Just how vicious is the killer chimp in Primate? The film’s official rating from the MPA promises a brutal fight for survival ahead.

Johannes Roberts (47 Meters Down, The Strangers: Prey at Night) directs Primate, which is rated “R” for “strong bloody violent content, gore, language, and some drug use.”

Find out just how violent it is when the full-body experience opens in theaters on January 9, 2026.

The suspenseful horror movie follows a group of friends’ tropical vacation as it turns into a terrifying, primal tale of horror and survival. The cause? A beloved family pet, Ben, has violently turned against them.

Roberts previously told Bloody Disgusting, “You needed to fall in love with Ben to a certain degree and then be terrified of him. So we really had to hit that sweet spot of how old he was, how scary-looking he was, and all that. An awful lot of thought process and design went into Millennium FX’s side to create that ideal chimpanzee.”

I wrote in my Fantastic Fest review, “Roberts’ latest is a lean, mean horror throwback, wearing its influences on its sleeves while managing to inject enough freshness into the familiar concept through slick technical precision and a constant mounting of dread and death. It’s also not without humor. Primate may take its crazed beast with utmost seriousness, but it’s not afraid to get playful with its concept either.”

Johannes Roberts co-wrote the screenplay for Primate with Ernest Riera.

Johnny Sequoyah, Victoria Wyant, and Oscar®-winning Troy Kotsur (CODA) star.

Primate’s R-rating also heralds a new clip that sees Ben terrorizing family member Lucy (Sequoyah) below.

The post ‘Primate’ Rated “R” for Violent Bloody Content and Gore appeared first on Bloody Disgusting!.

What a year for horror. 2025 draws to a close with no shortage of box office smash hits, legacy sequels, reboots, crowd-pleasing faves, and indie gems thanks to horror’s continued dominance; the genre was never in short supply this year. 

So much so that it can be daunting to keep up, especially with monster theatrical releases like Final Destination Bloodlines, the sixth installment of the film series. Audiences were reintroduced to Death’s designs as the sequel adhered to the familiar formula and delivered a touching farewell to the late horror legend Tony Todd. 

Vera Farmiga and Patrick Wilson took their final bow as Lorraine and Ed Warren in The Conjuring: Last Rites, another box office juggernaut that guaranteed the Conjuring Universe will continue in some form. Director Dan Trachtenberg continued to push the Predator franchise forward with not one but two new entries: Predator: Killer of Killers and Predator: Badlands, both highly entertaining entries that continue to build excitement for wherever Trachtenberg shepherds this series next. 

It wasn’t just familiar IP that dominated the genre space this year. Originals like Bring Her Back and Together, at complete opposite ends of the spectrum in tone, delivered visceral chills and thrills, as an example, while Companion deftly shifted genres throughout for an unpredictable sci-fi horror mashup. That doesn’t even touch upon standout genre films like No Other Choice and Bugonia, both of which lightly touch on horror but fit more comfortably in the thriller or sci-fi space.

All of which to say that 2025 may have disappointed in a variety of ways, but horror remains the reliable exception. 

*Keep up with our ongoing end of the year coverage here*

Without further ado, here are the top fifteen best horror movies of 2025.

15. Hallow Road

Hallow Road 2025 horror

The latest from Under the Shadow filmmaker Babak Anvari, released as part of a Halloween-night theatrical double feature only, plunges stars Rosamund Pike and Matthew Rhys into an anxiety-inducing race against the clock as a tragic accident sets up one intense moral conundrum. Hallow Road frames the frantic parents’ plight almost entirely from within their car as they speed to reach their daughter in the middle of the night. Anvari’s minimalist approach serves a dual purpose here, palpably capturing the psychological intensity of its nightmarish scenario and weighty questions while honoring and modernizing the ancient oral traditions tied to its specific brand of horror. The psychological, real-time thriller gives way to surprising folk horror, revealing an inventive cautionary tale anchored by two incredible lead performances.

