Golem.AI (2026) Review

Estranged friends Alec (Alec Seymour, Lady Peacock), a hard-headed AI researcher, and recovering manchild Dylan (Dylan Hares, Admins), reconnect via video chat in an attempt to repair their fractured relationship. But when they dust off their favourite retro online game for old time’s sake, they unwittingly unleash a digital nightmare that begins haunting them through their screens, seeking revenge for their past mistakes online. As the pair struggle to work out who—or what—is behind their torment, they find themselves in a deadly race against time to destroy the electronic evil. But are they really the innocent victims they appear to be?

At just over an hour, Golem.AI certainly doesn’t outstay its welcome. I’ll admit that I didn’t initially warm to either Alec or Dylan, although given the friction between the pair at the outset, perhaps that is precisely the point. Neither is exactly showing us their best side.

There are obvious echoes of the 2020 COVID-era online conference call chiller Host, as spooky happenings begin once the pair fire up their old game, inadvertently unleashing an online Golem bent on revenge. Where Golem.AI distinguishes itself, however, is in its queer undercurrent, which feels refreshing rather than shoehorned in.

It may take a little while to warm to the central duo, but the film’s brisk pace and incident-packed momentum keep things moving, making this an unexpectedly fun diversion from the usual lower-budget fare that lands in my inbox. Of the two leads, Seymour does most of the heavy lifting and ultimately walks away with the film.

A short, sharp and surprisingly entertaining slice of digital horror.

Golem.AI is available digitally from 12 October courtesy of GrimmVision.

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Tribe (2025) Review

Descend into the madness of Tribe – Dan Asma’s (Fall, Cinematographer) fear-filled feature that blends psychological terror with cult chills and body horror. Following its acclaimed run on the festival circuit, the film arrives on UK digital 25 May, courtesy of GrimmVision.

On November 12, 2024, retired university lecturer Devin Adams (Asma) documents the ever-changing symptoms of his strange new illness, as he continues to record his spiral into insanity, he discovers old videotapes that may just be the key to piecing together his fractured memories.

The tapes reintroduce us to Devin back in August 2024 as he sets off to investigate the mysterious death of an old friend. But what initially starts out as an adventure soon transcends into a found footage nightmare involving chilling conspiracies, ancient creatures and cataclysmic cosmic horrors.

Dan Asma’s Tribe emerges as an unexpected and compelling entry within the found-footage genre, defying many of its well-worn conventions. While the narrative occasionally leans on convenient resolutions to propel protagonist Devin Adams’ investigation forward, the film more than compensates with its carefully structured storytelling and an evident sense of creative intent. This is a production that feels both deliberate and confident, elevating itself beyond the limitations typically associated with low-budget entries in the genre.

Asma proves himself a multifaceted talent, delivering not only assured direction and writing but also a convincing central performance as Devin. His portrayal anchors the film, guiding the audience through a steadily intensifying journey of discovery that remains engaging throughout. Unlike many found-footage films that plateau early, Tribe continually escalates its stakes, layering new revelations and unsettling turns that culminate in a striking and memorable conclusion.

Visually, the film is equally impressive. The location work is frequently stunning, contributing a rich aesthetic quality that enhances the immersive experience. Complementing this is highly effective effects work, which adds texture and credibility to the film’s more disturbing elements.

Blending body horror, cult themes, and psychological tension, Tribe succeeds in creating a pervasive sense of unease. The narrative’s familiar warning—urging Devin not to delve deeper—serves as a classic device, yet it remains effective, drawing viewers further into the film’s unsettling world. Ultimately, Asma has crafted a film that not only intrigues and disturbs but also stands as a notable achievement within its genre, marking him as a filmmaker worthy of attention.

Tribe is on UK digital 25 May from GrimmVision

Trailer

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The House on Haunted Grounds (2026) Review

The House on Haunted Grounds, the found-footage horror feature directed by Brendan Rudnicki (The Last Cabin), is now available on major transactional VOD platforms. The film will make its streaming debut on BloodStream later this year.

Directed by Rudnicki, The House on Haunted Grounds follows a team of paranormal investigators who enter a notorious property with a long history of violent deaths and alleged possession. What begins as a routine investigation quickly deteriorates as the group documents events that spiral beyond their control, leaving behind only the recovered footage.

The cast of The House on Haunted Grounds includes Shaelyn Clark, Dylan DeVane, Stuart Maxheimer, Brent Downs, Cashmere Moniqué, Jordan Patterson, Kellan Rudnicki, Kristi Tavolacci, Andrew Thomas, Logan Wallace, and Austin J. Rhodes.

