Pictures at the time, went out for a drink, and the idea of collaborating on a screenplay came up. They both admired Fritz Leiber’s 1943 novel The Conjure Wife and chose to adapt it with Matheson, who preferred to set the foundations of a story, writing the first half, and Beaumont taking the second half. After finishing their respective pieces, the two worked together to unite them into a single script, which Matheson said was not difficult as they each had similar ways of working. Because the novel had been made into a movie, Weird Woman, in 1944, Universal still owned the property, so the duo wrote the screenplay on spec and presented it to Samual Z. Arkoff and James Nicholson at AIP. The producers thought it would make a great picture, but because the rights had to be bought from Universal, Matheson and Beaumont were paid only $10,000 to split between them. Matheson said that he had no involvement with the picture after that until he saw it in 1962. As was rarely the case for Matheson and films based on his screenplays, he was quite pleased with the final film.

After a prologue with a narrator declaring, over a black screen, that the film is cursed and invoking an incantation to protect the viewers of Burn Witch, Burn, the first spoken words of the film proper tell us everything we need to know about our main character: I DO NOT BELIEVE! Norman Taylor (Peter Wyngard), a professor of sociology, makes it very clear that witchcraft, psychics, superstition, and the like are all nonsense to him and should be to everyone else as well. Taylor has made tremendous strides in his short time teaching at the small but prestigious college where he now works, surpassing many who have been there much longer than he has. A contentious bridge party among several faculty members and their spouses sets the stage for the political environment he has been required to navigate, but Norman’s confidence in his own worldview and his abilities as a professor is unshakable—until he discovers some strange trinkets hidden around the house, even pinned into his clothing. He collects all his findings: vials of dirt from graves, a dried spider in a ceramic container, a brass bell, various bones, and confronts his wife, Tansy (Janet Blair), about them. She makes a starting confession saying, “Isn’t it obvious, I’m a witch.”

There are many films, horror and otherwise, about a crisis of faith, but Burn Witch, Burn interrogates this idea in an unusual way by reversing the trope. Instead of a person whose religious faith is shaken, Norman’s lack of faith is brought into question by the discovery of Tansy’s occult practice. She tells him that she began practicing witchcraft during a vacation the two had taken in Jamaica, in which Norman was in a near-fatal accident, and, after consulting a local practitioner of magic, tried a spell to save him. When this apparently worked, she continued to use the spells when they returned home in order to help advance Norman’s career. Norman’s challenge is that he cannot dispute that he has been surprisingly successful over the past two years at the college, but he is positive that it is due to his own abilities. Horrified that Tansy would get involved in such “nonsense,” he forces her to burn all of it, but in the process, a picture of Norman from her locket falls into the fire.

This is all of no consequence to Norman until he arrives at the college the next day, and his world begins to unravel. He is nearly hit by a delivery truck as he is about to enter the campus, which becomes an ill omen of much more serious perils to come. He is soon confronted by the college dean, who informs him that a female student, Margaret Abbott (Judith Stott), has accused him of sexual assault, which she says he committed over the weekend. The viewer knows this is impossible, as he was home with his wife throughout the weekend, confronting her about her covert religious practices, but Margaret seems absolutely convinced that she is telling the truth. He is also confronted at gunpoint by Margaret’s boyfriend. Through the entire ordeal, Tansy’s words from the day before, “I will not be held responsible for anything that happens because of the loss of my protections,” begin to echo through his mind. His faith in skepticism is clearly shaken.

This all poses the great central questions of the film. Did Tansy’s use of conjure magic help advance Norman’s career and protect him from the political and social perils of his position, or is it all mere coincidence? As the film progresses, Norman seems to become less convinced; the words of Hamlet when he and his friend see his father’s ghost, “There are more things in Heaven and Earth, Horatio, than are dreamt of in your philosophy,” likely cross his mind. Norman experiences a kind of crisis of faith in his own abilities as well. Perhaps his success is not based on his merit but on the unknowable forces placed around him by Tansy. Though the film does not explore this aspect deeply, the question is certainly raised, and his self-confidence is undermined in a powerful sequence that demonstrates how unraveled he has become. Norman tries a bit of conjure magic of his own in a last-ditch effort to find Tansy, who has left their home apparently to sacrifice herself in his place. Inside a crypt, he lights candles and places them in a circle around her picture, as he found in one of Tansy’s spellbooks. Norman is willing to give up a key component of his character in order to be reunited with his beloved. He loves her that much.

