Scott Derrickson returns to familiar ground with Black Phone 2 (2025), a sequel that stretches the eerie premise of his 2022 hit into icier, more supernatural territory — but the call doesn’t quite connect this time.
Set four years after Finney Blake’s (Mason Thames) narrow escape from The Grabber, the film finds the once-traumatised boy struggling to rebuild his life under the weight of memory and unresolved fear. His sister Gwen (Madeleine McGraw) remains gifted — or cursed — with psychic visions, and when she begins dreaming of three missing boys at a winter camp, the black phone begins to ring again. Only this time, the voice on the other end isn’t just calling from the past — it’s pulling them back into it.
Derrickson, who cut his teeth on Sinister and Deliver Us from Evil, once again demonstrates a clear mastery of atmosphere. His use of light and shadow is chillingly deliberate, and the wintry backdrop gives the sequel a haunting, desaturated beauty that recalls the nightmare logic of A Nightmare on Elm Street crossed with the isolation of Friday the 13th. The cinematography by Brett Jutkiewicz captures frost-bitten textures and dreamlike corridors of fear, keeping the mood taut even when the story falters.
And falter it does. Despite a promising setup, Black Phone 2 struggles to escape the confines of its own mythology. What once felt mysterious and emotionally grounded now feels repetitive and muddled. The attempts to expand The Grabber’s lore — turning him into a supernatural force rather than a disturbed man — rob the story of its primal fear. The original thrived on ambiguity; this sequel over-explains.
Mason Thames and Madeleine McGraw both deliver earnest performances, grounding their characters in shared trauma, but they’re hampered by dialogue that’s often clunky and exposition-heavy. Even the film’s pacing, once one of Derrickson’s strong suits, slips into uneven rhythms — long stretches of ghostly visions interrupted by bursts of predictable violence.
Still, credit where it’s due: Derrickson’s visual language remains potent. Echoes of Sinister resonate throughout, from the use of distorted sound design to the flicker of analogue textures, suggesting a filmmaker who still knows how to craft a mood. The Grabber, though used sparingly, continues to terrify — his mask, redesigned with subtle variations, remains one of modern horror’s most unsettling icons.
But for all its chills, Black Phone 2 can’t shake the feeling of déjà vu. It’s a sequel haunted not only by its ghostly antagonist but by the shadow of a stronger predecessor. Derrickson’s talent for visual dread is undeniable — he just needs a story worth listening to again.
The Prognosis:
Black Phone 2 has the atmosphere, tension, and menace you’d expect from Scott Derrickson, but not the clarity or emotional pull that made the original so striking. Despite its best efforts to evolve into a supernatural slasher, this follow-up never quite finds its signal.
In the end, Black Phone 2 just doesn’t have time to thaw out properly — it rings, but the line’s gone cold.
Blumhouse Productions made its name with innovative horror films that struck a chord with audiences, often redefining the genre through clever storytelling and sharp commentary. Unfortunately, Afraid is a painful reminder of how far they’ve drifted from their golden years. Adding to the disappointment is the involvement of Chris Weitz, whose early career suggested he was destined for much greater things than this hollow misfire.
Weitz, once celebrated for his deft handling of comedies like American Pie and heartfelt adaptations like About a Boy, and even the ambitious yet divisive The Golden Compass, seems to have lost his way entirely. His association with Afraid begs the question: what happened? The film bears none of the charm, depth, or even technical polish of his earlier work. Instead, it’s a lifeless slog that fails to inspire fear, intrigue, or any emotional response beyond exasperation.
The premise—centered on the growing unease around artificial intelligence—has potential but is squandered on cheap thrills and half-baked ideas. Rather than offering a meaningful exploration of our AI-driven anxieties, Afraid merely skims the surface. Its portrayal of a bleak, AI-dominated future feels both uninspired and needlessly nihilistic. The film provides no real solutions, no glimmers of hope, and, frankly, no compelling reason for its existence.
Blumhouse’s hallmark has always been its ability to make the most of modest budgets, yet Afraid looks and feels like a bargain-bin effort. The production design lacks creativity, the dialogue is wooden, and the pacing is agonisingly slow. In a world where AI-themed horror can spark fascinating debates, this film opts for cheap scares and empty platitudes, leaving viewers frustrated and disengaged.
