Tom Holland seems like he can handle anything, but the Spider-Man star has famously turned down hosting Saturday Night Live. Here’s why.
June 2026
Sydney Sweeney, who played Cassie in all three seasons of HBO’s Euphoria, reveals how she really feels about her character’s ending now that the show is over.
A recent screening of Backrooms served as a reminder that weirdness and originality created by humans still excites people on a mainstream scale.
The Burn is a cataclysmic event that led to dilithium crystals throughout the Star Trek galaxy exploding all at once. Here’s what caused it.
Found footage movies rely on immersion and a particular kind of suspension of disbelief in order to scare viewers, so it stands to reason that playing along with the “kayfabe” of it all is necessary for these movies to be effective. However, despite being something of a purist when it comes to in-universe recordings, I’ve come to accept that traditional productions can benefit from the occasional injection of found footage thrills.
For instance, Kane Parsons’ Backrooms adaptation makes genius use of the analog gimmick in order to trap us in the titular rooms alongside our main characters before effortlessly switching back to a more cinematic language. In honor of these dynamic films that manage to combine the best of both worlds, today I’d like to share six other hybrid horror movies that successfully incorporate found footage into their scares!
For the purposes of this list, “hybrid” horror movies are defined as any flick that shifts between diegetic recordings and traditional filming techniques for a significant amount of time (or at least for pivotal scenes).
As usual, don’t forget to comment below with your own hybrid favorites if you think a particularly freaky one was missed.
With that out of the way, onto the list!
5. The Last Broadcast (1998)
Internet critics may have overstated the influence that Stefan Avalos and Lance Weiler’s The Last Broadcast had on The Blair Witch Project, but the found footage subgenre still owes a huge debt to this underrated piece of avant-garde filmmaking. However, while the movie sets itself up as a documentary about the disappearance of a group of cryptid-hunters attempting to track down the Jersey Devil, things take a darker and much more grounded turn towards the final act.
I won’t get into details in order to avoid spoilers, but suffice to say that the jarring shift in perspective actually helps to sell the idea that everything we’ve seen before the finale was an attempt at using filmmaking to manipulate the public perception of a “real” incident.
Not bad for a movie with a $900 budget!
4. Cam (2018)
When you consider just how much the internet affects our daily lives, it’s strange that we don’t see Screenlife elements pop up in more movies these days. For instance, Isa Mazzei & Daniel Goldhaber’s highly underrated Cam only works as a freaky parable about online sex-work because it masterfully balances Madeline Brewer’s intimate moments with highly immersive segments within cyberspace.
While one might argue that the entire film could have been produced as a Screenlife experience, the hybrid approach allows the filmmakers to explore our main character’s life beyond the screens – with the duality of modern human existence actually becoming a recurring theme in the story.
3. Banshee Chapter (2013)
Most of H.P. Lovecraft’s popular stories were told in the epistolary format (where the text is presented as an in-universe compilation of letters or personal notes), so it makes sense that a spiritually faithful adaptation of his work would incorporate elements from the modern-day equivalent to epistolary fiction – found footage!
That’s why Blair Erickson’s Banshee Chapter is such an effective scare-fest, as this hybrid adaptation of From Beyond -retold through a conspiratorial lens as it references MK-Ultra and even secretive numbers stations- immerses viewers in a mind-bending tapestry of Cosmic Horror that blurs the line between fiction and reality.
2. The Deep House (2019)
The underwater setting does a lot of the heavy lifting when it comes to Alexandre Bustillo and Julien Maury’s The Deep House, with the film being especially uncomfortable if you’re already scared of tight spaces and being deprived of oxygen. However, even the universally unsettling elements of the flick only work because the POV often shifts into claustrophobic footage courtesy of our main characters’ GoPro cameras.
Telling the story of a couple of YouTubers who encounter a haunted house at the bottom of an artificial lake while vacationing in France, The Deep House’s first-person exploration sequences contain some of the film’s scariest moments. In fact, I’d argue that the movie didn’t even need ghosts, as becoming trapped in the titular House already sounds like a fate worse than death.
1. Behind The Mask: The Rise of Leslie Vernon (2006)
My personal favorite instance of filmmakers successfully managing to combine traditional cinematography with POV filmmaking, Behind the Mask: The Rise of Leslie Vernon, is proof that the two formats can co-exist if the right story comes along.
After all, what better way to conclude a mockumentary all about reality getting increasingly more cinematic than by ditching the found footage gimmick altogether during the finale? Not only does this shift in presentation work on a conceptual level, but it also elevates Behind The Mask into a proper Slasher, which is probably why we’re so excited for that long-overdue sequel!
The post 5 Found Footage Hybrid Horror Movies to Watch After ‘Backrooms’ appeared first on Bloody Disgusting!.
Steven Spielberg nearly directed the first Harry Potter movie before shifting gears to tackle one of his most fascinating sci-fi films instead.
A coven forms among counselors in exclusive new images from Camp, a witchy coming-of-age story from Dark Sky Films.