This all illustrates the true heart of the film—the deep bond of love between Norman and Tansy. After the hellish day at the college, Norman awakens to find a tape-recorded message from Tansy saying that she has left home for his own protection and intends to die in his place. He relentlessly pursues her with the same instinct of protection and love that drove her to leave. He literally pursues her to the ends of the earth, the ocean shore, where they finally reunite. The combination of Norman and Tansy, the skeptic and the believer, the one devoted to science and the other to what Norman deems a superstition, is an illustration of the power of a bond of true love. Their partnership transcends all else and is more powerful than any hardship, difference of view, and the evil that wishes to destroy them. It brings to mind a verse from the Song of Solomon in the Hebrew Bible: “set me as a seal upon your heart, as a seal upon your arm, for love is strong as death.” I can think of few horror films that so beautifully depict the power of love between two people in such an honest, yet unsentimental fashion. After their ordeal, they return home together to face whatever force has been attempting to destroy them. To preserve the surprises of the film for those who have not seen it, I’ll leave it at that.

Burn Witch, Burn is so lean and tightly paced, with crackerjack dialogue, and great suspense setups that it is shocking that it has fallen so far under the radar all these years. The film plays like one of the top-notch episodes of The Twilight Zone, which is no wonder considering it was penned by two of the best writers to work on the original run of that show. It manages to marry the exploitative qualities of AIP of the early sixties with the class of British and European films of the era, like Black Sunday (1960), The City of the Dead (1960), and The Innocents (1961). Shot in gorgeous black and white under the direction of Sidney Hayers, the film manages to be classy, artful, and thoroughly entertaining all at once. It was also a complete bomb in Britain under its somewhat perplexing title, Night of the Eagle, though an eagle does play a major part in the film’s climax. In the US, it fared slightly better under the title Burn Witch, Burn, though that makes it sound as if it is a movie about Puritan witch hunts, which it most certainly is not. Despite all this, the film garnered a cult following and apparently played in Times Square for ten years from the early sixties into the seventies. Today, it is enjoying the first gasps of a rediscovery thanks to some recent physical media releases from Scorpion Releasing and Imprint Films. Hopefully, its notoriety will continue to grow.

Not only was the film on the cutting edge of culture, or more precisely counterculture, in 1962, but it is extraordinarily relevant today. The subplot involving Margaret Abbott could practically be pulled from a current headline related to the #MeToo movement. Current films like Tár (2022) and After the Hunt (2025) have explored similar complexities of accusation, the need to believe victims, and evidence in various situations. There is a strong undercurrent of the nature of masculinity, of both the healthy and toxic varieties, that runs through the film. And then there is the ever-present clash between belief and unbelief that we as humans have baked into so many of our stories for generations.

Within the past few years alone, horror films that examine various aspects of faith or lack thereof are innumerable, including The Witch (2015), Hereditary (2018), The Conjuring Films (2013-2025), Heretic (2024), and many more tackle religion head-on, while many more weave it into their subtext. The nature of belief and nonbelief remains unendingly fascinating to people, and the bookends of the film are a testament to that fact. The film opens with the emphatic statement “I do not believe.” It ends with a question posed by the filmmakers meant to be pondered after watching Norman’s belief in nonbelief unravel: “Do you believe?” For some, the answer is a simple “yes” or “no.” For others, it is much more complicated. Either way, it is a question worth examining, and few films do so with the introspection, style, and flair of Burn Witch, Burn.

Burn Witch, Burn is currently streaming on Prime Video and the Roku Channel.

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Stephen King. Emma Stone. Yorgos Lanthimos. Justin Long. Chris Stuckmann. Maika Monroe. This week’s new horror lineup is packed with big names and exciting titles, from the at-home debut of The Long Walk and Good Boy to the theatrical release of Shelby Oaks and Bugonia.

Here’s all the new horror released from October 20 – October 26, 2025!