14. Keeper

Director Osgood Perkins leaves the splatstick mania of this year’s The Monkey behind for a simple but haunting folk horror chamber piece penned by Nick Lepard (Dangerous Animals).  Liz (Tatiana Maslany) and Malcolm (Rossif Sutherland) set off for a romantic getaway in the woods, one riddled with red flags, before the strange hallucinations and spectral encounters even set in. As such, Maslany, who wowed for her carefree spirit in The Monkey, turns in an even more impressive and gripping performance here. The director’s signature use of background scares prevails in the early half, but Perkins builds this bizarre pressure cooker until it explodes in an inspired and satisfying finale, one owned by a primitively fierce Maslany and some inspired creature designs. While this grim fairy tale doesn’t forge new ground with its domestic themes, Perkins’ strong grasp of surreal imagery and surgical precision with dread ensures this simple folk tale sticks with you.

13. Beast of War

Spoiler alert for this list: I’m beyond delighted that 2025 delivered not one, but two worthy shark horror movies. The first of which is the latest horror movie from Wyrmwood and Sting filmmaker Kiah Roache-Turner. His 1942 Australian war movie draws inspiration from the true account of the HMAS Armidale, trapping soldiers at sea with one ravenous shark. Cinematographer Mark Wareham infuses Beast of War with a rich visual language that not only elevates the production value but also lends a rich Gothic style, enhanced by bold hues and dense fog. Anchoring this atmospherically shot war thriller is Leo (Mark Coles Smith), the kind-hearted protagonist harboring a traumatic past with the sea. But it’s the behemoth animatronic shark, one employed strategically to thrilling success, that ultimately steals this stunner.

12. Dust Bunny

Mads Mikkelsen in the Wicked Fairy Tale/Horror film, DUST BUNNY, a Roadside Attractions film. Photo courtesy of Roadside Attractions.

“Hannibal” creator Bryan Fuller’s charming feature directorial debut blends action, adventure, horror, and heart in a dazzling gateway genre-bender. Sophie Sloan instantly worms her way into your heart as 10-year-old Aurora, the adorably precocious young girl tormented by a dust bunny turned monstrous beast that lives under the floor beneath her bed. When she turns to her neighbor for help, an unnamed hit man (Mads Mikkelsen), magic (and a body count) ensues. It’s the type of whimsical tale filled with quippy dialogue and zingers, an adorably vicious monster, boundless imagination, and a tremendous cast fully committed to the wacky scenarios Dust Bunny demands. It’s feel-good cinema at its finest, wholesome enough for the whole family but with just enough sharp teeth to entice budding horror fans into the genre.

11. A Desert

Director Joshua Erkman’s feature debut presents a captivating and stylized blend of neo-noir and horror via a dusty desert road trip through the American Southwest. A photographer (Green Room’s Kai Lennox) sets out to revive his career by capturing abandoned roadside structures, but instead finds himself in the crosshairs of a volatile couple. 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 permeate this moody thriller that builds to an appropriately grim finish. 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. 

10. Presence

It’s not the ghost that unnerves in this unique POV haunted house tale, but real-world horror that slowly reveals itself in the latest from Unsane director Steven Soderbergh and screenwriter David Koepp (Jurassic World Rebirth). 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 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 the pseudonym Peter Andrews, wields the camera in breathtaking ways that infuse the incorporeal character with personality. There are plenty of skeletons lurking in this haunted suburban home, the type of which unsettles before breaking your heart. 

9. Heart Eyes

The chemistry sizzles in this slasher/romcom hybrid. 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, ensuring that the gore hits just as hard as the infectious romance 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.

8. Dead Talents Society

Director John Hsu (Detention) delivers the most vibrant and endlessly charming horror-comedy of the year with Dead Talents Society, a much stronger answer to Beetlejuice than its recent sequel. It follows the recently deceased Rookie (Gingle Wang) as she shyly tries to navigate life as a ghost. That means learning how to scare the living, as ghosts who don’t fade away permanently. The Rookie teams with tenured diva Catherine (Sandrine Pinna) to learn the ropes before she dissipates for good, 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 flown far too under the radar for my liking.

7. It Ends

Writer/Director Alexander Ullom’s feature debut became available for rent via Letterboxd Video Store only this month after its SXSW debut, but expect a much bigger release in 2026. Ullom nestles an existential crisis within his genre-bending road trip, which he’s aptly dubbed his “horror hangout” movie. In it, four recent college grads set out for one last hurrah before life takes them on diverging paths, but a short excursion turns into a nightmare when they find themselves trapped on a never-ending road. The twist on the road trip movie captures a universal fear, that anxiety-inducing transition into full-blown adulthood, where we’re all expected to become responsible contributors to society. It’s a vibe movie that shifts through a variety of genres, ultimately settling on an authentic form of catharsis, one that instantly makes Ullom one to watch.

