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.
Everything about Natasha Kermani’s The Dreadful (2026) suggests a folk-horror home run: a high-caliber cast, a moody 15th-century setting, and a substantial budget. However, despite the much-hyped Game of Thrones reunion between Sophie Turner and Kit Harington, the film is a wordy, glacial slog that chooses meandering monologues over actual tension.
Twisted (2026) brings together horror favorite Lauren LaVera and the legendary Djimon Hounsou for a “conners-get-conned” thriller directed by Darren Lynn Bousman. While the premise is intriguing and the lead performances are elite, the film feels trapped in a 2007 time capsule. With glacial pacing, jarring split-screens, and a scene of someone taking a piss that lasts far too long, is there enough here for genre fans?
119.MP4 is an ultra-DIY, experimental found footage film that feels more like underground performative art than a traditional horror movie. Is this bizarre, convention-defying Tubi find actually worth your time?
Dropbear is an objectively terrible movie that manages to be an absolute riot for the right audience. It’s a z-grade creature feature that leans heavily into its absurd premise, offering farcical kills and special effects that are, frankly, completely pants. While the joke wears a bit thin by the final act, if you fancy watching killer koalas rip out throats while the cast plays it straight, this “so bad it’s good” gem is perfect for a beer-and-pizza night.
New Fears Eve is a gloriously unapologetic throwback to the era of “bottom shelf” rental gems. While it struggles with a slow setup and some flat acting, the film overcomes its low-budget limitations with a relentless commitment to creative, stomach-churning practical effects and a high kill count. If you value “the red stuff” over high-brow plotting, this office-party-gone-wrong is a bloody good time that knows exactly what it is.
The Confession (2025) offers a genuinely fresh take on the Pied Piper folklore, but can it survive a script that seems determined to bury it under a mountain of generic supernatural tropes and terrible CGI? We take a look at this frustrating exercise in wasted potential.
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.