If the goal was to provoke thought or generate terror, Afraid misses on both counts. It’s a film that feels as lifeless as the machines it warns against, offering nothing to its audience and even less to the horror genre.
The Prognosis:
Blumhouse once showed promise as a bastion of modern horror, but with Afraid, they seem to be running on fumes. Combined with Weitz’s fall from grace, this film is a tragic testament to squandered potential. Hope may not exist in the world of Afraid, and after watching it, you’ll be hard-pressed to find any for its creators, either.
Blumhouse has long been synonymous with delivering low-budget horror with a sharp edge, but in recent years, their output has felt a bit predictable, leaving some fans yearning for the earlier days of their groundbreaking horror. House of Spoils, however, offers a fresh twist on familiar supernatural elements, blending witchcraft, female empowerment, and the culinary world in a tale that simmers with intrigue, even if it doesn’t fully deliver the knockout punch expected from the studio.
Written and directed by Bridget Savage Cole and Danielle Krudy, House of Spoils stars the ever-charismatic Ariana DeBose as Elena, an ambitious chef trying to launch her first restaurant in a remote estate. What should be a dream come true quickly spirals into a nightmare as Elena battles not only the pressures of running a kitchen and a shady investor (Arian Moayed) but also the spirit of the estate’s previous owner. This vengeful ghost seems hellbent on sabotaging her every move, lurking in the shadows and slowly unraveling Elena’s sanity.
The film plays out in an almost fable-like way, weaving in themes of witchcraft and earth magic, particularly in how Elena connects to the land she’s building her restaurant on. The kitchen, in this context, becomes more than a place of creativity and chaos—it’s a battleground, not just for Elena’s culinary dreams, but for her very soul. As she fends off both supernatural and real-world threats, the movie delves into the struggles of female empowerment in a male-dominated industry. It’s here that House of Spoils finds some of its most interesting material, reflecting on how women are forced to navigate a world of doubt, both external and internal, while being undermined by those around them.
Ariana DeBose shines as the determined chef, capturing Elena’s strength and vulnerability with nuance, though the script sometimes doesn’t give her enough to fully flesh out the character. Barbie Ferreira plays the role of Elena’s skeptical sous-chef, bringing a grounded, sardonic energy to the film, while Arian Moayed as the investor adds a layer of sleazy opportunism that heightens the tension.
Where House of Spoils really excels is in its atmosphere. The remote, crumbling estate is the perfect setting for a horror film, its dilapidated beauty mirroring the decaying hopes of its protagonist. There’s a distinct connection to the earth and natural elements throughout the film, almost as though the land itself is alive—and hostile. The ghostly presence of the previous owner feels intertwined with these elements, adding a layer of witchy folklore that sets the film apart from typical haunted house fare.
The culinary angle also brings a unique flavor to the film (pun intended). The stress and artistry of the kitchen mirror the growing supernatural threat, with moments of tension rising to a boil as Elena tries to hold her life and restaurant together. The culinary scenes are visually engaging and offer a fresh take on the typical horror setup, though at times they can feel somewhat underutilized in terms of narrative depth.
Despite these strong elements, House of Spoils isn’t without its shortcomings. While it explores rich themes of female resilience and empowerment, the pacing occasionally drags, and the scares feel too restrained for a Blumhouse production. The spirit haunting the restaurant never quite reaches its full terrifying potential, leaving the horror feeling a bit more muted than it should. Fans of Blumhouse’s more visceral scares might find the subtlety here frustrating, but those who appreciate a slow-burn, atmospheric approach will find much to enjoy.
At its heart, House of Spoils is a meditation on ambition, doubt, and the costs of chasing your dreams in the face of adversity. Its exploration of witchcraft and earth magic ties beautifully into its themes of resilience and nature’s power, and while it may not be a Blumhouse classic, it stands as a solid, enjoyable entry into the supernatural horror genre. There’s enough intrigue, originality, and thematic richness here to make it worth a watch, even if it doesn’t quite reach the heights it aspires to.