6. The Long Walk

Tut Nyuot as Baker, Ben Wang as Olson, Jordan Gonzalez as Harkness, Charlie Plummer as Barkovitch, Joshua Odjick as Parker, Cooper Hoffman as Garraty, David Jonsson as McVries in The Long Walk. Photo Credit: Murray Close

Director Francis Lawrence and Strange Darling filmmaker JT Mollner capture the bleak pessimism and bruising brutality of Stephen King’s novel, but never without losing hope in their emotionally devastating adaptation. Despite an unwavering eye on the dour and ruthless death march and all its grotesqueries, it’s the pervading camaraderie and heart that solidifies this as one of the best King adaptations yet, in large part due to the tremendous ensemble cast. Cooper Hoffman (son of late actor Philip Seymour Hoffman) and Alien: Romulus breakout David Jonsson stand out in a talented group of young men, all portraying participants in a lethal annual event under an authoritarian regime. The friendships forged on their death march, combined with Mollner’s smart deviations from the source material, ensure this dystopian nightmare never loses its potency or its poignancy.

5. Dangerous Animals

Jai Courtney delivers an electric, career-defining performance as Captain Tucker, a disarming yet sadistic serial killer who feeds his victims to sharks while capturing the carnage on camera. It’s a concept that breaks from the standard shark thriller format, one that puts lead heroine  Zephyr (Hassie Harrison) through the wringer. Director Sean Byrne (The Devil’s Candy, The Loved Ones) and screenwriter Nick Lepard deliver a high-stakes battle of wits and brute force in an intense cat-and-mouse game, one that underlines that man remains far more dangerous than the ocean’s most infamous predators. Dangeous Animals opts to keep the sharks real, blending in captured footage featuring a variety of species with beautiful underwater photography and embellished digital details that give a sense of lived-in realism. Byrne walks the razor-thin line of nihilism without ever losing heart or humor, made unforgettable by Courtney’s scene-stealing performance.

4. 28 Years Later

Jamie (Aaron Taylor-Johnson) and his son Spike (Alfie Williams) in Columbia Pictures’ 28 YEARS LATER.

Director Danny Boyle and screenwriter Alex Garland took a far more unexpected path with their trilogy starter set, you guessed it, 28 years after the initial outbreak that left the British Isles permanently quarantined. 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. Instead of a sensory onslaught of infected terror, though, Boyle and Garland instead opt for introspection and empathy, with a profoundly cathartic and moving third act that finds beauty in death. 

3. The Ugly Stepsister

‘The Ugly Stepsister’

Norwegian writer and director Emilie Blichfeldt upends the Disney-fied vision of Cinderella for a much darker, Grimm style retelling in her enthralling feature debut, getting 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.

2. Weapons

Filmmaker Zach Cregger‘s sophomore effort exceeded beyond horror audiences and entered the mainstream zeitgeist this summer thanks to its unpredictable narrative structure, mysterious marketing strategy, Amy Madigan‘s standout character Aunt Gladys, and an attention-grabbing running pose that quickly achieved meme status. A classroom of elementary school children, all save for one, disappearing into the night at 2:17 am without explanation is merely the opening catalyst for the methodically unfurling insanity. Cregger employs an ambitious narrative structure broken down through chapters, each told from a different perspective through an incredible ensemble cast, corraling a variety of themes into a cohesive, yet wildly entertaining journey that builds to one over-the-top finale. Themes of alcoholism, grief, child abuse, and more collide with modern metaphors surrounding contemporary suburbia, without ever losing a biting sense of humor or an ability to catch audiences off guard.

