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.
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.
Taking a spin on the Tubi roulette wheel brings us to Velvicide (2026), a micro-budget psychological horror that punches way above its weight. While it suffers from a padded runtime and laughable props like a googly-eyed villain mask, an absolutely stellar lead performance from Gea Rose Henry makes this a character study worth your time. If you like intimate indie horror, check it out.
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.
Director Johannes Roberts trades the sharks for a killer chimpanzee in Primate (2025). While the script is thin and the human cast is completely unlikable, the movie leans hard into brutal splatter gore and genuine B-movie tension. It takes a minute to get going but once Ben the chimp starts tearing faces off, it becomes a ridiculously fun and visceral watch.
As the first Blumhouse movie produced entirely outside the US, No Me Sigas (2025) kicks off with a solid, grimy atmosphere before completely falling off a cliff. What begins as a competent haunted livestreamer setup quickly devolves into a messy cacophony of loud jump scares, terrible CGI, and played-out tropes. It’s free on YouTube, but temper your expectations – this one is strictly for background noise.
It costs nothing to watch on Prime Video, but you should go in with your expectations correctly aligned. Grizzly Night (2026) is a basic survival drama focused on bureaucracy and search parties. If you are in the mood for a relentless, high-octane killer animal feature along the lines of Hungry, you will find this historical trek far too slow but survival fans might just want to check it out.