THE HOUSE ON HAUNTED GROUNDS has plenty of effective jump scares and, for most of its short runtime, manages to both build up tension and sustain both an eerie atmosphere. It drops the ball in the latter stages when one of their film crew takes a turn for the worst and goes into Jack Torrence-mode and sadly the film ends on with a whimper rather than a high note.

Admittedly the set-up is all too familiar – a paranormal investigator team visit an abandoned location where an infamous serial killer met his end to film their latest episode – but overall THE HOUSE ON HAUNTED GROUNDS manages to feel fresh rather than tired and this in part is due to having a credible cast that helps us to buy into the concept and a director who exceeds the standard of his previous output and crafts a film full of effective scares.

The House on Haunted Grounds on BloodStream

https://bloodstreamtv.com/show-details/the-house-on-haunted-grounds-trailer

Official Page

https://thehorrorcollective.com/film/the-house-on-haunted-grounds

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Man Finds Tape (2025) Review

Vertigo Releasing is excited to announce the digital release of MAN FINDS TAPE, the mysterious and supernatural horror film from award-nominated Austin-based filmmakers Peter Hall and Paul Gandersman, following its world premiere at the Tribeca Film Festival.

After the success of their debut novel, THE DEAD FRIENDS SOCIETY, Hall and Gandersman challenged themselves as directors with their first directorial feature, MAN FINDS TAPE, a fictional documentary that pulls in a series of strange and unexplainable video clips. Bringing their producing background to the forefront, the duo collaborated with Justin Benson, Aaron Moorhead, and David Lawson Jr. of Rustic Films – producers of THE ENDLESS and SYNCHRONIC, shaping the true horror into a modern monster movie.

MAN FINDS TAPE follows documentarian Lynn Page (Kelsey Pribilski), who returns to her small Texas hometown after receiving a cryptic call to investigate haunting footage of events no one can remember taking place. But her brother Lucas’ (William Magnuson) controversial past with a viral web series called ‘Man Finds Tape’ forces Lynn to question if he, or anyone in their town, can be trusted. And the arrival of a stranger with chaotic intentions forces Lynn to confront her family’s involvement with the deadly monster preying on Larkin, TX.

Regular followers of our website will know that aside from most things THE WALKING DEAD-related, found footage flicks are another major no-no for me. On the whole found-footage films are lazy, ill-conceived and follow a predictable narrative. MAN FINDS TAPE bucks that trend. This is no shaky-cam monstrosity.

For starters this has a set-up that pulls you in from the start and never lets up. MAN FINDS TAPE opens with a voiceover from Lynn Page (Kelsey Pribilski)detailing how people can all look at the same image and not necessarily see the same thing, using both the infamous Big Foot footage and a classic Nessie photo to get the point across.

We then get to see grainy footage taken from a security camera overlooking a street in the small town of Larkin where someone is run over in the road by a van. It is not until the footage is shown again that I realised what the opening dialogue was referring to. I looked again and saw the bigger picture, and everything clicked into place. From that point on I was totally and utterly enthralled!

There is a mixture of influences at play here, this is no tired BLAIR WITCH knock-off but a film that incorporates elements of Lovecraft and Cronenberg instead. Both practical and digital effects are effectively employed to heighten the horror of the great reveal that comes later in the movie, and boy! What a reveal! I have not been this excited or thrilled by a new release in a long while.

MAN FINDS TAPE will be released on Amazon, Apple TV, Sky Store and YouTube Movies January 19th, 2026.

TRAILER

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The Last Cabin (2025) Review

Directed by Brendan Rudnicki, who co-wrote the screenplay with Kellan Rudnicki, the film plunges viewers into a tale of survival as a film crew becomes the target of three masked assailants in a secluded forest. ​

The narrative centres on a film crew retreating to a remote cabin, only to find themselves hunted by mysterious figures who seem intimately familiar with both the terrain and the crew’s movements. Drawing inspiration from genre staples like [REC] and V/H/S, THE LAST CABIN employs a found-footage style with an aim to intensify the suspense and immerse the audience in the crew’s escalating terror.​

THE LAST CABIN can be best described as a found-footage version of THE STRANGERS as three clown-masked loonies torment and attack a small film crew stuck in a remote cabin. As I am neither a fan of found-footage movies nor THE STRANGERS, director Brendan Rudnicki’s flick has the odds of receiving a favourable review from me diminished.

I am also not a fan of found-footage films that have a music score, it’s found-footage so where’s the music coming from? It does not make sense and therefore it lacks the ‘realness’ that the genre aims to invoke. Add to that meaningless dialogue scenes that serve no plot purpose and is therefore filler and there is not a lot here to enjoy or savour.

