Welcome to the heart of Knockout Horror. This is where we keep the hundreds of reviews we’ve written over the years. Let’s be honest: the horror genre is a minefield. For every Hereditary, there are a dozen low-budget disasters waiting to waste your Friday night. That’s where we come in.
We watch the good, the bad, and the absolute trash so you don’t have to. From the latest theatrical blockbusters to the obscurest oddities hiding in the depths of Tubi and Shudder, you’ll find our honest, unpretentious, and jargon-free verdicts right here. No film school lectures, just a horror fan telling you if it’s worth the popcorn.
Evidence of the Boogeyman (2025) is a textbook example of found footage padding. While it features a gnarly 80s-style monster and a charismatic lead in Naomi Mechem-Miller, the 94-minute runtime is filled with repetitive “nontent” and a plot that feels like it’s running on a default setting. It’s free on Tubi, but is it worth your time? Let’s find out.
If found footage horror comes in a multitude of different flavours, Tyler Russell’s The Hem (2025) would be vanilla. A by-the-numbers tale of a haunted church and a spooky bride, it’s the kind of movie made for the undemanding horror fan who prefers familiarity over surprises. We take a look.
Killer Whale (2026) continues the January tradition of terrible aquatic horror movies. Despite a committed performance from Virginia Gardner, this seasploitation flick is sunk by abysmal green screen effects, a remedial script, and a surprisingly boring narrative. Read our full review to see why you should stay on dry land.
Horror in the High Desert 4: Majesty attempts to expand the franchise’s lore with a generational mystery, but the result is a tedious exercise in diminishing returns. With “vintage” footage that looks distractingly digital and a runtime padded by endless walking, this fourth entry offers zero scares and even less narrative progression. Read our full review to see why this franchise is running on fumes.
The Beldham is a beautifully shot but narratively messy exploration of generational trauma. While the ending is impactful, predictable horror beats and a weak script hold it back.
Mike P. Nelson brings us a modern reimagining of the controversial 80s classic Silent Night, Deadly Night. With a drastically different plot and a polished look, can it capture the grimy magic of the original? We review this slick but ultimately generic festive slasher.
Christmas Evil is often mistaken for a cheap festive slasher, but this 1980 classic offers a visually stunning psychological study of a man’s mental collapse. We revisit this unique holiday horror to see if it stands the test of time.
A heist gone wrong turns into a never-ending nightmare in Manor of Darkness (2025). We review this British indie horror that blends a mockumentary setup with a Happy Death Day-style time loop. Does it overcome its sluggish start to deliver a knockout punch? Read our review to find out.
Osgood Perkins is back with Keeper, and it is just as divisive as you’d expect. Visually stunning but undeniably “try-hard,” is this 2025 folk horror a dreamlike masterpiece or just a pretentiously boring slog? We break down the twist, the vibes, and the struggle to stay awake.
Tubi seems absolutely obsessed with social media influencers, doesn’t it? This week we are checking out Glamping (2025), yet another slasher where people care more about hashtags than survival. But does this one manage to bring anything new to the table, or is it just another hour of waiting for a kill while watching actors pretend to be famous? Let’s take a look.
Destroy This Tape (2025) kicks off with a unique “filmed on a potato” aesthetic that found footage fans might love, but quickly abandons it for a generic investigation thriller. We review this disappointing bait-and-switch that trades genuine atmosphere for a formulaic plot and an unlikable protagonist.
Bryan Bertino returns with Vicious (2025), a horror film that pairs Dakota Fanning with a mysterious gift box. While the atmosphere is suffocating and the visuals are stunning, is there actually a story here? We review this visually gorgeous but narratively hollow thriller that feels like a short film stretched to its breaking point.