Horror Report

Category: horror

  • We will enter the back rooms but how long will we stay?

    We will enter the back rooms but how long will we stay?

    All eyes are on the summer box office movies. Predictions have already begun that perhaps Masters of the Universe could come in under projections, but we’ll see…the press for the film has been good so far. Another upcoming film, however, has been operating in a much more low-key fashion, and that film is Backrooms.


    Directed by Kane Parsons, the movie has quickly become one of the more fascinating horror stories of the summer. Many online know Parsons better as Kane Pixels from YouTube, where his eerie and surreal Backrooms videos gained millions of views and helped modernize internet horror for a younger audience. What started with creepypasta lore and grainy found-footage style videos may now be turning into a legitimate theatrical box office hit.


    Several websites, including Box Office Theory, are predicting that Backrooms could bring in somewhere between $25 and $33 million domestically during its opening weekend of May 29th through the 31st. That is a pretty bullish number, and if the film finds strong word of mouth, people are already saying Backrooms could emerge as an early summer sleeper hit.


    What began as plain old mundane horror rooted in creepypastas and YouTube culture has now evolved into a major feature film. Despite some naysayers claiming Parsons could never pull off a movie on this scale, he did exactly that.

    He has quickly become one of the younger directors in horror who has been changing things to better match the audiences of today while also proving that genuinely good material can still rise from unconventional places on the internet.


    In the end, Backrooms is currently being projected to bring in somewhere between $71 million and $79 million during its total run in the United States and Canada. That would still place it below Marty Supreme, which reportedly brought in $96 million, but Backrooms may have a tougher road when it comes to long-term staying power. The movie will eventually find itself competing with heavy hitters like Masters of the Universe, Scary Movie 6, Disclosure Day, and Toy Story 6 throughout June.


    It is a loaded summer full of potential blockbuster hits…but one of the earliest surprises of the season could very well end up being Backrooms.

  • As usual people have an obsession with horror while critics always lampoon it

    As usual people have an obsession with horror while critics always lampoon it

    Horror always seems to succeed where other genres fail. Even when critics shrug or the mainstream audience barely notices, horror has a way of finding profitability. A massive opening weekend is not always required when the budget is microscopic compared to modern blockbuster standards. Sometimes a horror movie only needs curiosity, atmosphere, and enough people willing to buy a ticket on a Friday night.


    Take Obsession for instance. The film did not become the number one movie of the weekend, but it did not have to. Reports indicate the movie opened to around $16 million domestically against a production budget of only about $750,000. In an era where major studio films can lose hundreds of millions of dollars, horror once again proved why it remains one of the safest bets in entertainment.


    Directed by emerging filmmaker Mark Ellison, Obsession leans heavily into psychological horror and paranoia rather than expensive visual effects. The movie stars Samara Weaving alongside Justice Smith, telling the story of a couple whose relationship spirals into terror after a seemingly harmless fixation turns dangerous. Much of the buzz surrounding the movie came from social media reactions praising its tension, disturbing imagery, and old school thriller atmosphere.


    And that really is the magic formula horror continues to pull off year after year. While superhero films and giant action spectacles require enormous budgets just to survive, horror can thrive on creativity, mood, and word of mouth… If audiences are intrigued enough to show up, the genre often wins before the opening weekend is even over.

  • Immersed in the first shadow on Broadway

    Immersed in the first shadow on Broadway

    As this is written, I just got back from a sunny beautiful New York City, center of the universe.

    A Saturday night with busy crowds and life abounding, and we sat in a Broadway theater enjoying Stranger Things: The First Shadow. Not sure where people reading this are from or how far a quest to New York City would be for you but should you happen to have the spare jingle and time it would serve your needs if you’re a Stranger Things fan to see this.

    From the moment the play opens it blows you away. You’re told by staff to silence your phones and you’ll be admonished if you’re not doing that, but because of the intensity and immediacy of the action you don’t even think about recording it.

    A lot of people have given a lot of five star reviews and influential publications have said that they were blown away by this live performance of The First Shadow.