The Prognosis:
House of Spoils might not be a return to form for Blumhouse, but it’s a welcome detour into a world of supernatural folklore, female empowerment, and kitchen chaos. With strong performances from Ariana DeBose and an intriguing setting, it serves up a satisfying, if not entirely groundbreaking, horror tale.
Saul Muerte
House of Spoils will stream on Amazon Prime from Oct 4th.
Night Swim fails to make a splash in the horror genre, sinking beneath the weight of its own ambitions. Director Bryce McGuire’s debut feature struggles to maintain momentum, ultimately drowning in a sea of clichés and narrative inconsistencies.
The film’s premise, though initially intriguing, quickly loses its grip, failing to deliver on its promise of supernatural terror. What begins as a potentially compelling exploration of family dynamics and sinister forces lurking in suburbia devolves into a muddled mess of predictable scares and convoluted mythology.
One of the film’s major shortcomings lies in its inability to fully explore its central concept. Despite hints of a chilling backstory involving sacrifices and demonic entities, Night Swim never delves deep enough to provide a satisfying payoff. Instead, it treads water, recycling tired tropes without adding meaningful depth.
While the performances by Wyatt Russell and Kerry Condon are serviceable, their characters feel underdeveloped and fail to engage the audience beyond serving as vessels for jump scares.
The pacing suffers from a lack of tension, with scenes dragging on without purpose, leaving viewers feeling adrift rather than immersed in the narrative.
Even the technical aspects of the film fall short. While the underwater sequences are competently shot, they lack the immersive quality needed to captivate audiences.
The Prognosis:
Night Swim proves to be a forgettable addition to the horror genre. Despite moments of genuine tension, it ultimately fails to leave a lasting impression, leaving viewers longing for a more engaging and coherent experience.
Having launched the first Paranormal Activity feature back in 2009, the production house built by Jason Blum hit its stride through the 2010’s with Insidious; Sinister; Get Out; Happy Death Day and a whole heap of genre features that tapped into the modern cinema-going audience. With a blend of old school horror fused with trendsetting twists on classics, Blumhouse made a significant mark. We’re now 15 years on and the machine that was churning out feature upon feature for the next generation in horror cinephiles to lap up and it would appear that the cogs are starting to rust from grinding out sublime movies that upon scrutiny are starting to pale in comparison to groundbreaking, thought-provoking films that built up the reputation of Blumhouse Productions. This slump could be traced back to David Gordon Green’s curious direction for the Halloween trilogy; one that could be a metaphor for the Blumhouse catalogue thus far, come out swinging and hitting hard, before trickling into unnecessary padding, before a shambolic, misguided outcome that degrades the name that initially made a franchise great.
That’s not to say there have been some nuggets of gold in the mix, with The Black Phoneand M3GAN proving to be a hit with the box office, (the latter being only the start of last year) but when the outlet is great, doesn’t necessitate that the quality will match and we get the mishits of Insidious: The Red Door; The Exorcist: Believer; Five Nights at Freddy’s; and (the as yet-not-watched by this writer) Night Swim.
So, where does that place things for their latest venture, Imaginary that was released this week? A tale of a blended family, each member hosting a traumatic past move into Jessica’s (DeWanda Wise) childhood home in a vain attempt to put their tragic history behind them. All this changes though when the youngest step daughter, Alice (Piper Braun) finds an old teddy bear in the basement that she takes on as an imaginary friend. What appears to be an innocent childhood play experience comes into question when some dark turns are taken, leading the family into a journey that will test their strength.
On paper, this concept is a solid one and Director Jeff Wadlow (Truth or Dare; Fantasy Island) spends some quality time building on character; something that directors and creatives are prone to neglect for the sake of pace and drama. It’s a shame then, that all the build up is for nought as he is let down by poor performances, some downright wet in places. This would be borderline forgivable if it wasn’t for the fact that the storyline is equally weak and let down by shoehorning in recogniseable moments from signature movies in the past such as Beetlejuice; Labyrinth; and Child’s Play. There’s one thing to make nods to creativity that has inspired, but before too long it becomes obvious that you are drowning in unoriginality.