That said, if the genre of found footage works for you and you are a fan of home invasion flicks then THE LAST CABIN will tick all your boxes, however if like me, you are not, then I would recommend giving this a wide berth.

The Last Cabin Trailer on YouTube

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Livestream (2025) Review

The Horror Collective, the genre label of Entertainment Squad, is releasing LIVESTREAM on digital and on-demand platforms starting March 25. Written and directed by Victor Soares, the film takes audiences on a ‘pulse-pounding’ journey as a group of livestreamers set out on a publicity campaign when things turn into a fight for their lives.

There have been a number of recent genre films that have centred on social influencers and of those I can rate #CHADGETSTHEAXE, MEAN SPIRITED, and my favourite of the lot DEADSTREAM as being top drawer entertainment. These films remained thoroughly entertaining regardless of how deliberately annoying the central character(s) are.

Director Victor Soares LIVESTREAM is the latest such movie to centre on irritating social influencers. Soares intended to make a film where the audience feels like they are watching a real livestream, including having the viewer ‘reading the comments, that most of the time are not too kind and reflect how society behaves online with zero empathy towards one another.’ This aspect is totally nailed; however it comes at a price as the horror aspects are minimal and marginalised by the makers intention to hammer home its agenda of presenting us with how people are nowadays.

Whereas the influencers in DEADSTREAM and the other two films I mentioned above, are also arseholes, there was never a point that their obnoxiousness made the film unwatchable. With LIVESTREAM characters such as the comedian Pedro (Victor Soares), singer Cindy (Tiffany Dennis) and prankster Thomas (James Michael Cowan) are so annoying that they render the film a chore to sit through. If this were a real livestream I would have tuned out and found something else to watch. I was on the cusp of doing the same thing with this film.

Right from the start our odious collective of characters berate and belittle a police officer and then proceed to berate and belittle each other. I get that they are meant to unlikeable but there should still must be something about the characters that would compel us to keep watching rather than switch off. In fact, I completely forgot that I was meant to be watching a horror flick that ‘flips the script on traditional haunted house stories’ and instead spent most of the time wincing at the prospect of yet another shrill barrage of noise courtesy of a cast that are called upon to do nothing else but talk/shout/scream at the loudest possible volume.

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Creep (2014) Limited Edition Blu-ray Box set Review

Lauded as one of Empire’s 50 best horrors of the 21st Century CREEP has been described as ‘Among the funniest and scariest horror-comedies of this century’ (Deep Focus Review) and now the acclaimed horror is the next in line for the Second Sight Films Limited Edition treatment this winter.

This creepy feature is directed, co-written by, and starring Patrick Brice as cash-strapped videographer Aaron, who answers an online ad for a one-day job in a remote mountain town and heads deep into the unknown, documenting the journey on his trusty camera. On arrival, he meets his new employer – Josef – played in a wickedly unhinged turn by Mark Duplass, who shares the brief… he’s a dying man who wants Aaron to film his video message for his unborn child…

But as the day progresses, his requests get stranger and then darker and his behaviour become increasingly more bizarre… dare you watch the footage that unfolds?

Creep Limited Edition Blu-ray Box set is set for release on 9 December 2024 and will also be available as a Standard Edition. The set is presented in a stunning rigid slipcase complete with new artwork by Luke Headland and comes packed with a slew of brilliant special features including a new commentary, interviews and a live Q & A with cast and crew, a deleted scene, an alternative ending and more.

CREEP has its basis in a series of improvised conversations between Mark Duplass and Patrick Brice (who directed CREEP) that were filmed and then screened to friends. Based on their friends’ feedback what was originally conceived as a potential black comedy changed direction and became a horror film instead.

Using MISERY, FATAL ATTRACTION and MY DINNER WITH ANDRE, as well as some of debuting director Brice’s experiences on Craigslist, to help mould and define their project, both Duplass and Brice ended up with multiple versions of each scene to choose from. The finished film met with a positive response from critics and went on to spawn a sequel, released in 2017, and a spin-off TV series – THE CREEP TAPES – which is scheduled to air 15^th November 2024 on Shudder.

If improvisation is not your thing, or indeed found footage, then I would suggest giving CREEP a very wide berth. CREEP is a movie that requires a lot of suspension of disbelief. Would you really tolerate someone as blatantly unhinged as Mark Duplass’ Josef for the money? I know I wouldn’t but then if videographer Aaron had thrown the towel in and buggered off back home then there would be no movie.

