They Wait in Shadows (2026) Review

A sudden death, a family reunion, a Ouija board and a seemingly haunted house-the perfect cocktail for a supernatural nightmare from underground filmmaker Sam Mason-Bell (Millennial Killer).

This new British horror, starring Jessica Hunt (The Truth Will Out) and Meghan Adara (Therapy), follows estranged sisters Ingrid (Hunt) and Jenny (Adara) as they reluctantly return to their isolated childhood home following their mother’s death.

But as they unearth buried family secrets hidden in the floorboards, a chance decision to experiment with an old Ouija board unleashes a horde of paranormal entities into the house.

The film boasts a pleasingly lurid, grimy aesthetic, frequently recalling the spirit of low-budget British horror from the 1980s. Unfortunately, inconsistent sound quality and the relentless bickering between the two sisters—and virtually everyone they encounter—soon becomes wearing. At times, it feels like watching an episode of EastEnders filtered through a grimy exploitation-horror lens.

Writer-director Sam Mason-Bell (Exhibition of Evil) clearly relishes the abrasive character dynamics, and he stages the all-too-infrequent horror sequences and childhood flashbacks with genuine flair. However, the central female characters remain difficult to sympathise with, while the narrative relies too heavily on depicting men as cruel and abusive towards women in pursuit of cheap shocks rather than meaningful dramatic impact. Although the film succeeds in creating an effectively sleazy atmosphere, its overreliance on unpleasant character interactions ultimately undermines the horror it is striving to deliver.

They Wait in Shadows is on digital 20 July from Miracle Media

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The Mortuary Assistant (2026) Review by Phil Newton

The Mortuary Assistant, I am reliably informed, is based on the “critically acclaimed, best-selling” 2022 video game of the same name. My most rudimentary research indicates that this is a first-person perspective simulator in which a Mortuary Assistant (you) has to perform embalming tasks while avoiding demonic possession. Word has it that the gameplay was pretty atmospheric and scary – so how will this translate to the big (bigger) screen?

We’re introduced to our Mortuary Assistant – Rebecca Owens (Willa Holland) – as she’s finishing her internship under the watchful eye of River Fields mortuary owner, Raymond Delver (Paul Sparks). He praises her attention to detail as she performs an embalmment, wiring a jaw shut and draining fluids. Satisfied with her work, the formal Delver coldly outlines the basics of the job to Rebecca; she’ll work the day shifts and most importantly, she mustn’t venture down into the creepy basement.

We quickly learn that Rebecca is one year sober, and after a celebratory meeting with her sponsor Kelly (Keena Ferguson Frasier) she receives a call from Delver asking her to come into work; despite what he said about not doing night shifts, River Fields is expecting several transfers from the city morgue and he’s unable to be there. Naturally it’s a stormy night, so Rebecca’s finds herself all alone and up to her elbows in entrails as the lights flicker and strange noises are heard around the building. At this point I’d be questioning River Fields’ risk assessment and lone-working policy, however Rebecca dutifully perseveres with the tasks in hand.

As the night drags on Rebecca begins to hallucinate and hears a ringing phone, which triggers flashbacks to a time when she was 14 years old and went missing. Next thing we know, she’s woken at home by Kelly who says Rebecca asked her to come over. Suspecting her of dropping off the waggon, the pair argue and Rebecca attacks her, seemingly possessed. Cue Delver, aka Mr Exposition, with a lengthy spiel about an entity that will exploit her weaknesses and use her darkest secrets against her until she submits. To prevent the demon possessing her body she must first identify it and say its name, by looking for symbols and markers around the mortuary.

It’s at this point that any goodwill the film has built up drains away, as it lumbers from one pedestrian scene to the next. You really do get the sense that this is based on a game or some kind of escape room, but as a viewer rather than an active participant it’s just dull as dishwater – matched by a colour palette of browns, blues and grays. It’s also not helped by the fact that it’s not even remotely scary. Even Jumpy, the jumpiest jumping bean would be hard pressed to jump at the scares this film serves up. Where there should be atmosphere and suspense there’s just a vacuum.