    The group I saw with and the audience I saw it with clearly were blown away. A couple of kids who were perhaps a bit too young were taken from the audience because of the intensity of some scenes but everybody else respectfully laughed when they should have, jumped when they didn’t know what was coming, and cheered in an enormous round of applause for the actors in this play. You probably already know a bit about The First Shadow.

    Stranger Things: The First Shadow was written by Kate Trefry, based on an original story by Trefry along with Matt and Ross Duffer and Jack Thorne.

    The play serves as a prequel to the Netflix series and takes audiences back to Hawkins in 1959, long before the events of the television show.

    The production first premiered in London’s West End before making its way to Broadway where it has quickly become one of the most talked about live theatrical experiences in recent memory. Critics and fans have praised the production for somehow capturing the cinematic scale of Stranger Things while still feeling like live theater, with many reviews singling out the visual effects, sound design, performances, and shocking stage illusions as something audiences have rarely seen before in a Broadway production.

    Perhaps what was the most amazing of all was the first few minutes. I’m only going to spoil it in this way, when the play opens up it’s immediate action. We’re thrown back into the teenage years of our favorite adult cast from the Stranger Things Netflix series. Isabella Pappas as Joyce is spot on and she and Louis McCartney as Henry Creel steal the show. And once that opening sequence, a very loud opening sequence mind you, happens we immediately are immersed into the opening song with the stage showing the famous Stranger Things logo appearing just like it did on the Netflix show. It suddenly feels like we’re not watching a play but instead we are in the actual world of Stranger Things itself.

    Going to Broadway or theater or plays will do that but the action, the animatronics, the screens, and the set design and tricks played by this show’s staff morphs you into a silent observer in the world of The First Shadow. It feels like you’re there with Henry Creel as he discovers his powers and evil takes itself over. The only other thing I’ll sort of ruin for you is not the ending of the play itself because again, you may have already ruined that for yourself and read about it, but expect to be in awe of a very famous character making an appearance at the extreme end. And what I really loved about it is as we see the post show song play on the screen in front of us on the stage appears that famous little Netflix clickable item of either watching the credits or clicking on the next episode. It gave our audience a laugh while we cheered and instead of the next show playing since the play was over we watched the credits as the cast and crew came out to a roaring lengthy ovation.

    I will say the play seemed flawless. Of course there’s errors that the random viewer may or may not really pick up on but that’s fine, they perfect them as they continue doing plays. But for the audience that saw it today we were in awe and I could have sat through three more hours. Watching this play actually gives you a certain sense of sadness about how season 5 actually was. So many things from the youth of our adults get referenced but not expanded on during season 5. And perhaps it’s just because there was not enough time and the congruity of everything working together doesn’t really flow but, if you have the abilities and means to get there it’s highly advisable that you see The First Shadow on Broadway.

    The cast broke a leg and with Henry Creel in action, many many legs..

  • Crystal Lake on Thursday the 15th

    Crystal Lake on Thursday the 15th

    Some big announcements for streaming came today. We were a bit shocked that the Paper is getting season 2 but not shocking is the Peacock show Crystal lake. October 15th except for it’s debut…

    The new Friday the 13th prequel series, hailing from A24 and set to stream on Peacock, stars Callum Vinson a young Jason Voorhees and Linda Cardellini as murder mommy Pamela Voorhees. The show is set prior to the accident that made Voorhees the killer..

    Joining Vinson and Cardellini are William Catlett, Devin Kessler, Cameron Scoggins in a major role, Gwendolyn Sundstrom, Nick Cordileone, Danielle Kotch, Phoenix Parnevik, Nancy Nagrant, and Joy Suprano, with Michael Lennox, Celine Held and Logan George, and Quyen Tran directing episodes.

  • The long legs of LONGLEGS

    The long legs of LONGLEGS

    It already has a release date!

    Osgood Perkins and Nicolas Cage are reuniting for a Longlegs follow-up movie, which we’ll be referring to as Longlegs 2 until an official title is announced.

    Longlegs 2 will release in theaters January 14, 2028 from Paramount!