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

The Long Walk is now available on Digital at home from Lionsgate.

Based on the first novel Stephen King ever wrote, Francis Lawrence (I Am Legend, Constantine) directs the harrowing film from a script by JT Mollner (Strange Darling).

“In a dystopian United States ruled by a totalitarian regime, 50 young men enter an annual walking contest in which they must maintain a speed of at least three miles per hour or risk execution. The contest ends when only one walker remains alive.”

Cooper Hoffman (Licorice Pizza) and David Jonsson (Alien: Romulus) lead an ensemble that includes Garrett Wareing (“Manifest”), Tut Nyout (“The Witcher: Blood Origin”), Charlie Plummer (The Clovehitch Killer), Ben Wang (Karate Kid: Legends), Roman Griffin Davis (Jojo Rabbit), Jordan Gonzalez (“Pretty Little Liars: Origin Sin”), and Joshua Odjick (Welcome to Derry). Mark Hamill (The Life of Chuck), Judy Greer (Halloween), and Josh Hamilton (“The Walking Dead”) also co-star.

Meagan Navarro wrote in her review, “Despite an unwavering eye on the dour and ruthless death march and all its grotesqueries, it’s the pervading camaraderie and heart, as well as a tremendous cast, that solidifies this as one of the best King adaptations yet.”

Justin Long (Barbarian) and Kate Bosworth (Superman Returns) lead horror-comedy Coyotes from director Colin Minihan (Grave Encounters), now available at home.

In the film, “When a scorching wildfire hits the Hollywood Hills, a family is stranded as their neighborhood is destroyed and their home becomes a blazing prison. Meanwhile, a pack of predatory coyotes disoriented by the fires tighten their perimeter around the house.

“With collapsing roads and no electricity, the family must rely on their courage, resilience, and love for one another to survive both the inferno and the snarling threat outdoors.”

Mila Harris (No Exit), Katherine McNamara (“Shadowhunters”), Brittany Allen (“Dexter: Original Sin”), Keir O’Donnell (Dawn of the Planet of the Apes), and Norbert Leo Butz (The Exorcist: Believer) round out the cast of the killer coyotes horror movie.

Tad Daggerhart (The Expendables 4) and Nick Simon (The Pyramid) wrote the script.

Screambox has been celebrating Halloween all month long with Bloody Disgusting’s 31 Nights of Halloween, a selection of 31 horror movies hand-picked and curated by the Bloody Disgusting team. But that’s not the only Halloween treat from the all-horror streaming service this year, as brand new original Bloodsuckers and the Grimoire is now streaming.

Bloodsuckers and the Grimoire is a modern supernatural horror-fantasy soaked in cursed legacy, ancient monsters, and spellbound chaos. For fans of Evil Dead 2 and The Lost Boys, this is a story about bloodlines and choices, the monsters we inherit… and the ones we become.

The film is available on traditional VOD outlets and streaming only on Screambox.

The horror film follows Oliver, a college senior, who inherits his estranged father’s secluded home and discovers a dark reality of witchcraft, vampires, and a devil, after unlocking a powerful grimoire that brings these malevolent forces to life, leading to a battle for his soul.

The Screambox library features over 700 horror films with new titles releasing weekly, including originals and exclusives you won’t find anywhere else. Sign up this Halloween!

Chain Reactions, a cinematic deep dive into the profound impact and lasting influence of The Texas Chain Saw Massacre, is now available on VOD from Dark Sky Films.

Master of horror Stephen King, actor/comedian Patton Oswalt (Ratatouille, Ghostbusters: Frozen Empire), Japanese filmmaker Takashi Miike (Audition, Ichi the Killer), Australian film critic Alexandra Heller-Nicholas, and director Karyn Kusama (Jennifer’s Body, The Invitation) each discuss their memories and experiences with Tobe Hooper‘s 1974 genre-defining classic.

By crafting a dynamic dialogue between contemporary footage and never-before-seen outtakes and delving into personal impressions triggered by distinct audiovisual formats, the documentary goes to the heart of how a low-budget independent film wormed its way into our collective nightmares and permanently altered the zeitgeist.

