shudder: Last News

Find Ari Aster‘s 2019 cult horror film “Midsommar” a little too self-serious? Well, director Steffen Haars has a remedy for you: “Get Away,” a slasher comedy about a family who goes on vacation to a remote Swedish isle with a sinister secret and somehow retain their British pluck as murders pile up around them. READ MORE: Fantastic Fest 2024 Lineup Includes ‘Never Let Go,’ ‘The Wild Robot,’ ‘Teacup,’ ‘Ebony And Ivory’ It begs the question: why didn’t anyone think of this idea sooner? A comedic riff on “The Wicker Man” and its ilk sounds a charming sit for horror fans, even if “Get Away” remains a minor lark of a film.

Fantastic Fest 2024 kicked off in Austin last night, which also means, more or less, that horror movie season has officially started. So what indie and foreign horror flicks will grab the festival audience’s attention this year? One frontrunner there is “Daddy’s Head,” the sophomore feature from English director Benjamin Barfoot.

It’s safe to rank South Korean horror fans high atop the list of genre supporters the world over, mainly as the past several decades have produced blockbusters the likes of 2010’s “I Saw the Devil,” 2016’s “The Wailing” and even the work of Bong Joon-ho, Oscar-winning director of “Parasite,” with the widely acclaimed 2006 entry “The Host.” With Korean spirituality long held in high regard and scripture overflowing with stories of forces at work beyond the boundaries of humankind, writer/director Jang Jae-hyun (“The Priests,” “Svaha: The Sixth Finger“) has now brought “Exhuma” to the table, a film taking the kitchen sink approach when it comes to 134 minutes of content and a cast more than willing to try and sift through the murk to help it make sense.

Mario Bava, Lucio Fulci, or even Sergio Martino may pop into cinephile’s heads when thinking of Giallo’s greatest directors. But only one name is truly synonymous with the Italian sub-genre, and that’s Dario Argento.

It’s a Wonderful Knife. Kennedy’s debut effort, 2020’s Freaky, a robustly entertaining riff on body swap films, co-written with Christopher Landon, was met with both critical and audience acclaim.

Back in 2012, “V/H/S” premiered at the Sundance Film Festival to give “Paranormal Activity” and the rest of the found footage horror sub-genre a run for its money. And now, after three sequels, a spin-off, and a Snapchat miniseries, the fifth installment of the series is upon us, “V/H/S/99.”   Fresh off its world premiere in the Midnight section of TIFF last month, the latest anthology film in the series features segments from Johannes Roberts, Vanessa & Joseph Winter, Maggie Levin, Tyler MacIntyre, and Flying Lotus.   READ MORE: ‘V/H/S/99’ Review: The Decaying Found Footage Horror Anthology Injects Much-Needed Humor [TIFF] Here’s an official synopsis of the film, courtesy of Shudder: V/H/S/99 harkens back to the final punk rock analog days of VHS, while taking one giant leap forward into the hellish new millennium.

Sometimes you have to wonder what the hell characters in horror films are thinking when they do something stupid? Of course, for the guys in “Boys from County Hell,” you could probably blame alcohol and the close proximity of heavy construction machinery for why they decided to wake up a vampire.

Aya Cash is a name that you should probably remember. If you’re someone who watched FX’s “You’re the Worst,” you already know that Cash is a force to reckon with on the screen, bringing humor and confidence to every scene.