    Nicolas Cage will star and produce the film, with Osgood Perkins directing.

    The cold January of ’28 will feature the colder story that Longlegs 2will bring us..

  • Gremlins Secret Screening Shows Assembly Cut for First Time!

    Gremlins Secret Screening Shows Assembly Cut for First Time!

    The Hollywood Reporter published this exclusive over the weekend, this is truly amazing, Gremlins stands out there all would have loved to be in the screening…

    According to the report, this rough assembly cut of Gremlins runs around 2 hours, 35 minutes long, and it was unveiled as part of a secret screening attended by a select group of filmmakers and fans. This particular cut is from Joe Dante’s personal collection, and Ian Grant from The Gremlins Museum cleaned up and digitized the footage from Dante’s personal VHS tape.

    Even cooler.. Zach Galligan even notes that the cut features “stuff I have absolutely no memory of having shot.” He also makes it clear that the Gremlins assembly cut features both previously released deleted scenes (you’ll find them on physical media) and most importantly, brand new footage Gremlins fans have NEVER seen up to this point!

    READ THE HOLLYWOOD REPORTER ..

    We can’t wait for Gremlins 3 but this two-hour plus original Gremlins movie might be even more exciting if it’s ever released for wide audiences as it should be. The greatest Christmas movie of all time..

  • A return to the Blair Witch re-project

    A return to the Blair Witch re-project

    Joshua Leonard and Michael C. Williams, stars of the original 1999 The Blair Witch Project, will serve as executive producers on Lionsgate’s upcoming reboot, along with the first movie’s directing team of Eduardo Sánchez, Daniel Myrick and Gregg Hale.

    Eh.. color us unimpressed ? Maybe it will for fine but that movie was made in a magic time when movies still felt like magic…

    Could this remake be a little too late to make a difference??

  • Ready for another Texas Chainsaw Massacre?

    Ready for another Texas Chainsaw Massacre?

    It never seems to matter if people really are ready.. they keep coming..

    And… another one is on the way.

    Per Variety, it’s been revealed that Curry Barker has been hired by A24 to direct a reboot of The Texas Chainsaw Massacre. The feature film is separate from a Texas Chainsaw Massacre series that’s also in development at the studio by director JT Mollner. No specific details about Barker’s take on the story have yet been revealed, but it’s being described as a “reimagining,” suggesting it will tell a new story based on the original film from 1974.

    Another new story..

    Another new chainsaw massacre …

    The original film is credited as being one of the ‘scariest of all time.’ And if that is the case, why do they keep redoing it repeatedly?

  • We finally watched Undertone so you don’t have to. Although you might very well want to

    We finally watched Undertone so you don’t have to. Although you might very well want to

    It was good!


    There may be some spoilers here. Maybe not. That’s kind of the nature of this one.


    First off, there are people far smarter than us—or at least people who say they are—who have already broken this film down and latched onto the meaning behind the title. Undertone isn’t just a name. It’s the entire point.


    Our main protagonist, Evie, is the host of the Undertone podcast alongside Justin. The premise is simple enough: they’re playing ten anonymous audio files sent in by someone who refuses to explain who they are or why they sent them. Evie plays the skeptic, Justin leans into belief, and together they perform that balance for the show.


    But as the movie unfolds, it becomes clear Evie isn’t really a skeptic. She’s hiding.


    She’s masking fear, depression, and something deeper that she doesn’t want to confront. When she finds out she’s pregnant, the film quietly reveals another layer… this is not a joyful moment for her. It’s unwanted. And just like the recordings being forced into her life, it’s something she didn’t ask for but now has to face.
    From there, the movie settles into a slow, uncomfortable rhythm. We’re introduced to distorted audio, demonic undertones buried in nursery rhymes, and recordings that feel wrong in ways that are hard to explain. It’s not about what you hear. It’s about what you don’t hear. The silence. The gaps. The suggestion that something is just beneath the surface.


    At the same time, Evie’s mother is dying.


    And this is where the movie starts to hit differently.


