Horror Movie Reviews

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.

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.

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.

Director Kate Dolan heads into the M3GAN universe with Soulm8te (2026), a campy sci-fi thriller about a grieving widower who buys a companion android and stupidly disables her safety protocols. While it lacks the razor-sharp script and slick presentation of something like Companion, Lily Sullivan delivers a fun, uncanny performance as the limb-snapping AI. Go in expecting 1950s-style robot cheese rather than serious eroticism and you will have a good time.

Amazon Prime’s The Devil’s Mouth (2026) traps a talented Kathryn Newton in a painfully dull, PG-13 cave shark thriller. With barely ten minutes of actual aquatic action stretched across a bloated runtime, you will spend most of this movie watching unlikable characters clinging to wet rocks in the dark. Skip this bloodless slog unless you are a die hard Newton fan.

The long awaited Scary Movie (2026) rebootical reunites the Wayans brothers with Anna Faris and Regina Hall, but it completely fumbles the execution. Weighed down by a severely bloated cast and thirty minutes of joke-free character introductions, it misses obvious parody targets in favour of baffling choices. Faris and Hall still bring the laughs, but you should save your money and wait for streaming.

Marketed as a killer tiger shark film, The Bay (2026) is actually just a dishwater dull drama about unlikable people bailing water out of a sinking boat. If you are looking for actual toothy carnage and b-movie thrills, you need to look elsewhere. This aquatic thriller completely forgets to include the sharks. Skip it and watch Deep Water instead.

Evil Dead Burn (2026) brings the Deadites back for another round of glorious, stomach-turning splatter. While it gets completely bogged down by a sluggish 40-minute setup and a laughably bad CGI climax, the practical gore effects and downright repulsive kills make it a blast for hardcore hounds. Just think of it as a standalone monster movie rather than a true Evil Dead classic.

Renny Harlin’s disastrous reboot trilogy finally comes to a merciful close with The Strangers: Chapter 3 (2026). This final entry strips away everything that made the 2008 original a modern classic, replacing genuine terror with mind-numbing repetition and an exhausted performance from Madelaine Petsch. Unless you are a desperate completionist, this is an incredibly easy skip.