February 2026

‘Popeye’s Revenge’ Sequel ‘Popeye Returns’ in the Works

Popeye’s Revenge was the first of several low budget horror movies to exploit Popeye the Sailor’s recent public domain status last year, and now a sequel is setting sail.

The Spinach-eating psycho is back with a little time to kill in Popeye Returns. Check out the poster below.

The British indie slasher is due out later this year from ITN Distrubtion, the outfit behind its predecessor as well as the Winnie-the-Pooh: Blood and Honey franchise.

Popeye’s Revenge director William Stead returns to helm the follow-up from a script by John Oak Dalton.

Steven Murphy reprises his role as Popeye alongside Ashley Bedford, Jodie Bennet, Fitim DeStena, Jack Hyde, Celine Mandy Kosch, Christopher Morley, Lara Sas, Liz Stef, and Jenna N. Wilson.

Plot details are yet to be revealed, but the original film saw the legend of Popeye haunt a group of counselors as they intend to open a summer camp.

The post ‘Popeye’s Revenge’ Sequel ‘Popeye Returns’ in the Works appeared first on Bloody Disgusting!.

Markiplier’s ‘Iron Lung’ and Sam Raimi’s ‘Send Help’ Dominate the Weekend Box Office

The horror genre is on top of the box office charts, with both Iron Lung and Send Help releasing into theaters over the weekend. One is a self-financed, self-released video game adaptation from mega popular social media superstar Markiplier, while the other is the genre return of beloved filmmaker Sam Raimi, released by Disney’s 20th Century Studios.

It’s a story of David vs. Goliath, with Markiplier going head-to-head with a major Hollywood studio and an established filmmaker with a string of box office hits under his belt. The result?

Send Help topped the opening weekend box office charts here in the United States, but you might be surprised by how closely Markiplier’s Iron Lung found itself nipping at Disney’s heels.

Sam Raimi’s survival comedy Send Help is currently #1 at the box office with a reported $20 million opening weekend domestically and a total of $28.1 million worldwide thus far.

The self-released horror movie Iron Lung, meanwhile, came in second place on the charts with a staggering $17.8 million domestically and $21.7 million at the worldwide box office.

Regal was the first major exhibitor to get into business with Iron Lung, which was originally planning a release in a handful of indie theaters. It ended up being released into 3,015 theaters across the United States and even getting its own official popcorn bucket. For the sake of comparison, Disney’s Send Help is currently playing in 3,475 theaters across the country.

The Regal chain writes in a press release sent to Bloody Disgusting, “Across the weekend from Thursday, January 29 to Sunday, February 1, Iron Lung admissions at Regal theatres accounted for a 19% market share among North American exhibitors of the release. Iron Lung now lays claim to the biggest opening weekend for a feature film from a digital creator, which saw significant interest from the Markiplier fan base as soon as advance tickets went on sale.”

“What Markiplier has achieved with Iron Lung is a reminder that great filmmaking is all about creativity, commitment, and connection with your audience,” said Eduardo Acuna, Chief Executive Officer at Regal Cineworld. “Markiplier’s success shows that new voices can create powerful theatrical moments with the right support. Regal is proud to have been an early partner in helping bring Iron Lung to audiences at scale and to play a role in connecting a digital creator with moviegoers in a way that really embraces the shared experience of cinema.”

While Send Help starring Rachel McAdams and Dylan O’Brien has a reported production budget of $40 million, Markiplier’s Iron Lung starring, well, Markiplier, was self-funded for just $3 million. That means the film is already massively profitable in just the first few days of release, and there was no marketing budget to speak of to balloon up that overall budget.

Markiplier will have to split the profits roughly 50-50 with theaters, but he’s coming out on top in a big way with his debut on the scene as an indie filmmaker to watch going forward.

Mark “Markiplier” Fischback wrote, directed and stars in Iron Lung, which adapts the game by David Szymanski. In a post-apocalyptic future after The Quiet Rapture, a convict explores a blood ocean on a desolate moon using a submarine to search for missing stars/planets.

“It’s kind of a hero moment to showcase indie filmmaking is possible,” Markiplier said in a statement. “If that could inspire someone to keep making films, that’d be pretty cool. And maybe it could open up a door for other people that do their projects independently and know that there could be success in it.”

