Bad Voodoo (2026) Review
Bad Voodoo (2026) Review
Folklore, faith and terror collide in Andrew Adler and Andre Hepburn’s spiritual revenge horror Bad Voodoo which arrives on UK digital on 16 March 2026, courtesy of Miracle Media, following its release in America. The film stars Cristina Moody (Future Justice), Justin Genna (Law & Order: Special Victims Unit), Manny Pérez (Pride and Glory) and John Fiore (The Sopranos).
Confronting the horrific pain of grief through supernatural storytelling, Bad Voodoo examines how loss can distort and lead to a misguided sense of justice that can hurt more than any terrifying monster. Grief turns gruesome when a group of escaped convicts break into the wrong home and must face a mourning mother with a thirst for vengeance and voodoo curses in a chilling new horror.
When a low-budget independent horror film boasts an 8.5/10 rating on IMDb—comfortably sitting above acknowledged classics like The Shining (8.4) and The Exorcist (8.1)—it inevitably raises an eyebrow. Inflated user scores are nothing new, particularly for small productions hoping to generate curiosity through impressive-looking numbers. The tactic may lure in the curious, but it often backfires in the long run when viewers discover that the hype far outweighs the reality.
That is very much the case with Bad Voodoo.
Approaching the film with an open mind, I hoped to find at least some redeeming qualities. Unfortunately, the experience proves to be less a piece of entertainment than an endurance test. The film is uneven, overegged and relentlessly overacted, draining any potential tension from scenes that should have generated genuine unease.
Subtlety is entirely absent from the performances. Whenever the script demands anger, fear or emotional distress, the actors simply resort to shouting. Every character seems locked into the same shrill register, leaving little room for nuance or atmosphere. One performer in particular adopts a strange, wavering vocal delivery that appears intended to sound sinister but instead becomes distracting. The same problem afflicts the film’s supernatural elements: the giggling spirits of two young girls are clearly meant to unsettle, yet their repetitive cackling quickly grates rather than chills.
The script fares little better. Several narrative twists are introduced as dramatic “reveal” moments, but they arrive without the groundwork necessary to make them effective. Instead of landing with impact, they feel forced and perfunctory, as if the film assumes the mere presence of a twist is enough to surprise the audience.
For a genre that thrives on atmosphere, pacing and carefully constructed tension, Bad Voodoo delivers very little of any of them. What remains is a noisy, overblown production that struggles to justify either its runtime or its improbably lofty online rating.
Bad Voodoo is on UK digital 16 March from Miracle Media
Trailer