Directed by Jeremiah Kipp (Slapface) there’s very little here to recommend The Mortuary Assistant unless perhaps you’re a die-hard fan of the game upon which the film is adapted. Willa Holland does her best with the material she’s given, but Paul Sparks is unusually stilted – given his excellent work in Boardwalk Empire and House Of Cards – maybe he’d already clocked out and was just going through the motions here? It is nice to see John Adams (from the Adams family of filmmakers) pop up as Rebecca’s father in some flashback scenes, but that was about the one thing that piqued my interest as the film limped to its conclusion.

The Mortuary Assistant is the latest Shudder original title to get a home entertainment release courtesy of Acorn Media International on both DVD and Blu-ray formats. Special features are slim on the ground, consisting solely of a Behind-the-Scenes Featurette. With fewer titles receiving physical releases nowadays we should be thankful that Acorn remain committed to making some Shudder films available to buy, but it’s a crying shame they selected this one from their roster when the likes of Influencer, Impetigore and Mother Of Flies remain streaming only.

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Son of the Soil (2025) Review

Get in deep with Son of the Soil – which is being marketed as an explosive new adrenaline-fuelled and emotionally charged ‘bone-crunching Lagos revenge thriller with bruising swagger’ (The Guardian) from acclaimed British Chinese director Chee Keong Cheung (Redcon-1, Underground) and Action Xtreme – the UK’s first major action studio. Lauded as ‘Nollywood’s most ambitious action film yet’ by Nollywire, the film makes its UK digital debut on 13 July, courtesy of Trinity Content Partners, following its acclaimed theatrical release.

Reminiscent of gritty genre favourites, John Wick, The Equalizer and Taken, the multi-award-winning actioner sees writer and star Razaaq Adoti return to his Nigerian roots in a gritty and powerful lead performance, that sees him pull no punches, as a former special ops paratrooper intent on revenge and redemption.

We’re thrown headlong into the mean streets of Lagos, ruled with an iron first by Dr Baptiste (Asaya), a ruthless kingpin who lives above the law, while his foot soldiers peddle his highly addictive and fatal synthetic fentanyl concoction, ‘Matrix’, bringing with it dependency, death and devastation all-around. When a young woman investigating the doctor’s drug syndicate is brutally murdered, her brother, Zion (Adoti), returns to seek justice and wreak revenge.

Haunted by the ghosts of his past, Zion is a man adrift, disconnected from his homeland, his purpose, and himself. As he delves deeper into Lagos’ ruthless gangland, his anger increases and old instincts reignite…

With the focus of a soldier and fury of a mourning brother, he takes on a system riddled with corruption and violence. As the body count rises, the stakes grow higher, and Zion must turn to a former brother in arms – turned street soldier – to help him rally an army to confront not only the monsters who killed his sister, but those who continue to poison his community.

Channelling personal grief, cultural pride, and diasporic identity, Son of the Soil sows an explosive and powerful story of vengeance and salvation into a Hollywood-grade action thriller with authentic African soul.

While this revenge thriller delivers plenty of action and sustains a high level of tension throughout, it offers little in the way of originality. At its core is a familiar protagonist haunted by his past, navigating a world of police corruption while repeatedly having to justify his motives to an assortment of largely stereotypical supporting characters. It’s a narrative that feels well-worn and predictable.

Fortunately, the film’s relentless pacing, visceral intensity, and kinetic, in-your-face camerawork inject enough energy to keep audiences engaged. The action is uncompromisingly brutal and visually striking, frequently evoking the gritty, hard-hitting action cinema of the 1980s.

However, despite its technical strengths and commitment to delivering uncompromising thrills, the screenplay never rises above the conventions of the genre. Beneath the impressive action and sustained suspense lies a story that is ultimately too familiar to distinguish itself from the many revenge thrillers that have come before it.

Son of the Soil is on UK digital 13 July from Trinity Content Partners

Trailer

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Bury Your Dead (2024) Review

Marco Dutra’s adaptation of Ana Paula Maia’s novel straddles Western grit and cosmic dread, tracing Edgar Wilson’s desperate attempt to reclaim his lover from an apocalyptic cult.