Alexandre O. Philippe (The People vs. George Lucas, 78/52, Memory: The Origins of Alien) directs.

Daniel Kurland wrote in his review, “Chain Reactions is a love letter to Texas Chain Saw Massacre and its grander impact. It’s also such a glowing celebration of the power of cinema and its ability to open minds and bring people to new worlds, as glib as that may seem.”

Audition and Tokyo Gore Police star Eihi Shiina reunites with Tokyo Gore Police filmmaker Yoshihiro Nishimura for Holy Mother, a bonkers new movie now available on VOD.

Variety describes the film from Void Signal as “a gory showdown involving a silent trans woman fighting a brutal organization with chainsaws, lasers, and non-stop carnage.”

Here’s the full synopsis: “In a dystopian future Japan, a Chinese yakuza gang battles a fascist regime hellbent on erasing those deemed ‘inauthentic.’ Amidst the carnage, a mute woman with pink hair and miraculous healing powers is hailed as the “Holy Mother”—but salvation comes with a side of mutant monsters, sexual creatures, and wall-to-wall gore.”

Yoshihiro Nishimura is known for his gory blasts of insanity including Tokyo Gore Police and Mutant Girls Squad, so we can expect that Holy Mother will be cut from the same cloth.

A local urban legend unleashes a sinister presence in the new found footage horror movie from writer/director Danny Villanueva Jr., What Happened to Dorothy Bell?

Dark Star Pictures brought the film to VOD outlets this past Tuesday.

In What Happened to Dorothy Bell?, “Ozzie Gray (Asya Meadows) is a young woman confronting her own mental health struggles. As Ozzie begins to unpack her trauma, she uncovers unsettling truths about a violent incident from her childhood—when her grandmother, Dorothy Bell, attacked her under mysterious circumstances.

“Her investigation leads her back to a haunted library in her hometown, long tied to a sinister urban legend. There, Ozzie must face buried secrets and an unnerving supernatural presence.”

A Nightmare on Elm Street 4: The Dream Master and The Dream Child star Lisa Wilcox and Michael Hargrove (Nia DaCosta’s Candyman) star alongside Steven Alonte (The Cathedral), Sargon Odicho, Arlene Arnone, Yera Constable, and J. Anthony Ramos.

Maika Monroe (Longlegs) and Mary Elizabeth Winstead (Birds of Prey) lead the cast of Hulu’s The Hand That Rocks the Cradle, a fresh new take on the classic 1990s thriller from director Michelle Garza Cervera (Huesera: The Bone Woman).

The new movie is now streaming on Hulu and Disney+.

Mary Elizabeth Winstead stars as Caitlin Morales, an upscale suburban mom who brings a new nanny, Polly Murphy (Maika Monroe), into her home, only to discover she is not the person she claims to be. Watch the trailer for The Hand That Rocks the Cradle below.

Raúl Castillo, Martin Starr, Mileiah Vega, Riki Lindhome, and Shannon Cochran also star.

The Hand That Rocks the Cradle is written by Micah Bloomberg based on a screenplay by Amanda Silver. The producers are Michael Schaefer, Mike LaRocca, and Ted Field, and the executive producers are Michael Napoliello, Maria Frisk, and Seth William Meier.

“The studio gave me all the chances to recreate the whole thing and build a new story, new characters, with its own heart. I think that was the best way to honor the original, not try to redo it,” Michelle Garza Cervera told PEOPLE. “We build a whole different kind of thriller.”

The Queen of Black Magic and Dancing Village: The Curse Begins director Kimo Stamboel is back with Indonesian zombie movie The Elixir, and it’s now streaming on Netflix.

In the film, “An elixir unleashes the undead in Wanirejo Village. A family at odds with one another must unite and fight to survive as their hometown collapses.”

Mikha Tambayong, Eva Celia, Marthino Lio, Dimas Anggara, Varen Arianda Calief, Ardit Erwandha, and Claresta Taufan star in Kimo Stamboel’s The Elixir.

“Horror is a proven audience favourite in Thailand and Indonesia. But when it comes to zombie horror, demand has been met by Korean, English, and foreign-language titles,” Malobika Banerji, senior director of content for Southeast Asia at Netflix, said recently. “We wanted to take the thrill of zombies and fuse it with local storytelling, culture, and authenticity.”

