Demon Hunter: Time 2 Kill (2024) Review

Demon slaying badass Taryn Barker is back for more bloody and brutal supernatural action in Demon Hunter: Time 2 Kill – Zoe Kavanagh’s long-awaited sequel to her 2016 fantasy horror Taryn Barker: Demon Hunter. Following its festival run and release Stateside, the critically acclaimed Irish action thriller is set to arrive on UK digital on 9 November, courtesy of Miracle Media.

The film heralds the return of actor and stunt-artist Niamh Hogan (Feed) as the feisty slayer of evil, who stars alongside genre icon Lisa Wilcox (A Nightmare on Elm Street 4: The Dream Master, Bill & Ted’s Excellent Adventures).

A low-budget flick that gleefully couldn’t care less for budgetary restraints and goes ahead and puts whatever it wants to up there on screen regardless of how it plays out or looks. It meets with mixed and uneven results. In part this belated sequel to a film I have not seen wants to be a camp take on Eighties slasher movies, whilst also throwing in time travel, corporate Satanists into its already overegged mix.

The cast are game but their enthusiasm carries the film but only so far. The pacing does not have the legs to keep up with their energetic, engaging and buoyant, if variable, performances. On the plus side the film’s synth score captures the essence of the Eighties and I was impressed by much of what the production achieved on a lower budget.

Demon Hunter: Time 2 Kill is to be commended for its ‘can do’ attitude and daring to do things that a lower budget cannot realistic afford to put onscreen. For a short while this can be infectious enough for this viewer to overlook the film’s uneven tone and pacing, but only as far as the halfway mark as by then everything had become much of a sameness.

Demon Hunter: Time 2 Kill is on UK digital 9th November from Miracle Media

Trailer

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Faces of Death (2026) Review

Inspired by John Alan Schwartz’s infamous 1978 shocker of the same name, FACES OF DEATH gets a contemporary reimagining for the digital generation. Written by Goldhaber and Mazzei, based on The Gorgon Series’ original film, it stars Barbie Ferreira (Euphoria), Dacre Montgomery (Stranger Things), Josie Totah (Saved by the Bell), Jermaine Fowler (The Blackening) and Charli XCX (The Moment).

Working as a content moderator for a major video-sharing platform, a young woman (Ferreira) discovers a series of disturbing videos apparently recreating murders from the original FACES OF DEATH. In an online world where separating fact from fiction is increasingly difficult, she must establish whether the footage is merely staged or depicts real killings unfolding in real time. But as she digs deeper, her investigation attracts the attention of someone who would rather she stopped looking.

Schwartz’s original pseudo-documentary, pseudo-snuff film acquired considerable notoriety in the early 1980s, largely because audiences questioned whether its grisly footage was genuine or fabricated. I vaguely recall watching it myself, although it’s been so long that I couldn’t tell you whether it left much of an impression. Consequently, when I heard about this new film, I incorrectly assumed I was getting a straightforward remake. What I actually got was a serial killer thriller that takes the original as its starting point, with its murderer recreating selected sequences from the 1978 film and uploading them to social media.

And you know what? It works remarkably well. In fact, I enjoyed it considerably more than I expected, which is becoming something of a rarity given the sheer volume of films I have to wade through. Dacre Montgomery is particularly impressive as Arthur Spevak, delivering a genuinely sinister and unhinged performance that gives the film a suitably nasty focal point, while the writing provides plenty of substance beyond the killings themselves.

Some online reaction has centred on the film’s apparent reluctance to push the envelope in terms of graphic gore, as though it were somehow obliged to compete with its predecessor. Frankly, those complaints rather miss the point. This isn’t trying to replicate the original’s shock tactics; it’s taking an entirely different approach, using its predecessor as the foundation for something much more contemporary. Ironically, had it gone down the same route and delivered another exercise in boundary-pushing gore, I’m sure those same critics would have found something else to moan about.

Indeed, that brings us neatly to one of the film’s more interesting themes: the increasingly toxic nature of the internet and our collective desensitisation to online violence. In a world where footage of real-life suffering and death can be endlessly shared, reposted and consumed, FACES OF DEATH has some pointed observations about social media, online voyeurism and the people who seem to spend their lives complaining about everything while contributing precious little themselves. There’s a pleasingly self-aware irony to a film exploring our appetite for disturbing content while simultaneously questioning the culture that feeds it.