With Selton Mello and Marjorie Estiano delivering powerhouse performances, BURY YOUR DEAD transforms Brazil’s desolate backroads into a purgatorial frontier where devotion, despair, and the uncanny collide. From the co-director of 2017’s GOOD MANNERS (As Boas Maneiras).

Synopsis: Edgar Wilson, a roadkill collector, dreams of escaping his small-town existence with Nete, the love of his life. When Nete decides to join her family in an apocalyptic cult, Edgar finds himself at a crossroads. With the world on the brink of destruction, Edgar and his unlikely companion Tomás – a disgraced and excommunicated priest – embark on a dangerous road trip through a landscape plagued by chaos and despair. As they navigate through the remains of civilization, Edgar must confront his inner demons and reconcile his past.

Bury Your Dead is arthouse horror that ultimately gets lost in its own indulgence and self-importance. It opens with enough intrigue to suggest an unsettling journey ahead. While not immediately gripping, the premise is compelling enough to encourage patience. Unfortunately, that patience is rewarded with very little.

At just over two hours, the film becomes an increasingly arduous watch. Its deliberate pacing gradually gives way to stagnation, with the narrative seemingly content to drift rather than develop. There are flashes of striking visual invention—most memorably a hillside strewn with the bodies of countless dead sheep—but moments like these are too infrequent to sustain interest.

The central premise is undeniably promising. Edgar Wilson, a roadkill collector in rural Brazil, dreams of escaping his small-town existence with his girlfriend, Nete. She, however, chooses a different path, electing to remain with her family and embrace an apocalyptic cult. Rather than exploring the fascinating implications of this setup, the film instead follows Edgar as he embarks on a road trip with Tomás, an excommunicated priest. Much of their journey consists of repetitive arguments and simmering hostility, making the narrative feel as though it is running out of road long before the destination is reached.

Bury Your Dead occupies an uneasy space between apocalyptic horror, psychological drama and religious allegory, yet these elements never fully coalesce into a satisfying whole. The film introduces a wealth of intriguing ideas but rarely commits to developing them, leaving its themes frustratingly underexplored. Its ambiguity feels less like a deliberate artistic choice and more like an unwillingness to provide narrative or thematic cohesion.

Visually, however, the film is difficult to fault. Rui Poças’ lush, atmospheric cinematography lends the landscape an eerie, almost otherworldly beauty, frequently elevating scenes that otherwise lack dramatic momentum. His photography gives Bury Your Dead a distinctive visual identity, but even such accomplished craftsmanship cannot compensate for a screenplay that feels undernourished. The film simply needs more substance to match its style.

Premiering at the Sitges Film Festival in 2024 before earning competition slots at the BFI London Film Festival and the Tokyo International Film Festival, Bury Your Dead certainly arrived with considerable festival pedigree. Yet despite its artistic ambition and impressive visual presentation, it ultimately proves too opaque for its own good. It throws an abundance of ideas at the screen but offers too little insight to bind them together, resulting in a film that is visually compelling but emotionally distant and dramatically unsatisfying.

TRAILER

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Slashercise (2024) Review

Slashercise proves that not every horror film needs a feature-length runtime to make an impression. Clocking in at just 58 minutes, writer-director Ama Lea’s retro-inspired slasher never outstays its welcome, even if it ultimately feels more like an entertaining curiosity than a fully realised film.

If you’ve ever wondered what an Eighties aerobics workout video might look like if a masked serial killer periodically burst in to dispatch the fitness fanatics in spectacularly gory fashion, Slashercise has the answer. The killer, appropriately named Meat Head (Lee Valak), stalks the lycra-clad cast with a series of practical-effect kills that embrace the era’s love of hands-on gore rather than digital effects.

Lea successfully recreates the aesthetic and spirit of Eighties direct-to-video horror, leaning into its camp sensibilities as much as its bloodshed. In truth, however, there’s considerably more aerobics than horror, making the film an unusual hybrid that is both engaging and slightly baffling. It’s an easy watch, with an infectious enthusiasm for its source inspirations, but it often feels as though the central concept deserved a more substantial narrative to support it.

Genre fans will enjoy spotting a host of familiar horror faces, including Vanessa Decker, Kelli Maroney, Tiffany Shepis, Felissa Rose, Diana Prince, and Lisa Wilcox, whose appearances add to the film’s affectionate celebration of cult horror cinema.

