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In a meta reboot brimming with promise, the re-imagined Anaconda (2025) lost the plot early and often. The cast? Star packed. The trailer? Very funny. The concept? Surprisingly original, but the story meanders and squanders the core ideas. The snake? We didn't see enough of it, and it has been done better in movies with much smaller budgets. Was it scary? Not in the slightest. This was a lost opportunity.
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Does working in today's economy feel like you are on a treadmill that is getting too fast for you? Has your job killed your dreams? Employment in the modern world can be, in a word, a Grind. Grind is a timely anthology that is neatly stitched together and explores how working for the Mega-Corporations (TM) can erode your sense of being and may cost you more than a diminished paycheck. If you ever thought "This job is gonna kill me." Grind will resonate with you.
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Hungry (2026) presents a rampaging hippopotamus that wrecks an alligator-touring flatboat group in the Louisiana bayou. The film paddles through familiar territory, but swaps out the traditional crocodilian menace for a legitimately dangerous mega-mammal. Capable and earnest performances and impressive visuals bolster what would otherwise be a by-the-numbers production.
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In Evil Dead Burn, it's all gas, no brakes, with copious gory violence but not a whole lot of plot, in the most recent edition of the Evil Dead Franchise. This film is a white-knuckle ride. It upholds the franchise's tradition with extreme elements that will please many loyal fans. It does not, however, provide the charm and certainly lacks the goofiness of the Raimi movies. From the moment the movie starts, the action doesn't let you up for air. For some, that's a thrill. For others, it may prove exhausting.
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Friday the 69th prescribes a gonzo premise: What if a porn studio tries to rescue its fortunes by going straight and making a mainstream horror movie? This debut film from Alex Montilla was featured at the Portland Horror Film Festival. This retro grindhouse spoof behaves itself... mostly. The movie isn't nearly as dirty as it potentially could have been. It pays homage to the slasher movies of the early '80s and has subtle nods to the adult-film roots of the characters making the movie-within-the-movie. The comedy is a bit uneven, but it hits often enough to put a smile on your face.
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Sometimes it takes an indie take on a classic to make the story scary again. Dracula: The Night Around Us does exactly that. It is a dark, brooding, modern take on the Bram Stoker classic. Literal chills ran through my nervous system. This film won the Goul D'Or award at the Portland Horror Film Festival for the best Feature at the Festival in 2026.
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The Frogman is back! The first Frogman was something of a found footage cult hit. Now, both the actual film and the film within the film have a bigger budget this time out, and the results go gonzo crazy. Forget the cryptids; this sequel takes the concept into cosmic insanity. See this in a full theater, as the audience I saw it with went completely bananas. It starts out like a natural extension of the first film, but expands the story into realms practically unthinkable. This feature won the Horde Award at the Portland Horror Film Festival as the audience choice for best film.
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The Demonatrix is a cheeky, lightly racy horror-comedy that reflects on the economic troubles of the time. A dominatrix looking to get some extra income turns to hosting fake séances to make ends meet. When things inevitably go awry, she turns to a priest working in a church across the street from her kink studio. It's a silly, simple tale that features some great costumes and a couple of horror legends you will recognise.
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LandLord poses the question "If vampires can't come into your home without an invitation, what happens if they own your housing?" A bounty hunter checks her conscience in order to save an orphaned boy from the predations of a vampire landlord consuming the tenants of a Lousiville housing complex. This gritty and moody debut from writer director Remington Smith was featured at the Portland Horror Film Festival.
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Obsession is the latest movie to apply the Monkey's Paw wish dilemma. Be careful what you wish for; you just might get it. This independent horror gem is the latest example of how original storytelling and great performances can launch a tiny-budget movie into the box-office stratosphere.
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The Southern Gothic film Parasomnia dips into the "dream demon" trope, infusing it with a voodoo twist and a delicious betrayal to spice up the story. Solid performances and carefully crafted character relationships help offset a somewhat pedestrian depiction of the demon.
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Buffet Infinity is a film as strange as its name. This lo-fi cosmic-horror oddity spins its story through local advertisements that slowly escalate from commercial competition to societal domination. It is a clever concept that takes a while to comprehend, but it manages to combine initially incongruent media into a cohesive story of dread and destruction.
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American Dollhouse is what you get when a slow-burning liminal horror film decides to step on the gas and slams you into psycho murder madness. Sarah is a woman who hasn't been given many breaks in her life. When she inherits her dilapidated childhood home, she thinks she has struck the lottery. Unfortunately, the house retains awful memories, and worse yet, has a psychotic neighbor who has a strange obsession with her. Tensions rise as the neighbor's behavior escalates into violence, pushing Sarah deeper into a nightmare that threatens everything around her.
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Embattled bride Grace is back, in Ready or Not 2: Here I come, and she's going to have to do it all over again. This time, her estranged sister will be by her side as a cadre of rival megalomaniacal families vie to murder her and claim the ultimate Satanic prize. This sequel is a bloody joy ride, and it extends the premise well, but a chunk of the magic of the first movie is missing.
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Ugly Cry joins the ranks of body horror movies written and directed by women that shine a light on the unfair beauty standards that women are held to. Emily Robinson wrote, directed, and stars in this dark comedy drama where facial expressions can doom you to getting a key acting job or not. "It's not body horror, but it is a film about the horror of having a body" (Robinson) This movie premiered at SXSW.
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Bagworm is intensely uncomfortable. Carroll is a loser living in a burned-out bungalow in decaying squalor. His love life reflects his living situation: rotting and getting worse. When this hammer salesman, ironically, steps on a rusty nail in his front yard, it adds a third leg to this stool of personal destruction. Tetanus overcomes him due to personal neglect, leading to madness and hallucinations. It is a story well told, and though it sprinkles in some humor, it is wrought with cringeworthy moments. Bagworm had its North American debut at SXSW.