While this may be another misfire for Blumhouse, all is not lost and this could very well be the lull before another hit comes along, especially with Leigh Whannell’s The Wolf Man, and sequels to the psychotic killing doll M3GAN 2.0 and The Black Phone 2. Time will tell.
The Prognosis:
Imaginary by name but sadly not in the telling. Jeff Wadlow once again directs a lacklustre turn from behind the lens and a downward turn for Blumhouse. No originality and one that seems content in coasting along rather than creating a unique voice for the horror genre. Is the modern production giant resting on its namesake? One can only muse for now.
Saul Muerte
Imaginary is currently screening at cinemas nationwide.
The late William Friedkin’s The Exorcist is widely considered to be one of the greatest horror films ever filmed. Writer William Peter Blatty would often describe his work as a dark, theological thriller, which aligns more with this writer’s assessment. It’s a chilling film that cuts to the core of the fine line between heaven and hell upon us mere mortals dalliance with every turning decision that we make. Until now there have been a further four features, and a tv series lending its name to the franchise with little success.
Enter The Exorcist: Believer helmed by Blumhouse and David Gordon Green hoping to turn their tricks and repeat the success of Halloween (2018) by resurrecting a favoured horror franchise for a new generation of followers.All the while true horror veterans smile through gritted teeth hoping that the director leans into the core of the what made these films so iconic and not get lost in the ether of his own meanderings. Producer Jason Blum certainly has faith that Gordon Green can weave his magic once more despite the obvious failings of the recent Halloween trilogies’ last two outings.
Part of this formula was to bring back the original features’ lead star ala Jamie Lee Curtis’ Laurie Strode, and to also forget the sequels and pick up directly from the first outing. In this instance, the aim is to have Ellen Burstyn take up the role of Chris MacNeill once more and open up her storyline to venture forth into the demonic domain.
One look at the trailer however does not bode well as it smacks of the whole, let’s do the same as the first movie, but go bigger by having two possessed kids instead of one.
All opens well… as far as the dark and doomed are concerned, when Victor Fielding (Leslie Odom Jr) and his pregnant wife Sorenne are on honeymoon. Following a blessing from a voodoo practitioner, tragedy strikes when an earthquake leaves Sorenne injured and doctors force Victor to decide between his wife and unborn child. Cut to thirteen years later and Victor is now raising his daughter Angela (Lydia Jewett) on his own in Georgia, with the passing of his wife. Victor has lost his faith and Angela is in search of the mother she never got to know, pushing her beyond the earthly realm in her pursuit. Angela teams up with her school friend, and devoutly religious Katherine to go into the woods in order to perform a seance. Three days later they turn back up and the possession begins.
From here on in, rather than sculpt the screenplay into a theological mystery, the creative outlet pad out the piece with unnecessary cladding, including trying to crowbar in the Chris MacNeill component with disdain and neglect of The Exorcist. It’s such a pointless direction that it smacks of a cash grab situation, for who should Victor call upon to aid him in his daughter’s plight, but Chris and what’s more, she’s now a supposed expert who acts as though she can resolve the situation with her own form of exorcism. Needless to say, it doesn’t go well and she is then sidelined to make way for a team of exorcists, from various walks of religious experts to cleanse the children once and for all.
The Prognosis:
Take a classic and pour gasoline all over it, light the match and watch everything that made it great burn before your eyes with a thinly veiled excuse for a sequel. At times it feels as though the creatives are laughing maniacally as they try to tweak out the nostalgia using memorable quotes to drag their hopes of a continuing franchise over the line into a money-making enterprise. Its only saving grace is to have Lesie Odom Jr as its lead as he paints a well-crafted portrayal of a father, lost in the struggles of being a sole parent and isolated from the world, consumed by grief and regret.
Don’t be fooled though, this is not an Exorcist movie.
A “Five Nights at Freddy’s” or “FNAF” (as the fans know it) movie has hit cinema and digital screens (getting a bizarre simultaneous release on US cable network Peacock), and holy pizzeria the fans are rushing to the box office. It’s now officially horror’s power-studio Blumhouse’s biggest opening weekend movie in its history. But anyone with kids could tell you that they saw this blockbuster coming.