Director Yorgos Lanthimos (Poor Things, The Killing of a Sacred Deer) reteams with Emma Stone for new movie Bugonia, now playing in limited theaters from Focus Features.

The genre-bending black comedy sci-fi thriller expands wide in theaters on October 31.

Emma Stone stars as the high-powered CEO of a major company who is kidnapped by two conspiracy obsessed young men, played by Jesse Plemons and Aidan Delbis, that are convinced she is an alien intent on destroying planet Earth.

After the pair chain her in a basement and come face-to-face with the enemy, the two sides — the tinfoil-hat basement dwellers and the steely, soulless corporate executive — soon find themselves pitched in a battle as viscerally unpredictable as it is unexpectedly moving.

Will Tracy (The Menu) wrote the script, based on Jang Joon-Hwan’s 2003 South Korean film Save the Green Planet. Ari Aster (Hereditary, Midsommar) is among the producers on the project, which also include Lanthimos and Stone. The cast also includes Stavros Halkias as a local police officer and Alicia Silverstone as Plemons’ character’s mother.

Written and directed by YouTube film critic Chris Stuckmann in his feature debut, the horror movie Shelby Oaks is now playing in theaters nationwide from NEON.

Drawing comparisons to The Blair Witch Project and Hereditary, the supernatural horror movie incorporates found footage elements into a traditional narrative.

In Chris Stuckmann’s Shelby Oaks, “A woman’s obsessive search for her missing sister leads her into a terrifying mystery at the hands of an unknown evil.”

Of particular note, Shelby Oaks is the highest-funded horror film in Kickstarter history with over $1.3 million raised. Following the campaign, Mike Flanagan joined the project as an executive producer via his Intrepid Pictures. Camille Sullivan, Brendan Sexton III, Michael Beach, Robin Bartlett, Keith David, and Derek Mears star in the horror movie.

Good Boy, the theatrically-released haunted house movie told from the perspective of a dog, is now available on Digital at home for rental ($9.99) or purchase ($19.99).

Ben Leonberg makes his feature directorial debut from a script he co-wrote with Alex Cannon.

In the film, a loyal dog moves to a rural family home with his owner Todd, only to discover supernatural forces lurking in the shadows. As dark entities threaten his human companion, the brave pup must fight to protect the one he loves most.

Indy the dog stars alongside Shane Jensen, Arielle Friedman, and Larry Fessenden.

The film scared up $6.6 million at the box office.

Eli Roth’s new company The Horror Section is back on the big screen this weekend with Dream Eater, a found-footage chiller from the Canadian genre trio behind Blind Luck Pictures.

Co-written and co-directed by Jay Drakulic, Mallory Drumm, and Alex Lee Williams and starring Williams and Drumm, the film is now playing in 250-300 theaters nationwide.

Blending raw, documentary-style realism with escalating tension and scares, Dream Eater delivers an unshakable nightmare that lingers long after the final frame – tailor-made for today’s watch-through-your-fingers audiences.

The story follows Mallory (Mallory Drumm), a documentary filmmaker, who heads to a remote cabin in the mountains with her boyfriend Alex (Alex Lee Williams) to document his violent parasomnia. As his condition worsens, Mallory suspects something more sinister may be at play. As the nightmares escalate, so do the scares, right through the final frame.

“I vividly remember every movie that truly terrified me. I remember standing on 25th street in New York City when my friend Kevin Foxe handed me a VHS of a film he had produced, which had just gotten into Sundance, called The Blair Witch Project, and that night I had to sleep with the lights on,” Roth said in a statement. “I remember watching a screener of Paranormal Activity during the filming of Inglorious Basterds in my apartment in Berlin, and I was so freaked out that I had to give it to Quentin to traumatize him as well.