Josef is never as creepy as the filmmakers might believe him to be. Instead, he comes across as irritating rather than sinister and consequently I spent the entire movie wanting to punch him out and wishing that Aaron would do so on my behalf. CREEP lacks much-needed ambiguity and consequently we are never in any doubt that Josef is dangerous, it would have been nice to have that element of doubt to pull us in more.

The movie leans towards homoerotism, if only for effect, especially during the film’s shared bathtub scene. This scene reminds one that Duplass had previously starred in HUMPDAY (film I liked a lot) which was about two straight men agreeing to star in a porn film together, so perhaps having two men naked together and tapping in to resulting tension that this might create is a recurrent theme in his work.

CREEP did not work for me. It felt contrived and indulgent. There are moments that work but overall, this irritated me instead of keeping me on the edge of my seat. Do please take into consideration that found footage films leave me cold, so if you love found footage then this might be for you, just be prepared to suspend your disbelief a lot!

Special Features

New audio commentary with Director Patrick Brice, Editor Christopher Donlon and Actor Mark Duplass

Archive audio commentary with Patrick Brice and Mark Duplass

Peachfuzz: A new interview with Director Patrick Brice

Into Darker Territory: A new interview with Actor Mark Duplass

Expand the Universe: A new interview with Editor Christopher Donlon

10 Years of Creep: A live Q&A with Cast and Crew

Deleted Scene: Cold Opening

Alternative Scene: Message to Aaron

Alternative Endings

Limited Edition Contents

Rigid slipcase with new artwork by Luke Headland

70-page book with new essays by Sarah Appleton, Kat Ellinger, David Kittredge, and Amber T

6 collectors’ art cards

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Its Name Was Mormo (2024) Review

A young family’s life unravels into chaos as a sinister presence targets each member in its own malicious way. Through the lens of police evidence, Mark, Diana, and Mia endure the torment of a demon deeply rooted in Greek mythology.

ITS NAME WAS MORMO began by documenting the experiences of a young family settling into their new home. Initially not intended for release, the story transformed after the discovery of a dilapidated village, which led to an impromptu production. As the unscripted narrative unfolded, the filmmakers encountered unusual occurrences off-camera.

The production’s turbulence peaked as Greek symbolism was incorporated into their home, leaving Marcela with the unsettling feeling of being observed, leading her to keep the curtains drawn day and night. Mark experienced the unsettling sensation of a presence beside him, while their puppy Romeo frequently barked into dark corners and whined while pacing in circles. These occurrences were woven into the fabric of the production as the family’s unsettling experiences fuelled their determination to complete the project swiftly, eager to return to normalcy.

This handmade film marks the directorial debut of Mark Andrew Bowers, who also stars in the project alongside Mia Bowers and Diana Cardenas. This trio’s intimate family connection adds a deeply personal layer to the narrative, with Bowers guiding both his daughter and wife through the film’s tense and terrifying narrative.

As regular visitors to my site will now, found footage flicks leave me cold so when I was making my notes for reviewing purposes during my viewing of ITS NAME WAS MORMO, they tended to be laced with a huge amount of derision and cynicism. The genre is limited by its own format so there is a lot here that will feel familiar to both fans and naysayers of found footage alike. ITS NAME WAS MORMO reminds one consistently of the PARANORMAL ACTIVITY franchise and also has a muddled and confused ending that recalls the final moments of 1999’s THE BLAIR WITCH PROJECT.

What sets ITS NAME WAS MORMO apart from the rest of the pack is that the core threesome makes for an engaging combo, hugely different from the usual shrill, irritating youngsters that can’t ad-lib to save their lives, and director Mark Andrew Bowers recognises that less is indeed more. Rather than have characters talk us to death with exposition, here silence counts, and that silence works a treat, eliciting the sort of tension and under-the-skin creepiness that many of its genre counterparts aim for but fail to get.

Elsewhere it is found footage silliness as usual, with people saying things like ‘I don’t like this place’ and then deciding to spend somewhere longer, or talking to camera and remarking that they are things going bump in the night when it is would appear that those bumps would actually be as a consequence of Diana jumping out of bed in the dead of night and thumping around the house with a camera, then gasping and whimpering in horror at the inside of their chimney – perhaps she realised it needed a clean – breathing as heavily as someone who smokes forty Marlboro cigarettes a day.

We are told that they are in the middle of nowhere and have no local support network (citing that there is a massive cultural difference – no really!) and this is effect telling the viewer that they are ON THEIR OWN. Apparently mobile phones, internet or local emergency services are all impacted by ‘massive cultural differences’ too, as none of these tools are utilised or called upon.