Based on Scott Cawthon’s video game and series of novels of the same name this adaptation has taken 8 years to finally make it onto the screen. Bouncing from studio to studio until Blumhouse took on the project a couple of years ago.
So, the film…
Mike, a troubled young man haunted by the fractured memory of the kidnapping of his younger brother gets a job at a spooky closed-down family pizzeria, Freddy Fazbear’s Pizza Place. Soon after clocking-on things start to go whirr, clunk, and bump in the night as the animatronic characters throughout the place appear to be more than meets the eye.
By the way, the involvement of Jim Henson’s Creature Shop in bringing these animatronic characters to life were a very welcome enhancement to the film, CGI would most definitely have been a wrong move here.
For any fans out there, this film relies very heavily on the novels as source material over the video game itself. Often touching loosely on back stories involving the various characters, so there’s enough in-joke nods to satiate FNAF fans. But the plot itself is pretty flimsy but as it’s aimed at younger horror fans that’s absolutely fair enough. Also there’s a bit of fun bloodless gore the kids will love!
The Prognosis:
It’s routinely spooky, the acting is solid, the jump scares are plentiful… that damn balloon boy, geez!!
Look if you’re flying blind going into this then you’re probably going to be a little let down but at the end of the day this film isn’t for you. It’s a fun filmic representation of a beloved horror game and book series that’s aimed squarely at the fans and young horror fans alike.
No doubt that after the success of the first one, there will definitely be more to follow.
There’s nothing more engaging than a movie that wears its heart on its sleeve, and for Director Nahnatchka Khan it’s clear from her work on writing and producing American Dad and Fresh Off The Boat that she has a fingers permanently on the comedic pulse. There’s a fresh energy to be found and along with the nostalgic vibes that she is going for in her latest outing behind the camera, Totally Killer.
Starring Kiernan Shipka (The Blackcoat’s Daughter) Totally Killer is a warped cross between 80s teen slasher and Back The Future of which there are continuous references throughout. There’s even a salute to the works of John Hughes and especially Molly Ringwald. The movie already speaks to my heart being a kid who grew up with all of these elements and more, infusing my love for the celluloid art.
Thirty years ago, “The Sweet Sixteen Killer” known for the amount of times he stabbed his victims, went on a killing spree in a smalltown, and was never caught. Now in the present day, Jamie Hughes (Shipka) is an ungrateful, cooler than cool teen, who’s Mum, Pam (Julie Bowen) is killed by someone carrying the same M.O. as the infamous killer, and is pulled off in a Screamesque way, ala Drew Barrymore, by offing a notable actress in the first reel. Thankfully though, Jamie’s best friend, Kelcey (Amelia Creston) has invented a time machine in the form of a photo booth. When Jamie tries to unearth her mother’s killer, she has to fight for her life, leading her into said time machine and then transported back to… you guessed it 1987 and just before the original killings began. She now has the opportunity to rewrite history, find and stop the killer, and save her Mum.
The Prognosis:
There have been some notable comparisons stated online between Totally Killer and The Final Girls, which on paper is understandable, but this Blumhouse produced flick has a very different energy about it, namely due to Shipka’s performance and the script which zings along at a highly infectious and engaging pace. Shipka is also supported well by her fellow cast members, namely through her teen Mum, Pamela Miller, played by Olivia Holt (who is herself moulded through the House of Mouse, starting with the kids’ series Kickin’ It). While some of the beats do misfire on occasion, it is the heart of the movie that lifts you up and guides you through an enjoyable whodunit.
Totally Killer is currently streaming on Amazon Prime.
Once again director Christopher Landon proves his mark in the realm of teen slasher horror. Whilst Happy Death Day had its faults, Landon struck a vibe with the new generation of horror fans by taking a classic comedy film ala Groundhog Day and adding a slasher twist. The success proved such a success in collaboration with Blumhouse, a production company that have excelled in recent years tapping into the horror genre with great success, that would go on to produce an equally profitable sequel. Proving that the formula works to reinvent family-friendly comedies of yester-year, Landon hits his stride with the twist on body swap sub-genre and the Freaky Friday film, this time around seeing teen protagonist Millie Kessler (Kathryn Newton – Supernatural) switching bodies with a serial killer, The Blissfield Butcher (a surprisingly good Vince Vaughn).