“And then there was Dream Eater, watching this movie alone, in my house, and turning on the lights because it was that scary. It has been so long since I have been truly terrified by a film to such a degree that I had almost forgotten what it felt like. What these three filmmakers have pulled is not just remarkable on a low-budget DIY filmmaking level; they achieve the holy grail of horror, which is to make a movie that absolutely terrifies you. I was so blown away that I sent the film to everyone at The Horror Section, and we all agreed that this is ‘the one.’ I believe Dream Eater will be the scariest film of the year and truly has the potential to break out to be the next Paranormal Activity or The Blair Witch Project.”

From Bleecker Street, erotic horror thriller Bone Lake is now available at home.

“A couple’s romantic vacation at a secluded lakeside estate is upended when they are forced to share the mansion with a mysterious and attractive couple. In this darkly hilarious and seductive horror story, a dream getaway spirals into a nightmarish maze of sex, lies, and manipulation, bringing terrifying secrets to light and triggering a bloody battle for survival.”

Marco Pigossi (“Gen V”), Maddie Hasson (Malignant), Alex Roe (Rings), Andra Nechita (“Fatal Attraction”), Eliane Reis, and Clayton Spencer star in the horror film.

Mercedes Bryce Morgan (Spoonful of Sugar) directs a script by Joshua Friedlander. 

George A. Romero’s daughter Tina Romero puts her own unique spin on the zombie apocalypse in Queens of the Dead, and the horror-comedy is now playing in theaters.

In Queens of the Dead, “a zombie apocalypse breaks out in Brooklyn on the night of a giant warehouse party, where an eclectic group of drag queens, club kids, and frenemies must put aside their drama and use their unique skills to fight against the brain-thirsty undead.”

Katy O’Brian (Love Lies Bleeding), Margaret Cho (Fire Island), Jack Haven (I Saw The TV Glow) and Cheyenne Jackson (American Horror Story) star. The cast also includes Nina West (Drag Race), Jaquel Spivey (Mean Girls), Tomas Matos (Fire Island), Quincy Dunn-Baker (No Hard Feelings), Becca Blackwell (Bros), Shaunette Renée Wilson (Black Panther), Dominique Jackson (Pose), Riki Lindhome (Knives Out), and Eve Lindley (Bros).

“The zombie apocalypse is such a rich sandbox to play in when it comes to social commentary. I can’t be my dad’s daughter without making an attempt at saying something with zombies,” Romero recently told EW. “I did want this to be a film in which I am paying homage to the world and the monster he created, but I’m also introducing my own voice.”

Romero continued, “It’s very much not a film he would make, but it is using his vocabulary and is playing by his rules. As far as the queer element, on one hand, I just feel like the gays need a zombie film. It’s time that we get to have a big gay zombie movie.”

No amount of followers can protect an influencer from a masked slasher in Glamping.

The Tubi Original horror thriller is now streaming on Tubi.

Niki Koss directs Glamping from a script written by Alexa Garster, based on a short film by Rosemary Idisi, who won Tubi’s first-ever Stubios Greenlight Contest.

In Glamping, “An idyllic weekend getaway takes a terrifying turn when a masked killer disrupts the trip of a wannabe influencer and her friends in Big Bear.”

Rosmeary Idisi stars with Joseph Purcell, Geffen Aviana, Chris Angelis, David Hernandez, Isabella Ward, Annie Grant, Angelique Chapman, and Ian McKellan.

Cambodia’s official Oscar entry for Best International Film at the 98th Academy Awards is the horror movie Tenement, and it’s now available on VOD outlets from Dark Sky Films.

In the film, “Following the death of her mother, a Japanese-Cambodian manga artist decides to travel to Cambodia along with her boyfriend, in a quest to find out more about the country her mother fled. She reunites with lost family and moves into the apartment where her mother used to live. As she tries to find out more about her past, she’s confronted with strange events within the building that hint at something darker going on with the residents.

“What first appears as over-caring considerations from the community towards the newcomers soon turns out to be part of a ritual. The residents are preparing a new host for the building’s evil spirit, before it starts killing them once again.”

Tenement was written and directed by Inrasothythep Neth & Sokyou Chea. Thanet Thorn, Yoshihiko Hosoda, Socheata Sveng, Mony Rous, and Katsuya Maiguma star.

During the work week in Barcelona, 1.3 million passengers a day travel along the 76 miles of the metro. Some never see the light of day again, and the rest don’t want to know…

Last Stop: Rocafort St. is now available on VOD from Film Movement.