There is undoubtedly a good idea at the heart of Slashercise, and it’s one that leaves you wishing it had been developed into a fuller feature with richer characters and a stronger plot to complement its minimal slasher elements. As it stands, it’s a likeable, quirky homage that entertains without ever quite fulfilling its potential. With a sequel reportedly on the way, there is every chance the concept could yet evolve into something more substantial.

Slashercise premieres exclusively on independent horror streaming platform BloodStream from 1 July as part of the service’s month-long July line-up celebrating cult favourites, creature features, anthology horror, and exploitation cinema.

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The Fetus (2025) Review

A delightfully demonic descent into madness. Starring Bill Moseley (The Devil’s Rejects, House of 1000 Corpses) and Lauren LaVera (Terrifier 2, Terrifier 3), this dark comedy horror gives parental anxiety a terrifying new twist. Written and directed by Joe Lam in his feature debut, this gore-soaked tale of a cursed pregnancy blends the dread of Rosemary’s Baby with the dark humour of Prevenge.

Alessa (LaVera) finds herself trapped in a pregnancy that defies medical science. She and her boyfriend Chris (Julian Curtis) realise their only hope is to seek help from her estranged father, Maddox (Moseley). But all hell breaks loose when they discover the foetus is a bloodthirsty, satanic entity.

Written and directed by Joe Lam in his feature-length debut following a career in short filmmaking, The Fetus is a low-budget horror effort that wears its practical-effects influences proudly. For viewers who grew up on the creature features and body horror of the 1980s, the film’s commitment to practical effects is a welcome departure from the overreliance on CGI that often dominates contemporary genre cinema. Indeed, the effects work is arguably the film’s strongest asset and goes some way towards generating goodwill.

Unfortunately, there is considerably less substance beneath the surface. While the premise offers potential, the narrative struggles to sustain momentum, and much of the film feels stretched beyond its natural limits. Conversations frequently circle back on themselves, with characters revisiting the same arguments and dilemmas to diminishing effect. The dialogue can also be frustratingly blunt at times, with lines that state the obvious rather than reveal character or advance the story.

The plot centres primarily on three characters: Maddox (Bill Moseley), a blind Vietnam veteran haunted by PTSD; his daughter Alessa (Lauren LaVera); and Chris (Julian Curtis), the father of Alessa’s unborn child. Supporting characters largely exist to serve the film’s body count, leaving the emotional and narrative burden to rest on this central trio.

The titular creature draws heavily from familiar horror touchstones. Its appearance and shrill vocalisations evoke the iconic chestburster from Alien, while its mischievous, parasitic behaviour recalls the creature from the 2013 horror-comedy Bad Milo! Even the demon’s voice and mannerisms seem indebted to the Evil Dead franchise, with one sequence directly echoing Evil Dead II through the unsettling recitation of “Hush Little Baby.”

Much of the film consists of the protagonists attempting to negotiate with a demon that has already demonstrated its inability—or unwillingness—to honour any bargain. As a result, scenes often feel repetitive, with the characters cycling through the same disputes, accusations and doomed attempts at compromise. The lack of escalation robs the story of tension, and despite moments of effective creature work, the drama rarely achieves the sense of dread or urgency it requires.

By the time the extended finale arrives, The Fetus has largely exhausted its ideas. What begins as a potentially intriguing supernatural horror gradually loses momentum, becoming trapped in repetitive exchanges between its characters and their demonic tormentor. One cannot help but feel that the material might have been more effective in a shorter format, playing to the strengths that Lam demonstrated in his earlier short films. While the practical effects deserve praise and will undoubtedly appeal to old-school horror fans, the film ultimately lacks the narrative depth and sustained suspense needed to fully realise its potential.

On UK digital 6 July from Miracle Media

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The Last Assassins (2026) Review

Embark on a cyber-punk infused odyssey where Samurai action meets a deadly fight for revenge in The Last Assassins. James Anthony Usas makes his feature debut with this adrenaline-fuelled sci-fi action-adventure thriller, set to make its digital debut on 6 July 2026, courtesy of Seven Tales.