Landon’s language on screen has also come into his own as he projects great energy with his admittedly one-dimensional characters, (if there is one criticism to be held, it’s definitely here) but it’s the way Landon plays with these characters within his realm with the number one aim to have fun with it. I can not stress how much Freaky owns the comedy element, knocking around familiar concepts in the genre with some cracking nods along the way, notably Halloween and Friday the 13th franchises respectively and sure fire proof that Landon knows his craft.
What surprised me about this film was how the ‘camp’ elements played in favour of its narrative, which so easily could have bent in the wrong direction, tipping into painful territory, but manages to keep that balance in check. This also allows for some decent heartfelt moments especially for Vaughn to chew his teeth into and adding some nice beats in the more quiet moments in the film.
There are also some cracking gore moments to keep the horror enthusiasts thirst for on-screen blood satiated. It may not go dark enough to some, but to do so would be detrimental to the humour component that Landon was striving for.
The Prognosis:
This is a fun, enjoyable ride that does exactly what it says on the tin.
Landon excels in this environment, playing with the genre concepts with glee and producing a cracker movie filled with great energy and plenty of gore whilst keeping his finger on the pulse.
100 years ago the Roaring Twenties came into effect with a social and economic boom that pushed the boundaries of experimentation and exploration dubbing it the crazy years.
Cinema has evolved greatly during this time and spawned Robert Miene’s silent horror in German Expressionism, which is still considered a classic among some critics.
While the tides have shifted and the boundaries of what is classified as horror has twisted through the years, moving numerous debates and discussions along the way, we come to a time when originality can be hard to come by, or perhaps the audience has become too critical and our perceptions have changed.
Can the films of today cause a deeper development in the genre that we’ve come to love and like the films that were born a century ago stir the insanity again and break new ground in the process?
Let’s look at what 2020 has in store and see if indeed it will deliver.
This film has led some early reports to compare it to Alien but in the ocean deep instead of the far reaches of space. It does boast Kristen Stewart in the cast who may divide audiences and has been a bit hit and miss of late in her film choices but she is supported in this instance by Vincent Cassel, who is known for choosing experimental films. Does this then mean that this team of underwater researchers will uncover not only a few beasties but also break new ground in the process?
Prediction: Neither sink or swim. A drifter that will entertain some but not cast anything new into the cinematic landscape.
Jan 24 – The Turning
Based on Henry James novel, The Turn of the Screw and produced by Steven Spielberg, it stars Mackenzie Davis (Terminator: Dark Fate) and Finn “Can my hair grow any longer?” Wolfhard (Stranger Things) and bears close scrutiny as director Mike Flanagan (Doctor Sleep) is set to release an interpretation of the novel in Netflix series, The Haunting of Bly Manor, his follow up to the successful The Haunting of Hill House.
Prediction: Director Floria Sigismondi will no doubt bring some artistic visual flair that is evidence from her music videos, but could possibly fall foul of “popcorn syndrome” – Light, fluffy with a bit of crunch and serves the masses, but ultimately has no substance.
Initially I was really excited about this release, being a fan of the Ju On franchise, plus Nicolas Pesce’s work with The Eyes of My Mother, and Piercing. Both movies have pushed the boundaries of comfort and shot in stylistic fashion that I was keen to see where Pesce would take The Grudge. Early reports haven’t been favourable however, so it could be another disappointment in the first month of the new decade.
Prediction: Could be another franchise instalment too many. The name alone will pull in the numbers, yet may not hit the mark on the scare front.
Jan 31 – Gretel and Hansel
It’s been over 200 years since The Brothers Grimm fashioned the fairy tale about a cannibalistic witch that kidnaps two children roaming in the woods. The fact that it is still resonates today is a testament to the strength of the storytelling and it will be interesting to see the story told from the perspective of Gretel played by Sophia Lillis (IT) who has already proved compelling as the young Beverly Marsh.
Prediction: Better than your average fair without necessarily offering anything new or compelling with the horror genre.