It’s that POLTERGEIST thing all over again, rather than leave they stay and put their selves through the wringer more. There is loud violent pounding on your front door in the dead of night. Are you going to call the police? No, apparently returning to bed to sleep is considered to be the appropriate response, as if you could sleep after that had happened! Then there’s the mysterious box that they found and brought back with them from the ruins. This box scares them and terrible things have happened since they brought it back to the house. So, do they remove it from their home and return it to where they originally found it? No, instead they throw a cup of coffee all over it in a moment of panic.

Aside from these niggles, which pale in number to the niggles I have with several other found-footage flicks, ITS NAME WAS MORMO is a solid genre entry. It is by no means perfect however as a non-fan of the genre it kept me engaged throughout. I was curious to see how things played out and I just loved the almost static moments of cameras capturing nothingness and milking the associated silence for every inch of tension possible, moments guaranteed to send chills up one’s spine.

ITS NAME WAS MORMO made its theatrical debut on November 9. It will be released on digital on November 26. In addition, a Spanish-language version featuring the original actors will also be available at launch, broadening its reach to a wider audience.

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Noroi: The Curse (2005) Arrow Player Review

The acclaimed NOROI: THE CURSE adopts a pseudo-documentary format as an investigative reporter into paranormal phenomena is forced to confront horrors beyond his wildest imagination after learning about an ancient folkloric demon.

Directed by Kōji Shiraishi NOROI: THE CURSE is a 2005 Japanese horror film that was positively received by many critics upon its release, however this is still very much a film that you’ll either love, or you’ll hate, there’s no middle-ground with this one. I am one of those that is not a fan. When I started watching the review screener that Arrow kindly sent me it became very apparent very quickly that I had seen NOROI: THE CURSE and my recollection was that I found it, at close to two-hours runtime, too long for what it was and very dull.

I ventured on with the viewing anyhow, as there’s always a chance that I just wasn’t in the mood for it when I first viewed it many years ago, and that now, I would see it in a more favourable light, unfortunately not. The niggles I had with it back then are still niggles that I have with it now. There’s the ‘stop/start’ approach to visuals and sound that fast becomes aggravating. And there’s also the laboured pacing and lack of any real incident early on to grab you, hook you and have you wanting to see where it goes. Shiraishi’s film feels vague plot wise and feels like it is never really going anywhere nor in any clear direction. It does go somewhere but you’ll require the patience of a saint to get to the end.

Noroi: The Curse will be available on Arrow Player October 28th

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#chadgetstheaxe (2022) Review – Shudder

Adapted from an award-winning short with the same title, #chadgetstheaxe follows four social media influencers as they live stream their trip to Devil’s Manor, former home to a Satanic Cult. Things do not go well. And as the violence ramps up… so do the views.

Directed by Travis Bible, who co-wrote with Kemerton Hargrove, and starring Spencer Harrison Levin (BLACK JESUS), Michael Bonini (NEW AMSTERDAM), Taneisha Figueroa (DUCK WORLD), Cameron Vitosh (WALKER), Brandon Doyle (MURDER MADE ME FAMOUS), and Shun Hagins (SNITCH).

“#ChadGetsTheAxe is a fun commentary on influencer culture and the hunger for popularity,” commented Shaked Berenson, Entertainment Squad’s CEO and he is right, it is. Unfortunately, in the past couple of years there has been a plethora of flicks about the very same thing so what we have here are just another bunch of odious influencers getting more than they bargained for during a paranormal investigation.

It is equally as strong as MEAN SPIRITED (2022) but falls short of the remarkably high standards set by DEADSTREAM (also 2022) – which for my money is a cult classic in the making – which was buoyed up by having a lead character that was a buffoon but never aggravating. Chad is just aggravating and one note and yes, I know that he is meant to be aggravating but that makes him difficult to warm to and consequently you wish for him to ‘get(s) the axe’ much sooner.

Elsewhere I felt that more back story for the cult might have helped add more scares and the final half-hour feels padded out and unnecessarily protracted. As Kim Newman pointed out in his review, following the film’s screening at the Glasgow’s FrightFest, ‘we’re getting to the point where it might be interesting to see a pro-influencer horror movie’ and I totally agree. Aside from the niggles, and the fact that it is covering old and well-worn ground, #chadgetstheaxe has its moments – especially the discovering of the dead body early on – and it makes for a perfectly fun Saturday night’s entertainment that does not trouble your grey matter.

The film is available to Buy/Rent on Amazon, Apple TV, Fandango at Home, Spectrum, etc.

Here is the official website: https://thehorrorcollective.com/film/chadgetstheaxe

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