In a dystopian future, fog has cast a shadow across the globe, thrusting humanity into darkness. With only traces of technology left across decimated cities, society hangs in the balance as vicious gangs seize control, and toxic mist pollutes the atmosphere. After witnessing her father’s barbaric assassination, a young warrior (Athena Park – Lady Ada’s Secret Society) teams up with her father’s former ally (Josh Bainbridge – The Boy in the Woods), embarking on a perilous journey to exact revenge on the killers and reunite with her only surviving family.

From its opening moments, The Last Assassin evokes unmistakable memories of Blade Runner, with its visual aesthetic, while echoes of Mad Max emerge elsewhere in its post-apocalyptic world-building. What surprised me most, however, was just how accomplished the film is. Its production values are impressive, the visual design is first-rate, and the performances are consistently strong.

Where the film falls short is in its execution. Despite its striking presentation, the storytelling remains largely one-note, preventing it from ever truly soaring. Even when the action sequences arrive, they struggle to generate the excitement and momentum the film’s visual ambition promises.

Does its resemblance to Blade Runner work against it? Not at all. If anything, it makes the film immediately inviting, like settling into the comfort of a familiar classic—especially if, like me, you hold Blade Runner in high regard. The almost ever-present synthesiser-driven score further reinforces those nostalgic 1980s influences without feeling out of place.

Among the relatively unknown cast, Josh Bainbridge stands out as Nobel. Delivering a stoic, commanding performance, he embodies the archetypal alpha male with conviction, lending the film a solid emotional anchor even when the narrative itself occasionally lacks lift.

The Last Assassins is on UK digital 6 July from Seven Tales

Trailer

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Executioner (2024) Review

Dare to cross the Executioner? William Willoughby (Young Sherlock, The Marlow Murder Club) and Peter Benedict (Doctor Who, Rise of the Footsoldier: Part II) adapt Benedict’s acclaimed stage play, Deadlock, for the screen, in this smart and witty British political thriller that’s set to arrive on UK digital 6 July, courtesy of Reel2Reel Films.

Blending black comedy and psychological chills with sophisticated shades of Gilbert and Sullivan’s operatic classic The Mikado and Anthony Shaffer’s lauded play Sleuth, Executioner descends into the depths of betrayal and vengeance for an unexpected, edge-of-seat, thrill-ride.

Writer, co-director and star Benedict leads a talented ensemble, comprised of Christian Greenway (Emmerdale, Wedding Season), rising star Max Raphael (The Hunger Games: The Ballad of Songbirds & Snakes, Slaughterhouse Rulez) and Christina Cole (What a Girl Wants, Casino Royale).

Even without knowing that Executioner is adapted from a stage play—specifically actor-director Peter Benedict’s own work, Deadlock—its theatrical origins quickly become apparent. With the action confined almost entirely to a single room, the film rarely escapes the limitations of its source material. The marketing suggests echoes of Anthony Shaffer’s Sleuth; another celebrated play successfully adapted for the screen more than once. However, unlike those versions, Executioner struggles to transcend its stage-bound roots, offering few cinematic flourishes and even fewer genuine surprises.

Most of the film’s twists are telegraphed well in advance, with the exception of a late revelation that genuinely caught me off guard. Unfortunately, one unexpected turn is not enough to sustain the narrative. Instead, Executioner settles into an increasingly static rhythm, relying on a succession of power plays and one-upmanship that never generates the tension or excitement it clearly aspires to. There are flashes of sharp, well-crafted dialogue, but they become overshadowed by a story whose supposed surprises rarely surprise.

The small cast delivers committed performances throughout. Christian Greenway is particularly impressive as the assistant to politician Robert Marlow, whose role includes procuring young men for his employer. Greenway brings a commanding physical presence and delivers his dialogue with confidence and charisma, injecting much-needed energy whenever he appears on screen.

Despite the cast’s efforts, Executioner ultimately buckles under the weight of its theatrical origins. Rather than feeling like a fully realised cinematic adaptation, it plays more like a filmed stage production, lacking the visual imagination and cinematic ambition needed to justify the transition from stage to screen.