The doors have been kicked wide open, and while not everyone has the money or the following of Markiplier, stories like this one give us a sneak peek into an evolving industry that could become a whole lot more creator-friendly in the years to come. Is it time for a new wave of independent cinema at the box office? The success of Iron Lung suggests that audiences might be ready for something other than big movies from big studios. And that’s an exciting prospect.

Our advice? Support Markiplier and Sam Raimi at your local theater this week!

Send Help Review

‘Send Help’

The post Markiplier’s ‘Iron Lung’ and Sam Raimi’s ‘Send Help’ Dominate the Weekend Box Office appeared first on Bloody Disgusting!.

Watch the First 5 Minutes of ‘The Strangers: Chapter 3’

A weary traveler’s motel room is invaded by a masked killers in the opening scene of The Strangers: Chapter 3.

Watch the five-minutes clip below, where you’ll also find a new poster. The trilogy capper hits theaters this Friday, February 6, via Lionsgate.

Madelaine Petsch (“Riverdale”) returns as Maya for the final girl’s long-awaited vengeance, locked on an unforgiving collision course with the masked killers.

Aiming to be the franchise’s darkest descent yet, the trilogy will come to a close with a full-circle reckoning that expands the mythology of The Strangers.

Renny Harlin (Deep Blue Sea, Die Hard) once again directs from a script by Alan R. Cohen and Alan Freedland.

Gabriel Basso (Super 8), Ema Horvath (“The Lord of the Rings: The Rings of Power”), Pablo Sandstrom, and Richard Brake (Barbarian) round out the cast.

Courtney Solomon, Mark Canton, Christopher Milburn, Gary Raskin, Alastair Burlingham, and Charlie Dombek produce.

The Strangers trilogy was filmed concurrently in Slovakia back in 2022 before the sequels underwent additional photography. Chapter 1 was released in 2024 to the tune of $35.2 million at the domestic box office, while Chapter 2 made $15.1 million this past September.

The Strangers: Chapter 3 is rated R for “strong bloody violence and language.”

The post Watch the First 5 Minutes of ‘The Strangers: Chapter 3’ appeared first on Bloody Disgusting!.

Billy Bob Thornton Had A Small Role In A Forgotten ’80s Adam Sandler Comedy

Early in their careers, Adam Sandler and Billy Bob Thornton appeared in this lousy comedy, and they probably both want to forget about it.

Samuel L. Jackson And Dustin Hoffman Teamed Up For Michael Crichton’s Worst Adaptation

This sci-fi dud marked the beginning of the end for adaptations of Michael Crichton’s books, despite having a cast led by Samuel L. Jackson and Dustin Hoffman.

Audrey Hepburn’s Terrifying Oscar-Nominated Thriller Will Give You Nightmares

Audrey Hepburn is spectacular in 1967’s Wait Until Dark, a terrific thriller in which she plays a blind woman terrorized by a group of crooks in her apartment.

10 Best Found Footage Movies That Truly Elevate The Subgenre

The found footage genre tends to be repetitive, but these movies elevated the framework and used it in ways that were truly innovative.

A Divisive Superman Moment Defines The Character, According To Smallville Star Tom Welling

Smallville star Tom Welling has cited a divisive moment from Superman II as being the Man of Steel’s definitive moment. Is he right?

‘Don’t Look in the Dark’ Is a Victim of its Own Found Footage Gimmick [Review]

Effective found footage storytelling requires a delicate balance of narrative structure and chaotic realism. After all, if you make your movie too realistic, it’ll likely be about as entertaining as keeping up with a nanny cam. On the other hand, if you try to inject the story with too many of the usual tropes and contrivances that make traditional movies exciting, you’ll end up defeating the purpose of trying to emulate amateur footage in the first place. This tension lies at the heart of every single film featuring an in-world camera, and while there’s no definitive right way of doing it, we’ve seen several good films on both ends of the spectrum.

That’s why I was curious about Sam Freeman’s experimental debut feature Don’t Look in the Dark, as the marketing behind this micro-budget horror picture promised to deliver a new kind of genre experience even more understated than the original Blair Witch Project. You see, unlike most found footage movies where the recordings are intentional, Don’t Look in the Dark presents us with footage from ordinary cellphones that began recording on their own during a camping trip in New Jersey – complete with black screens and extended moments of eerie ambient sound.