The Spanish horror thriller is directed by Luis Prieto (Kidnap) from a script he co-wrote with Iván Ledesma (Xtreme) and Ángel Agudo (Apocalypse Z: The Beginning of the End).

Here’s the official synopsis: “Newly assigned to work at Rocafort St., one of Barcelona’s quietest subway stops, Laura quickly realizes something is deeply wrong beneath the tracks. Whispers of an urban legend swirl sinisterly around the station, and she soon finds herself haunted by a string of unexplained deaths all pointing to Rocafort.

“When she enlists a disgraced ex-cop to help uncover the truth, the mystery turns deadly. Whatever evil lurks inside the labyrinth of tunnels preys unrelentingly on fear.”

Natalia Azahara, Javier Gutiérrez, and Valeria Sorolla star in the horror film with Xavi Sáez, Francesca Albiol, Aimar Vega, Tatín Revenga, and Celso Bugallo.

The post Friday, October 24 – These 17 New Horror Movies Released This Week appeared first on Bloody Disgusting!.

The Curse of Bridge Hollow scribe Todd Berger is carving up Gen X satirical slasher The Big Kill, and THR reports that it’s found its stars.

Scream stalwart Skeet Ulrich, Alicia Witt (Longlegs, Urban Legend), and Pete Holmes (Woman of the Hour) will star in the film, which is said to pay tribute to Gen X and is set to popular 1990s songs.

The Big Kill follows a “group of longtime friends and their families as they share a remote cabin following a funeral. When a killer starts hunting the group, the friends are forced to confront the darkest elements of their past.”

The trio joins an ensemble cast that includes Jolene (Star Trek: Enterprise) and Megan Suri (Companion, It Lives Inside), Jon Heder (Napoleon Dynamite),  Natasha Leggero (The Do-Over), Morgan Jay (St. Denis Medical), Trevor Wallace (Drugstore June), and Steph Tolev (Tires).

Berger directs the film, which just wrapped production, from a script by Emmy-winning Daily Show writer Daniel Radosh.

Producers include Live Nation Studios and Mason Novick for MXN Entertainment. Ryan Kroft executive produces for Live Nation Studios.

“Horror plus comedy set to ’90s music equals a resounding yes for Live Nation Studios,” Live Nation Studios head of film and television Kroft told THR. “With this fan-favorite cast and phenomenal producing team, The Big Kill is destined to be a horror hit.”

Berger added, “When I saw Scream in the theater as a teenager, it blew me away because it was a slasher movie filled with people my own age, talking the way we actually talked. But then, over the years, I noticed something about the protagonists of slashers — they weren’t aging like the rest of us. So now, to get to make a horror comedy about fellow Gen Xers with kids and mortgages and ruminations on existential dread, and to do it with an incredibly witty script and amazing cast, is a dream come true.“

Stay tuned for more on this horror comedy filled with ’90s jams as it arrives.

The post Skeet Ulrich, Alicia Witt, and More Join Gen X Satirical Slasher ‘The Big Kill’ appeared first on Bloody Disgusting!.

The best thing about The Elixir is its determination to hold almost nothing back. The new Netflix original zombie film from Indonesian horror mainstay Kimo Stamboel (The Queen of Black Magic) is well aware that it’s playing in a well-trodden subgenre, and to its credit, it never tries to reinvent the wheel of zombie cinema. Instead, it aims for visceral intensity, the strength of its ensemble, and a relentless approach to hitting just about every zombie movie high note Stamboel and his collaborators can imagine. 

Unfortunately, as charged with energy and brutality as The Elixir is, it’s also a film that stretches itself so far as to wear out its welcome. With a runtime of nearly two hours and a determination to blow through as many zombie ideas as possible, Stamboel’s movie can deliver on frights, or it can deliver on emotion, but it can rarely do both because it’s simply trying to do too much. It’s a kitchen sink zombie movie, and that both works in its favor and to its detriment.