You don’t need to have seen Schwartz’s original to appreciate this new incarnation, either. FACES OF DEATH is a clever, suitably unsettling and surprisingly entertaining reinvention that understands there’s more to modern horror than simply trying to outdo what came before. A welcome surprise.

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Faces of Death is out now on digital platforms now and on DVD, Blu-ray and 4K. Distributed by Signature Entertainment

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Jeffrey Dollmer (2026) Review

In 1991, Jeffrey Dahmer discovers a doll and performs a sinister ritual in an attempt to transfer his spirit into it, only to be captured before completing his plans. The doll subsequently spends decades locked away in police evidence before eventually being discarded and finding its way back into circulation. Fast-forward to the present day, and its dormant spirit is accidentally summoned, attaching itself to a young model who bears an uncanny resemblance to its former owner. When she travels to a remote photo shoot, the possessed doll follows, transforming the isolated location into a killing ground as it begins picking off fellow competitors and co-workers.

Directed by Mark Savage (Purgatory Road), JEFFREY DOLLMER stars Charlie Trepany (Sick Girl), Chey Crieger, Juliana Destefano (Shark Season), Adam Huss (Power, General Hospital), Eva Hamilton (Death Kiss), Mariah Justice, Scott Asmar, Jabarri Bush, Jane Xi, Tom Parnell (12 to Midnight) and Sean Michael Conway (Popeye the Slayer Man). Brian Joseph Mange portrays Jeffrey Dahmer, while Jeffrey Reddick, creator of the Final Destination franchise, makes a cameo appearance.

Make-up effects artist Koji Ohmura (Dexter: Original Sin) delivers the gory goods, with some pleasingly effective kill sequences, while cinematographer Kody Newton (The Death of Snow White) provides crisp camerawork that is considerably better than one might expect from a lower-budget production. The cast also acquit themselves reasonably well, but there’s a rather obvious question hanging over the whole enterprise: why make the possessed doll the spirit of real-life serial killer Jeffrey Dahmer? The Child’s Play franchise demonstrated long ago that an entirely fictional killer could inhabit a child’s toy without needing to drag an infamous real-world murderer into the equation.

Unfortunately, the storytelling is less convincing. There’s little in the way of narrative substance, and what story there is feels decidedly stop-start rather than flowing naturally, which does little to help maintain interest. Nevertheless, despite its questionable association with Dahmer, JEFFREY DOLLMER is considerably better than you might initially expect. Some decent gore, inventive kills and surprisingly competent production values help it along, although there’s not quite enough here to elevate it beyond the realms of average entertainment.

Adding an extra layer of weirdness, those involved in the production have allegedly reported a series of unexplained incidents, including a producer becoming violently ill during pre-production, cars refusing to start, mysterious flat tyres, doorknobs falling off, watches stopping exactly an hour out, and fake blood inexplicably appearing on someone’s clothing. Even the doll reportedly had a habit of turning up in places where nobody remembered leaving it. Whether there’s anything genuinely sinister behind these stories or simply a case of overactive imaginations is anyone’s guess, but it’s certainly an entertaining bit of publicity for a film that could do with a little extra mischief.

WATCH THE RED BAND TRAILER

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LEGEND, the television destination for fans of action, sci-fi, and thrillers, will be airing the Channel premieres of six feature-length Babylon 5 television movies from Tues 10th November to Tues 17th November at 6pm.

Following the popular channel rollout of all five seasons of J. Michael Straczynski’s multi-award-winning ’90s space opera series, fans can continue their journey into deep space with these seminal standalone narratives.

The line-up of movies expands upon the intricate political, galactic, and character-driven lore established in the main television series. Viewers will have the opportunity to immerse themselves in the following cinematic chapters:

Tues 10 Nov @ 18:00 – BABYLON 5: IN THE BEGINNING (1998)

In the year 2776, the now-aged Centauri Emperor Londo Mollari recalls the never-before-revealed events of the cataclysmic Earth/Minbari War, which almost destroyed the human race and led to the creation of Babylon 5. This is a prequel to the series.