In the finished film, which was envisioned as a scare-driven Rorschach test where no two viewings are the same, we accompany a loving couple on an ill-fated trek through New Jersey’s Pinelands National Reserve (also known as the infamous Pine Barrens). When Maya (Rebi Paganini) sees a mysterious child in the woods, she and Golan (Dennis Puglisi) end up caught in a possibly supernatural web of terror orchestrated by an entity that wants to be seen.

Of course, the story here is little more than an excuse to conduct Freeman’s aesthetic experiment. If you think about it, real found footage tends to be full of holes and unintelligible images/sounds. Most people don’t really focus on filming things as cinematically as possible while under duress, so it makes sense that recordings of a real horrific event would be messy and incomplete.

Unfortunately, while other found footage films have found ways to incorporate different sources of scattered evidence into a larger narrative whole (such as Savageland or even Lake Mungo), Don’t Look in the Dark ultimately falls victim to its own minimalist gimmick.

Credit: Courtesy of Don’t Look In The Dark / Sam Freeman

Despite being marketed as a novel experience, the film doesn’t actually invent anything new. What Freeman is really doing is recontextualizing the existing format of an audio drama as something that can be experienced in theaters, accompanied by the occasional snippets of freaky imagery containing exposition and subliminal scares. While this works to an extent, as we’re immersed in an event that feels like it really happened (at least during the first half of the film), the gimmick simply can’t sustain itself throughout a feature-length story that you’ve seen before in countless other found footage movies. The presentation here may be unusual, but the core of the movie is no different from your garden-variety retread of The Blair Witch Project, to the point where you start to wonder why the filmmakers didn’t also resort to borrowing the mockumentary format in order to further flesh out the story and characters.

Don’t get me wrong, there are some legitimately thrilling moments scattered throughout the film (with many of them owing to the location’s naturally eerie vibes), but it’s hard to justify paying for a ticket to see something with so little effort behind it. That’s why I keep thinking about how much better this footage would have been as part of a larger mockumentary, as this format would have allowed us to really get to know Maya and Golan as people while also skipping the unbearably repetitive segments where the couple despairs about being lost in the woods. Hell, you could even expand on the existing recordings with instant replays and zoom-ins as experts dissect specific frames, Noroi-style.

Alas, the film we ultimately got is much less interested in telling a scary story than setting up a spooky atmosphere. I’m not totally against this style of filmmaking, but it’s hard to endure a feature-length presentation when there’s barely anything onscreen and most of the dialogue can be summed up as our main characters screaming each other’s names.

Ultimately, Don’t Look in the Dark didn’t really work for me, but I’ll concede that I watched the movie at home by myself rather than inside a packed theater filled with horror fans willing to engage with its minimalist gimmick. While I still doubt that the theatrical experience would have added more narrative value to the flick, which was ultimately my biggest gripe, it could be that this is one of those movies that needs to be seen (and heard) on the big screen in order to be properly understood.

So if you happen to be a fan of cinematic Rorschach tests fueled by moments of blink-and-you’ll-miss-it terror, you might enjoy Freeman’s daring debut. However, fans of story-focused found footage productions should probably take the film’s advice and steer clear of the dark while they still can.

Don’t Look in the Dark screened at the New Jersey Film Fest. Release info TBA.

2 skulls out of 5

The post ‘Don’t Look in the Dark’ Is a Victim of its Own Found Footage Gimmick [Review] appeared first on Bloody Disgusting!.

All the Horror Heading to Hulu, Netflix, Tubi & Other Streaming Services in February 2026

Love is in the air with Valentine’s Day arriving this month, which means horror is in lighter supply when it comes to streaming. HBO Max, Hulu, Netflix, Peacock, Paramount+, Pluto TV, Shudder, and Tubi have announced their February 2026 library additions, keeping your watchlists busy.

Notable titles arriving in February include biblical horror movie The Carpenter’s Son starring Nicolas Cage, 2025 releases like The Astronaut and Clown in a Cornfield, and YA horror film Marshmallow. Also shoutout to Pluto TV for recognizing the first Friday the 13th of 2026 with horror programming.