The new feature from writer-director Avalon Fast (Honeycomb, The Serpent’s Skin) releases on June 26 in select US theaters, with a New York Theatrical Premiere at the IFC Center with Fast in attendance for the opening weekend.
In Camp, “Emily is the root cause of two devastating tragedies very early in her life, and she feels the weight of these accidents as though cursed. At her father’s suggestion, she takes a position at a summer camp for troubled youth to ease her guilt. When Emily arrives, she is welcomed by the other counselors, who accept her as she is and surround her with peace and forgiveness.
“Just as Emily begins to believe in a new kind of life, she starts to hear a voice whispering from deep in the woods — one that urges her to go home, and one that may be impossible to ignore.”
The film stars Zola Grimmer in her screen debut alongside Alice Wordsworth, Cherry Moore, Lea Rose Sebastianis (Castration Movie Part 1 & 2, In A Violent Nature), Ella Reece, Austyn Van de Kamp (This Too Shall Pass), Sophie Bawks-Smith (Honeycomb), Izza Jarvis, and Aiden Laudersmith.
Taylor Nodrick, Jacob Glickman, Jackie De Niverville, Martin Cadieux-Rouillard, and Maya Cadieux-Rouillard produce, with Paul Cadieux, Milan Chakraborty, Peter Kuplowsky, Michael Peterson, and Sanjay M Sharma serving as executive producers.
“Like its main character, Camp requires the viewer to give itself over to the experience. If you’re on its wavelength, it will suck you into a hypnagogic limbo that exists in the space between dream and reality; adolescence and adulthood; grief and acceptance,” our review writes.
Meet the coven in the images below.
The post ‘Camp’ Exclusive Images Form New Witch Coven in Coming-of-Age Horror appeared first on Bloody Disgusting!.
Filming has officially wrapped on Mike Flanagan’s The Exorcist movie.
“That’s a wrap. What an incredible experience. Forever grateful to this extraordinary cast and crew! Flanagan writes on Instagram.
His take on the IP will be neither a remake of William Friedkin’s 1974 horror classic nor a sequel to 2023’s The Exorcist: Believer; the film will tell an all-new story set in The Exorcist universe.
Scarlett Johansson (The Avengers), Jacobi Jupe (Hamnet), Diane Lane (Unfaithful), Chiwetel Ejiofor (12 Years a Slave), Sasha Calle (The Flash), and John Leguizamo (John Wick) star.
The cast also includes Flanagan regulars Rahul Kohli, Hamish Linklater, Gil Bellows, Carl Lumbly, Robert Longstreet, Matt Biedel, Samantha Sloyan, Kate Siegel, John Gallagher Jr., Benjamin Pajak, and Carla Gugino.
“This is an opportunity to do something that I believe has never been done within the franchise — something that honors what came before it but isn’t built on nostalgia,” Flanagan said of the project. “I really just saw an opportunity to make the scariest movie I’ve ever made. I know expectations are high. No one’s more intimidated than I am.”
Flanagan is producing via his Red Room Pictures alongside Jason Blum for Blumhouse-Atomic Monster and David Robinson for Morgan Creek Entertainment. Executive producers include Red Room’s Alexandra Magistro and Blumhouse’s Ryan Turek.
The Exorcist will possess theaters on March 12, 2027, via Universal.
Beyond The Exorcist, Flanagan is keeping busy with Stephen King’s “Carrie” this October premiere on Prime Video. He also co-wrote DC’s comic book horror movie Clayface, releasing October 23, and he’s recently attached to a new take of King’s The Mist.
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Director Sébastien Vaniček’s Evil Dead Burn has earned an R-rating, consistent with this demonic franchise.
Evil Dead Burn releases in theaters nationwide July 10, 2026.
The upcoming horror film has been rated “R” for “strong bloody horror violence and gore, and language.“
That’s certainly reflected in the film’s trailer and gnarly new clip.
The new entry unleashes the franchise’s most savage and terrifying ride to date, blazing onto big screens with an all-new chapter of carnage and demonic mayhem.
After the loss of her husband, a woman seeks solace with her in-laws in their secluded family home. As one by one they are transformed into Deadites—turning the gathering into a family reunion from hell—she comes to discover that the vows she took in life… live on even in death.
Luciane Buchanan (“The Night Agent”), Souheila Yacoub (Dune: Part Two), Hunter Doohan (“Wednesday”), Tandi Wright (Pearl), and George Pullar (It Only Takes a Night) star.
The film is written by Florent Bernard & Sébastien Vaniček. Produced by Rob Tapert and Sam Raimi. Executive producers are Romel Adam, Bruce Campbell, Lee Cronin, and Jose Canas.
Sebastien Vaniček is joined behind the camera by director of photography Philip Lozano, production designer Nick Connor, editor Maxime Caro, and costume designer Sarah Voon.
Evil Dead Wrath, meanwhile, just wrapped production. Expect that one in 2028.
The post ‘Evil Dead Burn’ Rated R For Strong Violence and Gore appeared first on Bloody Disgusting!.
It should be no surprise that one of the funniest and most meta moments of Mortal Kombat 2 was improvised by Karl Urban himself.