    While her mother fades in the next room, Evie retreats into headphones, noise cancellation, and the world of the podcast. She’s drowning out reality while simultaneously immersing herself in something just as disturbing. It’s not just avoidance… it’s a form of coping. Or maybe it’s a form of surrender.
    A lot of people have analyzed this film and pulled meaning from it. There are layers here, and most of them are subtle. But the last ten minutes? Subtle is gone.


    The final stretch is chaotic. Loud. Disjointed. Almost overwhelming.


    The movie has been quiet for so long, relying on tension and sound design instead of cheap jump scares. Then suddenly, everything breaks. It mirrors Evie’s emotional collapse as her mother’s death rattle fills the room. It’s uncomfortable, messy, and confusing… just like grief.



    Everyone is going to walk away from Undertone with a different interpretation. But if you’ve ever cared for someone who was dying, this movie is going to land in a way that’s hard to shake. You hide from it. You distract yourself. You consume media that somehow reflects what you’re going through, hoping to find meaning in the pain.


    That’s the undertone of this film… PAIN.


    Evie isn’t a skeptic because she doesn’t believe. She’s a skeptic because she needs to be. Because believing means confronting everything she’s trying to avoid.


    And in the end, loss doesn’t come cleanly. It comes with agony, confusion, fear, and despair.
    This movie has all of it.


    Like we said… we watched Undertone so you don’t have to. But honestly, you probably should.


    It may not be the “scariest movie of the year” like every trailer claims these days, but it might be one of the most effective. And depending on where you are in life—whether you’ve experienced loss or you’re in the middle of it—the undertone of this film might hit you harder than anything else you’ll see this year.

  • Why the sad face when we’re going to get a clay face

    Why the sad face when we’re going to get a clay face

    The excitement is real right now. A brand new trailer dropped today for Clayface, and it’s got people talking in a big way.

    This isn’t your typical DC rollout either. The film is directed by James Watkins and stars Tom Rhys Harries as Matt Hagen, a disfigured actor who undergoes a transformation that turns him into something far more terrifying than anyone expected. The budget is reportedly around $40 million, which is actually pretty modest by superhero standards… but in a weird way, that almost adds to the intrigue. This feels less like a blockbuster and more like a calculated risk. A horror-driven swing inside the DC universe.
    And you can feel that immediately in the trailer.


    What we’re seeing is full-on body horror. Clayface appears with what looks like bandages wrapping around his face like a mummy, cutting between strange flashbacks and moments that feel completely ungrounded. Then there’s that final shot… his face looks human for a split second before he swipes it downward like a glitchy computer program and it just dissolves into nothing. It’s unsettling in a way that DC hasn’t really leaned into before. This isn’t just dark… it’s uncomfortable.


    What makes this even more interesting is that it doesn’t appear to be directly tied to Batman. From everything out there right now, Batman isn’t expected to actually show up. That said, this is still Gotham, and you can almost guarantee the presence will be felt through references, atmosphere, and the world itself. Honestly, that might be the smarter move. Let Clayface stand on his own and let the horror breathe.


    And speaking of that… the timing couldn’t be better. An October release puts this right in the heart of Halloween season, and if DC plays this right with a steady rollout of trailers throughout the year, the hype could build in a very real way. This has the chance to pull in not just comic fans, but horror fans too… and that’s a lane DC hasn’t fully owned yet.


    I’ll be honest, though… part of my excitement comes from something a little more personal. I’ve always liked Clayface. Going back to playing as him in Lego Batman: The Videogame on the Wii and Wii U, he was this big, goofy, fun character. Not the main villain, not the most popular… but memorable. And now seeing that same character turned into something this disturbing and serious… it’s kind of wild in the best way. It taps into that nostalgia but flips it on its head.


    The movie looks great. It looks scary. And yeah… that $40 million budget might be a little scary too when you start thinking about box office expectations. It’s way too early to know how this thing is going to perform, but if the tone lands and the marketing keeps building like this, don’t be surprised if this ends up being one of the more talked-about DC releases in a long time.


    This might be the one that quietly changes everything.