Check out the February horror streaming lineup below.


HBO Max

Pope's Exorcist 2

The Pope’s Exorcist

February 1
Dr. Jekyll and Mr. Hyde (1932)
Insidious: Chapter 3
Open Water
The Picture of Dorian Gray
The Shape of Water

February 12
The Pope’s Exorcist


Hulu

Clown in a Cornfield

February 1
Ghostbusters (1984)
Ghostbusters II
Tarot

February 10
Clown in a Cornfield

February 16
Ghostbusters Afterlife
Smile

February 20
The Astronaut

February 24
Resident Evil: Welcome to Raccoon City


Kanopy

The Carpenter’s Son

February 6
The Life of Chuck (2024)
A Ghost Story (2017)
The Carpenter’s Son (2025)
February 13
War of the Worlds (2005)

Netflix

Scott Derrickson black phone

The Black Phone

February 12
The Black Phone

February 19
Life After Beth

February 20
The Addams Family
The Addams Family 2


Paramount+

Marshmallow release date

Marshmallow

February 1
Cloverfield
Marshmallow
The Beldham
The Prophecy
The Stepford Wives (2004)
Til Death Do Us Part
Us
Vampire in Brooklyn

February 4
68 Kill*

*Title is available to Paramount+ Premium subscribers.


Peacock

Talk to Me Trailer #2 - Talk to Me Sequel update

Talk to Me

February 1
The ‘Burbs (1989)
Life
Talk To Me
Zombieland
Zombieland: Double Tap

February 6
Speak No Evil

February 11
Train to Busan


Pluto TV

Friday the 13th Part 2

February 1
Beneath
Children of the Corn 666: Isaac’s Return
Children of the Corn II: The Final Sacrifice
Children of the Corn III: Urban Harvest
Children of the Corn IV: The Gathering
Children of the Corn V: Fields of Terror
Children of the Corn: Revelation
Climax
Friday the 13th (1980)
Friday the 13th Part IV: The Final Chapter
Friday the 13th Part V: A New Beginning
Friday the 13th Part VI: Jason Lives
Friday the 13th Part VII: The New Blood
Friday the 13th Part VIII: Jason Takes Manhattan
Friday the 13th – Part II
Friday the 13th – Part III
Green Room
In Fabric
John Dies at the End
Let’s Scare Jessica to Death
Life After Beth
Margaux
My Bloody Valentine (1981)
Scream (1996)
Scream 2
Scream 3
Scream 4
Slice
Spell
Stage Fright
The Keep
The Last Exorcism Part II
The Loved Ones
Tusk
Wes Craven Presents Dracula II: Ascension
Wes Craven Presents Dracula III: Legacy
Wes Craven Presents: Dracula 2000
Wes Craven Presents: They


Prime Video

Play Misty for Me

February 1
Funny People (2009)
Play Misty For Me (1971)
Searching (2018)
The Andromeda Strain (1971)
The Beguiled (2017)
The Beguiled (1971)
The Funhouse (1981)
The Grey (2012)
The Serpent and the Rainbow (1988)


Shudder

The Boxer’s Omen

February 1
Bewitched
Black Magic
Black Magic II
The Boxer’s Omen
Hex
Hex After Hex
Hex vs Witchcraft
Oily Maniac
Seeding of a Ghost
Visible Secret
A Chinese Ghost Story
A Chinese Ghost Story II
A Chinese Ghost Story III
Evil Cat
J.D.’s Revenge

February 9
Nina Forever
Bird Eater
Kill Your Lover

February 13
Honey Bunch

February 16
The Last Sacrifice
Hood Witch
I Will Never Leave You Alone

February 27
Crazy Old Lady


Tubi

The Hills Have Eyes (2006)

February 1
Jurassic World
Jurassic World: Fallen Kingdom
A Ghost Story
Bones and All
Slice
Anaconda
Climax
Dark Harvest (2023)
Escape Room (2019)
The Fly
Green Room
The Hills Have Eyes (2006)
In Fabric
Insidious: The Last Key
Secret Window
Slayers
Tusk
When a Stranger Calls

The post All the Horror Heading to Hulu, Netflix, Tubi & Other Streaming Services in February 2026 appeared first on Bloody Disgusting!.