Wed 11 Nov @ 18:00 – BABYLON 5: THIRDSPACE (1998)

The station crew discovers an enormous, millions-of-years-old artifact floating in hyperspace. When they activate it, they inadvertently open a gateway to “Thirdspace” — an alternate universe home to a telepathic, hyper-violent alien species. The artifact begins mind-controlling the station’s residents, forcing Captain John Sheridan and the crew into a desperate fight to shut the gateway down before the entity destroys the galaxy.

Thurs 12 Nov @ 18:00 – BABYLON 5: THE RIVER OF SOULS (1998)

An archaeologist brings a stolen soul vessel to Babylon 5, which accidentally unleashes billions of angry, trapped souls. As the station falls into chaos, a fleet of angry Soul Hunters arrives to violently reclaim their stolen property, forcing Captain Elizabeth Lochley to broker a peace. Also stars Martin Sheen and Ian McShane.

Fri 13 Nov @ 18:00 – BABYLON 5: A CALL TO ARMS (1999)

President John Sheridan receives apocalyptic visions of an impending attack on Earth. The Drakh, vengeful servants of the defeated Shadows, launch a massive strike force, successfully releasing a slow acting, highly lethal bioweapon into Earth’s atmosphere, giving humanity five years to find a cure. Also stars horror icon Tony Todd.

Mon 16 Nov @ 18:00 – BABYLON 5: LEGEND OF THE RANGERS (2002)

A disgraced Ranger, David Martel, is given command of an outdated, quirky patrol ship named the Liandra. During a routine escort mission for an interstellar diplomatic group, Martel and his crew become the thin line of defence against a dangerous and mysterious new ancient threat known as the “The Hand”.

Tues 17 Nov @ 18:00 – BABYLON 5: THE LOST TALES (2007)

This final release focuses on the personal stories of the original crew. Colonel Lochley deals with an Earthforce maintenance worker on Babylon 5 who appears to be possessed by a literal supernatural demon, and President Sheridan is warned by a technomage of a catastrophic future where a young Centauri prince destroys Earth, forcing him to make a difficult moral choice about assassination.

BABYLON 5 is the newest addition to LEGEND’s rich and popular catalogue of nostalgic content, the success of which highlights the powerful emotional appeal of these series. And reflects a broader trend across the television landscape, with vintage series proving increasingly popular with audiences.

BABYLON 5 will be restarting from the very beginning on LEGEND, kicking off with the pilot movie THE GATHERING on Wednesday 18 November and continuing weeknights at 7pm.

Audiences can tune in via LEGEND across all major platforms, including Freeview (Channel 41), Freesat (Channel 137), Sky TV (Channel 148), Virgin Media (Channel 149), and Freely TV (Channel 38).

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Crawlers (2026) Review

If spiders decide to eat humans… we’ll all be dead in a year. That’s the rather unsettling premise behind Crawlers, a creature feature that delivers exactly what it promises: eight-legged mayhem, plenty of gore and a healthy dose of arachnophobic nightmares.

When a resident unwittingly introduces a particularly nasty new breed of venomous spiders into a Los Angeles apartment block, the building is plunged into lockdown chaos. As the deadly creatures multiply at an alarming rate, building manager Serena (Matilda Lutz) must rally a collection of misfit neighbours and navigate their increasingly desperate attempts to survive, while also contending with authorities struggling to contain the infestation.

Directed by Ángel Gómez Hernández (El hombre del saco) and written by Jayson Rothwell (Polar), the film stars Matilda Lutz (Red Sonja), Gregg Sulkin (Marvel’s Runaways), Melina Matthews (Sanctuary), William Miller (Warrior Nun) and Elena Sanz (Black Mirror).

A thoroughly enjoyable Saturday-night creature feature, Crawlers kicks things off with some startling statistics about spiders. Whether they’re entirely accurate is another matter, but I’m happy to take them at face value, particularly as someone who would happily run a marathon to avoid sharing a room with one. Consequently, watching a film that taps directly into every arachnophobe’s worst nightmare was never going to be a particularly relaxing experience.

Fortunately, Crawlers delivers the goods. Unlike Christopher Smith’s recent Spider Island, the spiders here look and move convincingly, and the sheer number of them, rendered with impressive effectiveness, makes their presence all the more unsettling. Some online reviews have been unnecessarily harsh, seemingly overlooking the fact that this isn’t aspiring to high art. It’s here to entertain, and on that score it succeeds admirably.