1. Sinners

‘Sinners’

Few films made an impact this year quite like writer/director Ryan Coogler’s first foray into horror, evidenced by its box office staying power since its April release and an ongoing slew of awards nominations and recognition. That includes the distinction of earning the first “A” Cinema Score. It’s not the horror that unites audiences along with Sinners’ densely packed themes and worldbuilding, but the music. Led by Michael B. Jordan, who turns in a career-best performance as twins Smoke and Stack, this ensemble cast soars in a dizzying period epic that sets a juke joint as the center stage for a siege of vampires desperate to drain them dry of life and culture. It’s the characters that provide most of the worldbuilding, and Ryan Coogler’s writing ensures their dialogue is as instrumental to fleshing out this complex world as the setting itself. Gorgeous cinematography, lived-in characters, and a soulful soundtrack connect a sprawling period drama to an energetic horror blockbuster in ways that no one could have predicted, not even Warner Bros. The well-trodden vampire subgenre gets a welcome shot of adrenaline with this year’s biggest stunner.

The post Bloody Disgusting’s Top 15 Best Horror Movies of 2025 appeared first on Bloody Disgusting!.

Anna and the Apocalypse held its world premiere at Fantastic Fest in 2017, and it immediately made its mark as a rather unique piece of entertainment.

A Scottish horror/comedy – a zom-com, to be more specific – that’s also a musical and a coming-of-age tale? A difficult combination in the wrong hands, but the filmmakers were able to shape it into something special that holds up years later and after numerous rewatches.

Now keep reading to see what I heard on the commentary for…

Anna and the Apocalypse (2017)

Commentators: John McPhail (director), Alan McDonald (co-writer), Roddy Hart (co-composer), Tommy Reilly (co-composer)

1. The opening song over the credits is “Christmas Means Nothing Without You,” and while it’s meant to be a recognizable hit, the song was actually written and recorded for the film. They couldn’t afford to snag an existing song.

2. The film was originally meant to open with a musical number featuring all the extras who we otherwise first meet after they’ve become zombies. It was going to follow them through town, singing and dancing, but they weren’t able to do it due to increasingly terrible weather. The song would have been “What a Time to Be Alive.”

3. McDonald was a school teacher before being able to write full-time, and he was thrilled with the look of the building they used for the school here as it reminded him of the one he previously taught at.

4. Co-writer Ryan McHenry is credited with conceiving the story for the film – he reportedly was watching High School Musical with his girlfriend and recalled wishing that Zac Efron would start eating someone’s brains – and even made a short film of the idea that eventually became this movie. He tragically passed away from cancer before the film was made.

5. Chris’ (Christopher Leveaux) showreel ends with a wicker man ablaze at 6:43, and it’s a nod to Leveaux’s grandfather, Robin Hardy, the director of 1973’s cult horror classic, The Wicker Man.

6. Sarah Swire, who plays Steph, also choreographed all the dance numbers for the film. Part of her process was to film herself doing each of the moves and then editing them together for a better sense of how it would all look.

7. “Hollywood Ending” is their big song and dance sequence, all shot in two days, but one of their favorite moments is at the very end. The bell rings, and everyone leaves, but one of the extras goes the wrong way to a non-exit at 17:17 and has to hide behind the wall.

8. The male dancers’ Christmas costumes at 21:06 are modeled on a look from 1983’s Sleepaway Camp.

9. Musical artists they mention as inspirations for the score and song styles include Taylor Swift, Hall & Oates, Bon Jovi, Poison, Queen, ABBA, Sex Pistols, Danny Elfman, and John Carpenter.

10. Anna (Ella Hunt) walks out into her neighborhood at 27:18, and the Christmas decorations all belong to the folks who actually live there. It wasn’t shot in December, but they all volunteered to put them out for the sequence.

11. “Human Voice,” the song sung while the teens are stuck in the bowling alley, wasn’t actually written for the film, although it was written by the duo around the same time. Someone let producer Naysun Alae-Carew hear it, and they immediately insisted it be added to the movie. McDonald agreed and rewrote the scene in question to make its inclusion feel more in sync with what the characters are trying to do.

12. That’s an Evil Dead reference in the ball pit at 47:13 as Sarah’s arm bursts up through the balls.

13. That’s a Toy Story 3 traffic cone reference at 48:36 as the characters walk outside under the empty ball pit.

14. They’ve caught flack and hashtags (#justice4john) over killing off John (Malcolm Cumming) when he gets bitten outside the Christmas tree warehouse, but it had to happen. “This is not a story about two friends, and then the girl comes around to the boy and realizes he’s what makes her happy, and they walk off together in the end. This is about Anna… it isn’t about a man making her life better.”