Some may argue its place in this list, but it is billed as a psychological horror and director Robert Eggers has already made a name for himself in the artistic expressionism world within the genre with his debut feature, The VVitch, a film that also divided audiences. American audiences have already seen the movie too as it was released there last year, but as yet Australian audiences are still to see Eggers’ sophomore outing which pits Willem Defoe and Robert Pattinson against one another in a battle of wills and sanity in a remote and confined island.
Prediction: Will wow audiences looking for the alternative and alienate those more into the mainstream. Either way, both audiences will applaud the performances and Eggers and cinematographer Jarin Blaschke will paint a stunningly beautiful canvas.
Feb 13 – Fantasy Island
Blumhouse Productions are about to shake things up again by breathing new life into a cult 70s tv series. With a star-studded cast – Michael Pena (Crash), Maggie Q (Nikita), Lucy Hale (Pretty Little Liars), and Michael Rooker (Henry: Portrait of a Serial Killer). On an island where your fantasies come true, only to turn into nightmares and the guests must figure out its mystery in order to survive.
Prediction: Another success for Jason Blum and the team which will connect with the cinema-going public. If it’s played right, it could offer a fresh take using a blend of fantasy and horror that could also spark a franchise
Feb 21 – Brahms: The Boy ll
This one is a bit of an oddity. Whilst its predecessor was a middle of the road affair and proved to be better than expected. It did feel like a one-off movie that didn’t necessarily warrant any further journey into the world of Brahms. A sequel is here though and will pick up with the doll being discovered by another family.
Prediction: A flop that will fall by the wayside and may not even make a blip on the radar.
Feb 27 – The Invisible Man
Another Blumhouse movie, this time in collaboration with Universal to resurrect their monsters franchise after the abysmal Tom Cruise vehicle from a few years ago. In what is potentially a ripe and current topic being explored in domestic violence as its central theme The Invisible Man boasts a cracking cast with Elisabeth Moss taking lead duties. It’s also in great hands with director Leigh Whannel steering the ship following his successful movie Upgrade from last year, plus Whannel is a storyteller, so expect a decent script to boot.
Prediction: The first big success of the year bringing the Universal monsters franchise back on track and paving the way for future projects with The Bride, Renfeld, The Invisible Woman, and Frankenstein.
Mar 20 – A Quiet Place Part 2
The question is whether director John Krasiniski can repeat the winning formula from the first movie. This War of the Worlds style feature with an audio twist is more sci-fi than horror, but with the family in plight scenario held a strong connection with the audience. How will this translate now that there is an absent father?
Prediction: Cillian Murphy will provide some much needed gravitas to the narrative which will be strong enough to lift the audience through with some decent ups and downs to wrench up the tension.
Apr 3 – The New Mutants
Since Disney took over Marvel operations, The New Mutants has been stuck in production, deemed a little dark for the House of Mouse questioning how to distribute it. The feature comes across as The Dream Warriors crossed with the X-Men and centres on 5 young mutants held in a secret facility against their will. It also boasts a cracking cast with Maisie Williams (Game of Thrones), Anya Taylor-Joy (The VVitch, Split), and Charlie Heaton (Stranger Things).
Prediction: Despite several delays I feel that this film is gonna connect in a big way and pull in a lot of people. It just depends on how dark Disney are willing to go with it.
Apr 17 – Antlers
Little is known about this movie other than it is based on a short story by Nick Antosca the creative mind behind the Channel Zero anthology series. The screenplay must have some potential to have caught the eye of Guillermo Del Toro and put his name down as producer.
Prediction: With Keri Russell in the cast to provide the fantasy elements in reality, this could well be the surprise hit of the year.
May 15 – Saw reboot
Currently titled The Organ Donor starring Chris Rock, Samuel L. Jackson and Max Minghella this reboot of the Saw franchise will see the return of the Jigsaw Killer, but without Tobin Bell… I think? With director Darren Lynn Bousman at the helm once more following his turn overseeing parts 2-4, he is no stranger to the world.
Prediction: Will put bums on seats for the shock gore factor alone, but will the buddy cop drama approach pay off? Time will tell.