The characters are established quickly and efficiently, leaving the film free to concentrate on what really matters: eight-legged terror. There’s also a welcome sprinkling of humour to offset the carnage, while several deliberately irritating characters are practically begging for a particularly unpleasant demise. Thankfully, the film doesn’t disappoint in that department. A dominatrix even emerges as one of the more resourceful members of the supporting cast, with her rather distinctive wardrobe proving surprisingly useful when Serena faces the spiders during the climax.

The finale has more than a passing resemblance to Aliens, with Serena racing against the clock to rescue a child before taking on the mother of the colony. It’s an appropriately frantic conclusion to a film that knows exactly what its audience wants. Even if spiders don’t particularly bother you, the effective gore and make-up effects should still leave you feeling a little queasy. Those with a genuine arachnophobia might want to keep the vacuum cleaner close at hand.

Crawlers may not reinvent the creature-feature wheel, but it delivers a suitably entertaining evening of spider-infested mayhem. Just don’t expect me to be checking underneath the bed anytime soon.

Crawlers is available on Digital Platforms November 9 and DVD December 7. Distributed by Signature Entertainment. Click on the link below to read our review.

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Bloodstained Ivory (2025) Review

Black Swan meets Whiplash in Bloodstained Ivory – Klein Haley’s (Reservation Dogs) enthralling new dark psychological tale of dedication, obsession, jealousy, paranoia, and rage. Following its festival run, the tense and unnerving new thriller is set to make its UK debut on digital on 2 November, courtesy of Miracle Media.

In his final year at Chester Conservatory, aspiring concert pianist Ross (Nick Skonberg – Disclosure Day) throws his future into question after freezing during a crucial senior recital. As his desperation grows, his mental health deteriorates and his pursuit of artistic recognition turns to self-destruction and bloody violence. Just how far will the ambitious artist go to secure his future as a renowned classical musician?

As the marketing blurb included above states, there is an element of director Darren Aronofsky’s 2010 box-office and critical smash-hit Black Swan with Bloodstained Ivory, whereby someone strives to be more than they are within their chosen field. Black Swan is a dark, disturbing portrayal of that person’s descent into madness and it makes for a challenging but rewarding watch. Unfortunately director Klein Haley’s Bloodstained Ivory falls short of such comparisons.

With Black Swan the viewer emphasised with Natalie Portman’s character making her journey more felt and pronounced, whereas with concert pianist Ross it’s hard to engage with or relate to him given that he spends close to the film’s two-hour runtime ignoring the opinion of experts and loved ones and instead coming across as a less sympathetic protagonist and instead someone who is both whiny and petulant.

I could not help thinking, once the film had finished, that there was a gem of an idea here that could have been better. We could have had Ross dispatching rivals throughout the story and as he does so, his piano playing improves incrementally till he becomes the piano player he strives to be. I felt that this could have made for a better story rather than a two-hour runtime spent with a sulky lead.

Bloodstained Ivory is on UK digital 2 November from Miracle Media

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RED BAND TRAILER FOR JEFFREY DOLLMER GIVES A NOTORIOUS SERIAL KILLER A DEADLY NEW LOOK

WATCH THE RED BAND TRAILER

Synopsis: In 1991, Jeffrey Dahmer discovers a doll and performs a ritual in an attempt to transfer his spirit into it, but is captured before he can complete his sinister plans. For decades, the doll remains locked away in police evidence — until it is finally discarded and finds its way back into the world. In the present day, the doll’s spirit is accidentally summoned and quickly latches onto a young model who bears a resemblance to its former owner. When the model travels to a remote photo shoot, the possessed doll follows, turning the isolated set into a killing ground as it begins stalking fellow competitors and co-workers.

Directed by Mark Savage (Purgatory Road), JEFFREY DOLLMER stars Charlie Trepany (Sick Girl), Chey Crieger, Juliana Destefano (Shark Season), Adam Huss (Power, General Hospital), Eva Hamilton (Death Kiss), Mariah Justice, Scott Asmar, Jabarri Bush, Jane Xi, Tom Parnell (12 to Midnight), and Sean Michael Conway (Popeye the Slayer Man). Brian Joseph Mange portrays Jeffrey Dahmer, while Jeffrey Reddick, creator of the Final Destination franchise, makes a cameo appearance.