15. The sequence with Savage (Paul Kaye) singing “Nothing’s Gonna Stop Me Now” almost featured zombies singing backup. It was intended to complement Savage’s clear descent into madness, but they ultimately decided not to do it as they had a general rule about no singing zombies.

Quotes Without Context

“Every single time he’s onscreen, he just makes your skin crawl.”

“These penguins were dancing to something completely different on the day that they shot it.”

“You don’t get into songwriting unless you can write a song about fish.”

“Nobody ever brings up the fact that we eat a baby.”

Anna and the Apocalypse remains a delightful holiday treat for fans of mayhem and musicals. It’s just a fun movie that marries silliness, horror, heart, and loss into an unlikely gem, and the filmmakers’ commentary shows how all four of those attributes got there. From the tragic death of the film’s co-writer to the struggles with Scottish weather, it’s an indie production that succeeded despite the odds with hugely satisfying and entertaining results. Great film, very good commentary.

The post 15 Things We Learned from the ‘Anna and the Apocalypse’ Commentary appeared first on Bloody Disgusting!.

I’ve never been a fan of warm weather, but when it gets so cold that you need four layers of clothing just to be able to cross the street and buy yourself a sandwich, even I start to feel nostalgic about Summer. However, while not everyone can afford to physically get away for the holidays, there is a much cheaper way to travel during the winter months – and that’s by immersing yourself in a cinematic vacation.

When it comes to horror, there’s a surprising amount of scary stories that take place in warm environments where the weather is the least of your worries. With that in mind, we’ve decided to come up with a list highlighting six tropical horror movies to help you escape the cold! After all, there’s nothing like a bit of terrifying escapism to scare away seasonal ailments.

For the purposes of this list, we’ll be defining “tropical horror movies” as any genre flick that mostly takes place within a tropical (or tropical-adjacent) setting, regardless of whether or not the warm weather factors into the story. That being said, don’t forget to comment below with your own tropical favorites if you think we missed a particularly memorable one.

Now onto the list!

6. Zombi 2 (1979)

Lucio Fulci’s unauthorized sequel to Dawn of the Dead remains a quintessential example of Italian splatter cinema despite (or perhaps because of) its lack of reverence to the George Romero movie it’s supposedly following up on. You see, Zombi 2 is less of a zombie apocalypse film and more of a supernatural mystery where the daughter of a missing scientist travels to a Caribbean island in order to search for her father, only to discover that the locals have been affected by a deadly voodoo curse.

However, if you remove the flesh-eating ghouls from the equation, the isle of “Matool” actually seems like a pretty cool vacation spot. In fact, the film is so committed to its tropical setting that it even features an infamous scene where an undead cannibal (heroically played by a local animal wrangler) faces off against a real tropical shark – so how could we not add it to the list?

5. Piranha 3D (2010)

Purists may raise their torches and pitchforks after reading this, but I actually prefer Alexandre Aja’s over-the-top remake of Piranha to Joe Dante’s 1978 original. While the main plot of both movies is largely the same (an ultraviolent breed of Piranha begins to prey on unsuspecting vacationers at a waterside resort), Aja’s take on the story benefits from some genuinely fun Spring Break atmosphere!

While Arizona technically isn’t a part of the tropics, the film’s postcard-like depiction of Lake Victoria (complete with crystal clear water and sunny vacation vibes) makes the whole thing feel like it takes place in a Caribbean wonderland.

4. The Serpent and the Rainbow (1988)

I’ve always thought that Wes Craven’s eerie reinvention of the zombie film was one of the most underrated projects in the director’s career. Not only is this slow-burning Bill Pullman vehicle scarier than any of Freddy Krueger’s over-the-top antics, but it also offers a surprisingly respectful glimpse at traditional Haitian culture, which makes sense, as the film is actually inspired by a non-fiction book written by ethnobotanist Wade Davis.

Of course, the island nation of Haiti itself is a major factor in this politically charged horror story, with the country’s ideological unrest during the Duvalier dictatorship feeling just as oppressive as the humid beaches and dense jungles surrounding Pullman’s troubled anthropologist.