The “elixir” of the title is a new experimental herbal drug concocted by a family-owned Indonesian supplement company, which might be on the verge of folding. Its owner, the aging Pak (Donny Damara), seems prepared to pack it in, sell the company, and enjoy his retirement, much to the delight of his daughter Kennes (Mikha Tambayong), son-in-law Rudi (Dimas Anggara), slacker son Bambang (Marthino Lio), and young wife Karina (Eva Celia), who also happens to be Kennes’ former best friend before she caught Karina sleeping with her father. 

Abadi Nan Jaya. (L to R) Mikha Tambayong, Donny Damara, Eva Celia in Abadi Nan Jaya. Cr. Courtesy of Netflix © 2025

Yeah, it’s a Succession-style mess, and things get messier when Pak, in possession of this amazing new elixir that makes him look and feel years younger, decides he might not sell after all. But the family barely has time to worry about that, because they soon learn about the elixir’s side effects. What feels at first like eternal life is soon a one-way ticket to becoming undead, and the family will have to work together if they hope to survive without literally eating each other alive. 

This is an opportunity to play out a zombie outbreak from its very roots to its fever pitch climax, as the effects of the elixir trigger an infection that spreads via bite throughout the family’s compound and the neighboring village. As the family spreads out amid the chaos, Stamboel fragments the story into various threads, from zombie sieges to chase scenes to all-out carnage, as clueless bystanders fall into the meat grinder that is an ever-increasing undead horde.

When Stamboel is just doing this, playing out a zombie movie in a visually intriguing rural setting with characters in a constant state of overwhelm, The Elixir works like a charm. The film’s zombies, all jerky limb movements and clicking, snarling mouth sounds, are both scary and remarkably compelling character studies, displaying something more like ecstasy than simple lizard brain appetite. They smile and gasp in delight as they pursue their prey, their bodies seemingly puppeted by an unseen god of mischief, and the more they multiply, the wilder the carnage. From a scene shot from the perspective of a fast-crawling corpse with no legs to a breathtaking attack on a truck packed with passengers, Stamboel’s sequences of carnage prove he’s lost none of his intensity or knack for creative violence. 

But even with the raw cinematic power at play here, complete with some great gore effects, The Elixir starts to wear on you fairly quickly when it becomes clear that the meatier concepts teased by the premise really aren’t going anywhere. This is a film that starts with a group of rich people arguing over the family fortune, who are then left to sort out their differences while avoiding being eaten alive, but it takes the most predictable path possible to dealing with this drama, while offering only glancing commentary on the metaphors at work. Even when the family crosses paths with the rural working class people around them, The Elixir isn’t all that interested in examining these dynamics, nor is it especially interested in how all of this fits into a narrative built on a pharmaceutical concoction designed as a commercial product meant to be sold and marketed to the vain and the selfish. These things feel more like window dressing than actual moving parts of the storytelling. 

Which would be fine if The Elixir forged ahead with its more visceral tendencies and didn’t look back, but that’s not what happens. This film is nearly two hours long, and significant stretches of it proceed without any carnage at all, as Stamboel lets his characters breathe, make big emotional declarations, and, well, pretty much fill out the most predictable character arcs possible. There’s nothing wrong with the ensemble here, and Celia and Tambayong are particularly good, but the material they’re given often feels thin, rote, and worst of all, a drag on the action. After a few of these emotional breaks for characters to work out their differences, you start to feel the tug of their weight as they drag the rest of the film down. It’s not enough to completely sink the ship, but you do get the sense that The Elixir is taking on some water as it tries to steam ahead to its conclusion. 

Between the zombie gore, the setpieces, and the multiple subplots each getting their own emotional payoff, The Elixir becomes one of those horror films that’s just throwing anything and everything at the wall, hoping to hit all the expected zombie cinema targets with at least a glancing blow. The trouble is that, for every high, there seems to be a low waiting right around the corner, and the movie’s efforts to be everything all at once leave it stranded between triumph and disaster.

The Elixir is now streaming exclusively on Netflix.

Abadi Nan Jaya. Donny Damara in Abadi Nan Jaya. Cr. Courtesy of Netflix © 2025

The post ‘The Elixir’ Review – Netflix’s Zombie Movie From Kimo Stamboel Takes Kitchen Sink Approach appeared first on Bloody Disgusting!.