And while the film’s premise is bizarre enough, the production reportedly experienced its own share of strange occurrences behind the scenes.

Those involved with JEFFREY DOLLMER reported a string of unexplained incidents, including a producer suddenly becoming violently ill during prep, cars refusing to start, a mysterious flat tire, doorknobs unexpectedly falling off, watches stopping exactly one hour off, fake blood appearing on someone’s clothing without their knowledge, and the doll itself mysteriously turning up in places where no one had left it.

“I wouldn’t say the film is cursed,” says producer Jeff Miller, “but there were definitely some weird goings-on — moreso than most anything else I’ve been involved with, and I’ve produced fifty features.”

JEFFREY DOLLMER features a screenplay by John Doolan (Popeye the Slayer Man, Remains) and Jeff Miller (Clowntown, Ouija House), based on a story by Miller, who also serves as producer. Executive producers include Miller, Tom Parnell, Brandon Gibbs, and Ronnie D. Lee. George J. Merino serves as co-producer, Dylan Matlock as consulting producer, and Tony Snegoff and Danielle Juliet Ma as associate producers.

The creative team includes cinematographer Kody Newton (The Death of Snow White), production designer and doll puppeteer Joe Black, costume designer Cat Black, makeup FX artist Koji Ohmura (Dexter: Original Sin), and doll creator Eris Deo (Witness Infection).

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Dead Howling (2026) Review

Combining zombies, werewolves and a post-apocalyptic wasteland, Dead Howling sounds like the sort of film that could easily descend into gloriously tacky B-movie territory. Fortunately, this ferocious slice of survival horror proves considerably better than expected.

From the producers of cult favourites Dog Soldiers and Terrifier 3, Dead Howling stars Joel Jackson (Jungle), Ryan Kwanten (True Blood, Dead Silence), Temuera Morrison (The Mandalorian, Aquaman and the Lost Kingdom) and Tom Burlinson (The Man from Snowy River, Flesh+Blood). The film will celebrate its UK premiere at Tubi FrightFest Halloween 2026 on 31 October, ahead of its release on DVD, Blu-ray and digital platforms on 2 November.

Set in a world devastated by a zombie virus, the story follows Carter, a solitary survivor who spends his nights hunting the living dead for sport, aided by an extraordinary power. His existence takes a new direction when he rescues siblings Megan and Billy, who are searching for a rumoured safe zone. Reluctantly agreeing to protect them on their journey, Carter soon discovers that the evolving undead threat is far from their only problem, with fellow survivors proving just as dangerous.

I’ll admit that I was anticipating Dead Howling to be another substandard B-movie, much like 2024’s dire survival horror effort Werewolves. After all, throwing zombies and werewolves into the same post-apocalyptic blender doesn’t exactly scream originality. Thankfully, however, this is a far more accomplished and engaging beast, even if its most notable selling point is a werewolf dispatching zombies.

While there’s little here that feels particularly fresh, the film does a solid job of keeping you invested in its central trio and their increasingly perilous journey. Much like 28 Days Later, the search for a safe haven provides the characters with a clear objective, although seasoned horror fans will hardly be surprised to discover that these supposedly secure sanctuaries rarely turn out to be quite what they’re cracked up to be.

The pacing is another welcome strength. There’s enough action and undead carnage to keep things moving, while the character dynamics provide some much-needed breathing space between the bloodshed. Refreshingly, Megan, Billy and Carter don’t spend half the film bickering with one another, a welcome change from the tiresome interpersonal squabbling that has plagued several American genre offerings I’ve reviewed recently. Instead, their relationships develop naturally enough to make you care about their fate, even when you can second-guess much of what’s coming.

Ryan Kwanten and Temuera Morrison are among the familiar faces who briefly enter the fray, but the film largely belongs to its central three. That’s no bad thing, as they prove an appealing enough bunch to carry the story without requiring a parade of recognisable names to keep proceedings afloat.

Ultimately, Dead Howling might not reinvent the post-apocalyptic horror genre, but it delivers an entertaining, well-made slice of undead mayhem that understands the importance of momentum and characters worth rooting for. The premise promises a zombie-versus-werewolf extravaganza, and while the execution is more straightforward than groundbreaking, there’s enough here to make this a worthwhile addition to the genre.