3. Sweetheart (2019)

Not every horror movie has to reinvent the genre wheel in order to be worth watching, and JD Dillard’s criminally underseen seaside thriller, Sweetheart, is a great example of a film that extracts a lot of tension from a familiar premise. Telling the story of a resourceful castaway who finds herself being stalked by a Lovecraftian monster on a seemingly deserted island, this minimalist creature feature is unfettered by unnecessary backstories and exposition.

That’s why this Blumhouse-produced hidden gem has become something of a comfort movie of mine, as Dillard allows Kiersey Clemons’ mostly silent performance to speak for itself while we take in the breathtaking vistas of the South Pacific.

Monster or not, there are worse places to become stranded.

2. The Ruins (2008)

There are plenty of gruesome films on this tropical list, but there’s something about Carter Smith’s big screen adaptation of his own horror novel that gets under my skin (pun very much intended). Following a group of tourists who become trapped in the ruins of a Mayan pyramid in a secluded Mexican jungle, the film introduces us to a mysterious breed of carnivorous plant that’s just as fascinating as it is deadly.

While the copious amounts of grisly body-horror here will likely distract you from the beauty of the real rainforest where the movie was filmed (which was actually located in Australia rather than Mexico), this is one horror film that will likely make you glad that you’re snuggled up at home instead of being digested alive by tropical plant life.

1. Open Water (2003)

Audiences should always take claims that a scary movie is “based on a true story” with a grain of salt, but the real horror of Chris Kentis’ watery thriller lies in the fact that this situation could very well happen to anyone. After all, getting left behind by a scuba-diving expedition isn’t as far-fetched as being chased by an undead killer in a hockey mask.

Yet, despite all the violent storms, stinging jellyfish, and circling sharks (which were portrayed by real animals), Kentis’s decision to shoot on location in the Atlantic Ocean with consumer-grade cameras ends up making Open Water just as beautiful as it is nerve-wracking.

The post Escape The Cold With These 6 Tropical Horror Movies appeared first on Bloody Disgusting!.

Stephen King may be working on the third novel for The Talisman, but we have bad news for the long-gestating adaptation from “Stranger Things“ creators Matt and Ross Duffer.

The Duffer Brothers confirmed to CBR in an interview that their adaptation of The Talisman, initially reported in 2021, is no longer moving forward.

Ross Duffer told the outlet, “Sadly, Talisman is no longer at Netflix, so we’re not involved.” He continued, “When I interned, when I was really, you know, back in college at Kennedy Marshall, I remember reading, I think it was a movie script for Talisman. So it’s been in development forever, so I’m sorry that we were not the ones to break the curse.”

Published in 1984 and written byStephen King and Peter Straub, the fantasy epic novel is one of the few King stories that has not yet been adapted for film or television. This is despite Steven Spielberg owning the rights to the book since the ’80s, with various planned adaptations taking different forms over the years.

The Duffer Brothers were set to team up with Spielberg, with Netflix producing alongside Amblin Entertainment, but the creators recently set up a new deal with Paramount and have set their exit date with Netflix for April 2026.

In The Talisman, “Jack Sawyer, twelve years old, is about to begin a most fantastic journey, an exalting, terrifying quest for the mystical Talisman—the only thing that can save Jack’s dying mother. But to reach his goal, Jack must make his way not only across the breadth of the United States but also through the wondrous and menacing parallel world of the Territories.

In the Territories, Jack finds another realm, where the air is so sweet and clear a man can smell a radish being pulled from the ground a mile away—and a life can be snuffed out instantly in the continuing struggle between good and evil. Here, Jack discovers ‘Twinners,’ reflections of the people he knows on earth—most notably Queen Laura, the Twinner of Jack’s own imperiled mother. As Jack “flips” between worlds, making his way westward toward the redemptive Talisman, a sequence of heart-stopping encounters challenges him at every step.”

Though The Talisman is now dead at Netflix and the Duffer Brothers are set to depart soon, look for the “Stranger Things” finale on New Year’s Eve and supernatural series “The Boroughs” next year.

The post The Duffer Brothers Confirm ‘The Talisman’ Netflix Adaptation is No Longer Happening appeared first on Bloody Disgusting!.