Jun 11 – Candyman
This is gonna be a tough one to watch for me as I am such a huge fan of the original movie and like Freddy, Candyman would haunt my dreams for a long time after viewing. A lot of that has to do with the strength of Clive Barker’s short story coupled with Tony Todd’s personification of the titular character. Part of me is willing for this to be a success though as I can see room for the movie to be delivered to a modern audience using folklore and mythology at its core, and the storyline itself can transcend easily through the ages. It will be interesting to see a female perspective in director Nia DaCosta to follow Helen’s journalistic investigations.
Prediction: Jordan Peele has attached his name to this project and is clearly passionate about the story, but one can’t help but feel this is one step too far in rekindling the old flame that resides within the Candyman story.
Jul 2 – Ghostbuster: Afterlife
I know it’s technically not a horror film, but I’m including this in the mix for its nostalgic value in me the original movie paved the love of horror that I have and opened the door to many more glorious visions in the genre ever since. The original team will return in some shape or form, but primarily the film centres around a mother and her two children who set up on a farm only to discover something paranormal lurking in the town.
Prediction: Another film that will be resting on the merits of the first film, and while it’s great to see Jason Reitman take on the franchise following in his father’s footsteps, one can only hope that there will be enough comedy, horror and sci-fi to capture that old magic, but I think it will just be a glimmer rather than that sparkle.
Jul 10 – The Purge 5
Supposedly returning for the final instalment the 12 hour no holds-barred, crimefest ignited something in the movie-going audience. It has seen five feature length instalments and 2 seasons.
Prediction: More of the same, so if you’re a fan of the series, you’ll love it. I for one think the films are fun and enjoyable and it will be interesting to see how James DiMonaco will conclude things.
Jul 30 – Morbius
Sony has promised to take the Marvel universe into dark territory before with Venom and here they intend to do so again with Morbius, the Living Vampire. Jared Leto will no doubt bring the goods for the titular role and is in good company with Matt Smith, Jared Leto, and Tyrese Gibson.
Prediction: Director Daniel Espinosa provides great entertaining and solid movies, such as Safe House and Life, and I see no change here to his formula, but still question if they can go dark enough to make it compelling for horror fans.
Sep 11 – The Conjuring 3 aka The Conjuring: The Devil Made Me Do It
The Conjuring universe has progressed in leaps and bounds since its initial release in 2013. There has been the odd blips, but essentially the films continue to entertain and scare audiences. This latest film will once again see the Warrens at the centre of proceedings, this time with one of their most publicised cases that bore witness to Arne Cheyenne Johnson claiming that he was possessed when he murdered.
Prediction: Solid acting, tight storyline, but may fall down with its delivery and exposition. Unfortunately Director Michael Chaves didn’t deliver with The Curse of La Llorona, so I fear that this may end up in a similar way, but am still willing to give it a chance.
Sep 17 – Last Night In Soho
Not much known about this one, but Edgar Wright has a knack for tapping the pulse of classic films and adapting their essence for a modern audience. This time around the psychological horror is inspired by Don’t Look Now and Polanski’s Repulsion both high in my all-time favourite lists
Prediction: A killer cast in Anya Taylor-Joy, Matt Smith, Diana Rigg, and Terence Stamp, this could be the ‘big hit’ of the year.
Oct 15 – Halloween Kills
In 2018, David Gordon Green, Danny McBride and Jason Blum attempted the impossible, the resurrection of Michael Myers that would connect both fans of the original and connect with a new audience. By delving into the subject of trauma and the impact that this has on its victims, Myers became both topical and harrowing. His sheer brutality and the force in which he attacks his victims made his carnage all the more disturbing.
Prediction: The name and sheer presence of Myers will bring the audience to the screens, but can they still make him relevant? They can’t rest on the nostalgic nods this time around. It’s a fine line to walk on, for if they get it wrong, they could find their final instalment, Halloween Ends a tricky sell.
TBC – Army of the Dead
For sheer shits and giggles, and action-pumped mayhem from visual storyteller Zack Snyder, about a group of mercenaries who decide to rob a casino during a zombie outbreak, this film concludes our list.
Prediction: Starring Dave Bautista, Army of the Dead will be entertaining if nothing else. A perfect answer for those just wanting to get their kicks and not have to think too deeply.
Surgeons of Horror 