Credit: Executioner is on UK digital 6 July from Reel2Reel Films

Trailer

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Shadows of Willow Cabin (2025) Review

Albert (Bryan Bellomo) and Devon (John Brodsky) retreat to a remote mountain cabin, what begins as tentative desire soon deepens into intimacy, but the cabin has other plans… As the walls whisper with voices they thought had been silenced, the cabin comes to life, trapping the couple in a supernatural loop where time fractures, ghosts manifest, and their repressed traumas take terrifying forms.

Shadows of Willow Cabin positions itself as a supernatural horror, yet what unfolds is a far more introspective and dialogue-driven experience—one that prioritises emotional excavation over genuine suspense. In practice, the film leans heavily toward introspection, with much of its runtime devoted to the central characters unpacking their pasts, which are subtly mirrored in the isolated cabin setting.

Bryan Bellomo and John Brodsky deliver likeable and committed performances, successfully establishing a believable dynamic between their characters. However, at nearly two hours, the film overstays its welcome. The extended runtime amplifies its structural issues, and by the final act, the pacing begins to feel sluggish, diluting the emotional impact the narrative is striving for.

Technically, the film is competent. The score is a particular highlight—evocative enough to stand on its own as a piece of listening material—while the cinematography is suitably atmospheric. That said, some of the more emotionally charged scenes would have benefited from greater intensity, as the dialogue occasionally lacks the weight required to fully land its dramatic moments.

Narratively, certain elements raise questions. The film’s central relationship, for instance, hinges on deeply personal revelations that only emerge once the characters are isolated, which feels somewhat contrived. Additionally, the closing sequence is perplexing, presenting character decisions that seem at odds with the urgency of the situation and undermine narrative coherence.

Despite its marketing, the supernatural aspects are minimal, functioning more as a thematic device than a source of tension or fear. At times, the film feels akin to a deeply personal cathartic exercise translated into screenplay form, with symbolic motifs—such as a recurring “why did the chicken cross the road?” joke—hinting at its underlying themes.

Ultimately, Shadows of Willow Cabin is less a horror film and more a queer romantic drama with light supernatural overtones. While the performances anchor the film with sincerity and charm, the script’s heavy reliance on dialogue and its lack of genuine scares prevent it from fully realising its potential within the genre.

Shadows of Willow Cabin is on UK digital 29 June from GrimmVision

Trailer

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Rememory AKA Dead man Memory (2024) Review

David (Michaël Cohen – It Begins with the End, Them), a French police officer, travels to Thailand to meet Ravi – a young boy who claims to have been a criminal named Floyd in his previous life. Alongside his colleague Joanna (Caroline Ducey – Romance, Too Much Happiness), David enlists the young child and utilises his expertise to track down the dangerous criminal enterprise Floyd once had ties to.

But with Floyd’s wealth of damning evidence trailing back to Ravi, the mob put a target on the young boy’s back and the officers must race against time to protect their innocent informant, no matter what the cost.

Rememory is a film that tested my patience almost immediately. Within its opening ten minutes, I was perilously close to switching it off altogether, undone by dialogue that felt painfully stilted, performances pitched so extravagantly that they threatened to tip into outright parody, and direction so overwrought it occasionally resembled a lost spoof from the Zucker Brothers playbook.

And yet, despite — or perhaps because of — its flaws, I found myself compelled to continue watching. There is something undeniably mesmerising about a film so spectacularly misjudged that it becomes strangely fascinating. One cannot look away.

Central to the chaos is David, the lead character, whose emotional register appears permanently fixed at maximum intensity. Much of his screen time is spent shouting, screaming, or hurling objects in fits of melodrama that border on the absurd. It raises an unavoidable question: how has this man not been formally institutionalised? More baffling still is the unwavering composure of those around him. Joanna, alongside the young Ravi — enlisted as his assistant of sorts — responds to David’s astonishing overreactions with little more than mild concern, as though such behaviour were entirely routine.

In many respects, Rememory is a profoundly bad film. Yet it inhabits that curious cinematic space where ineptitude becomes entertainment. It is undeniably watchable, if only for all the wrong reasons — a jaw-dropping experience, though perhaps not in the way its creators intended.

Rememory is on UK digital 29 June from Miracle Media

Trailer

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