Dead Howling celebrates its UK premiere at Tubi FrightFest Halloween 2026 on 31 October, before arriving on digital platforms, DVD and Blu-ray on 2 November.

Pre-order your copy here

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Vampire Carnival (2026) Review

Formerly titled Crave, Vampire Carnival blends supernatural horror, romance and mystery, inviting audiences into a world of seductive strangers, dark secrets and bloodsucking showmanship. When a mysterious travelling carnival rolls into town, Gemma (Nell Verlaque, Thanksgiving) and her friends are eager to explore its attractions. Gemma soon finds herself falling for a handsome stranger, only for a ghost from her past to threaten their burgeoning romance. As long-buried secrets resurface, she is forced to confront a sinister group of followers and their enigmatic leader, Toussaint (Jason Isaacs, The White Lotus).

Directed by David Charbonier and Justin Douglas Powell (The Djinn, The Boy Behind the Door), the film stars Isaacs alongside Paulina Chávez (Landman), Eoin Macken (Ransom Canyon), Kieron Moore (Vampire Academy) and Nell Verlaque.

The film’s strongest stretch comes midway through, when proceedings take a welcome detour into more sensual, sexually charged territory. There are shades of Anne Rice’s The Vampire Chronicles here, particularly in the theatrical flourishes of the vampires’ stage show, which recalls the infamous Théâtre des Vampires. It’s an evocative touch, and combined with the erotic undercurrent, gives the film some much-needed bite.

Elsewhere, however, it’s business as usual, with characters making spectacularly daft decisions simply because the plot demands it. Take two youngsters who, rather than making a sensible exit from the carnival, decide to seek refuge inside a Hall of Mirrors. Because, naturally, what better place to hide from vampires than somewhere packed with reflections? The logic is about as convincing as a garlic necklace made of chocolate.

Jason Isaacs, meanwhile, clearly relishes the opportunity to camp it up royally as Toussaint, the head vampire. His flamboyant performance injects some much-needed life into proceedings, while Alvise Rigo is suitably convincing as Sebastin, making it easy to understand why Gemma would fall under his seductive spell.

Less successful is Kieron Moore’s petulant Eric, whose constant sulking drains the film of momentum. He behaves like a five-year-old who’s been grounded and ordered to stay in his bedroom, leaving you more inclined to give him a clip round the ear than sympathise with his plight. It’s a shame, given Moore’s demonstrated versatility in Netflix’s Boots and Blue Film.

Ultimately, Vampire Carnival has enough seductive atmosphere, theatrical vampire mythology and saucy intrigue to distinguish itself from the usual fanged fare. Unfortunately, daft character decisions and a frustrating lack of narrative momentum keep it from reaching its full potential. Thankfully, Isaacs’ gloriously over-the-top turn and that enticingly erotic midsection ensure this carnival isn’t entirely without its attractions.

Vampire Carnival arrives on DVD and Blu-ray on 30 October, courtesy of Signature Entertainment.

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Tubi FrightFest the UK’s legendary and most celebrated festival of horror, fantasy, and sci-fi cinema, has formed an exciting new partnership with the iconic Tyneside Cinema in Newcastle. The two-day weekend takeover to the North East, on the 1st and 2nd of May 2027, will deliver a blood-soaked weekend of exclusive film premieres and special guest appearances.

Dan Lauder, Head of Cinema & Operations said: “Tyneside Cinema is incredibly excited to work with Tubi FrightFest in bringing the Dark Heart of Cinema to Newcastle for the very first time in 2027. Horror is a unique and fascinating genre that can scare and mesmerise in equal measure, and there is no better way to celebrate it than by hosting one of best horror film festivals around. Combining our storied independent cinema in its 90th year with FrightFest’s superb programming, Tubi FrightFest Newcastle promises to be a devilishly goodtime.’

Ian Rattray, co-director of FrightFest added: “We’ve long known that the Northeast has an incredibly passionate and dedicated community of horror fans, so expanding Tubi FrightFest to Newcastle feels like a natural next step. To be partnering with a venue as iconic and rich in cinematic history as the Tyneside Cinema is an exciting privilege. We can’t wait to take over their screens next May and unleash a terrifyingly weekend of genre cinema upon Newcastle’s audiences.”

The line-up, along with further news, will be announced early 2027.

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