It’s time for another Netflix original horror movie with The Last House. Instead of scares and apocalyptic dread, we have more family dance-offs and saccharine sweetness than you can shake a stick at. This one completely misses the mark but why not check out our review to find out why?
Bruce Campbell recently called out the modern Evil Dead movies for being entirely humorless, and he is absolutely right. We are looking at why recent entries like Evil Dead Burn have traded the iconic, fun energy of Ash Williams for miserable, washed out torture porn. It is time for horror to remember how to have fun again.
Are you guys ready for another awful Asylum shark movie? Well, the good news is that this one is so bad it is good. We take a look at the dismal, but weirdly enjoyable, Shark Terror from 2025.
Found footage indie Tinsman Road asks for a lot of patience, but it just might reward you for it. Director Robbie Banfitch crafts an incredibly raw, analog-style investigation into a missing family member that easily rivals the heavy existential dread of Lake Mungo. While the emotional weight and creepy audio design are fantastic, the movie desperately needed a ruthless editor. At over two hours long, this slow burn mystery is padded with repetitive scenes that will definitely test your endurance.
If you are looking for a Bigfoot creature feature, you need to look elsewhere. Matt Kincses’s Sawtooth Mountain (2026) uses Sasquatch purely as promotional bait, delivering a slow burn indie thriller instead. The gorgeous Pacific Northwest scenery and decent lead performances can only do so much to save a movie burdened by a boring first half and a completely nonsensical finale.
We are taking a deep dive into the woods to explain the ending of Hanna Bergholm’s Nightborn (2026). If you are wondering why baby Kuura has a tail, what was actually up with Saga, or how Jon foolishly sealed his own fate, we have all the answers. Read our full breakdown of this Finnish folk horror and its wild changeling twists.
Still trying to figure out the ridiculous ending to Eli Roth’s Ice Cream Man (2026)? We are breaking down the convoluted cemetery twist, the real identity of the town priest, and exactly why Jonathan Smiley targeted the Mayfair family. Read our full explanation for this thoroughly awful splatter mess.
Eli Roth’s Ice Cream Man (2026) is an utterly soulless splatter flick that completely wastes a fun premise. Completely bogged down by repetitive gore, a charmless villain, and very clumsy use of generative AI, this is a massive step backwards from Thanksgiving. Save your money and skip this derivative mess.
In this opinion article, I discuss why I think Eli Roth’s use of AI in his latest movie is a terrible sign of things to come in the horror industry. The wave is just beginning and it is only going to get worse.
Director Hanna Bergholm returns with Nightborn (2026), a fantasy horror that trades the usual heavy handed misery of postpartum movies for dark comedy and absurdity. While the premise is highly derivative and the relentless baby crying will absolutely test your patience, stellar acting from Seidi Haarla and Rupert Grint keeps things highly entertaining. It is a surprisingly fun, campy B-movie that leans hard into its ancient folklore roots.
Black Box (2026) starts out as a messy airplane disaster movie before taking a wild turn into Lovecraftian survival horror at 30,000 feet. Despite some truly terrible camera work and questionable CGI, this Prime Video creature feature delivers a surprisingly fun, claustrophobic ride with a high body count. If you can survive the rough first twenty minutes, it is well worth a watch.
Catch up on all the horror headlines in our early August 2026 roundup. Eli Roth’s Ice Cream Man faces brutal walkouts and AI accusations during early previews, Chris Carter announces an R-rated director’s cut of The X-Files: I Want to Believe for Hulu, and Jane Schoenbrun’s elevated slasher Teenage Sex and Death at Camp Miasma earns rave critical reviews.