‘CRUSHED’ – Steve Oram leads Simon Rumley’s ‘soul-crushing’ ‘disturbingly savage’ thriller that ‘will push the boundaries of even the most hardened horror fan’ – on UK digital 5 October

Prepare to be Crushed by horror maestro Simon Rumley’s (Red White & Blue, The Living and the Dead) bleak and sinister new thriller starring British screen favourite Steve Oram (Sightseers, The End of the F***ing World, DI Ray) in a ‘powerhouse performance’ (Metro) as a vicar whose unwavering devotion to God is pushed to its very limits when his daughter is abducted. Following its acclaimed festival run, including at FrightFest 2025, Crushed is set to make its UK digital debut on 5 October 2026, courtesy of GrimmVision.

CRUSHED

Horror maestro Simon Rumley is back with a ‘soul-crushing’ ‘disturbingly savage’ harrowing tale of faith and vengeance starring the inimitable Steve Oram

Trailer

‘Steve Oram delivers a powerhouse performance… Not for the faint-hearted… a disturbingly savage tale of morality, revenge and faith… will push the boundaries of even the most hardened horror fan’ ★★★★ Metro

‘Harrowing but hypnotic… puts the viewer’s heart, body, and soul through the wringer, leaving them battered, bruised, and somewhat changed by what they have witnessed’ ★★★★ The Hollywood News

‘Soul-crushing and darkly disturbing… creates an overwhelming sense of dread, gradually building the fear that something even more soul-destroying is about to happen’ ★★★★ Filmhounds

‘Rumley’s determination to commandeer cinema as a reaction chamber for his fearless imagination and mischievous juxtapositions is both vital and riveting’ ★★★★ The People’s Movies

Hailed as ‘one of the UK’s boldest and most distinctive filmmakers’ (Edinburgh Film Festival), Simon Rumley (Red White & Blue, The Living and the Dead) brings evil incarnate to the big screen in Crushed – a bleak and sinister new thriller starring British screen favourite Steve Oram (Sightseers, The End of the F***ing World, DI Ray) in a powerful lead performance as a vicar whose unwavering devotion to God is pushed to its very limits when his daughter is abducted. The film is set to make its UK digital debut on 5 October 2026, courtesy of GrimmVision.

Crushed takes Rumley’s disturbing 2012 short film P is for Pressure that featured in horror anthology The ABCs of Death and expands on the darkest of subjects, weaving the grim tale of exploitation crush videos into a feature length narrative that explores trauma, forgiveness, revenge and religion.

Set in suburbs of Bangkok, English vicar Daniel (Oram) lives a seemingly idyllic life with his wife May (May Nattaporn Rawddon) and their daughter Olivia (Margaux Dietrich). But when Olivia is exposed to a disturbing animal cruelty video, it sets off a harrowing chain of events that leads to the abduction of the innocent 10-year-old. Daniel and May are thrown headlong into an agonising journey that reveals the deepest depths of human depravity. With the support of their tight-knit community, the couple must navigate a maze of fear, faith, desperation and vengeance while trying to bring their daughter home. When the God-fearing vicar comes face to face with the greatest evil humanity has to offer, will he be able to practice the words he’s been preaching his whole life or will his faith falter?

Shot entirely on location in Thailand, the film tells not only a dark yet powerful story but also aims to raise awareness for challenging contemporary issues surrounding child trafficking and animal cruelty.

A visceral and tightly wound thrill ride, prepare to be Crushed by this raw and unflinching feature, that delves into the true horrors of humanity.

On UK digital 5 October from GrimmVision

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‘Anne Rice’s The Vampire Lestat’ ‘bares its soul with a rock ‘n’ roll blood-soaked spectacle… the best Anne Rice adaptation to date’ on Blu-ray, DVD & digital 2 November 2026

Get ready to rock vampire style with more thrills, chills, sex, drugs, blood, guts and gore in Anne Rice’s The Vampire Lestat – the critically acclaimed third instalment in the Anne Rice’s Interview with the Vampire television series.

Hot on the heels of its BBC premiere, Anne Rice’s The Vampire Lestat is set to arrive on Blu-ray, DVD and digital 2 November complete with more than five hours of special features, courtesy of Acorn Media International. With a fourth outing – Anne Rice’s Queen of the Damned – on its way, now is the perfect time to sink your teeth into this devilishly delicious series.

‘Bares its soul with a rock ‘n’ roll blood-soaked spectacle… the best Anne Rice adaptation to date’ ★★★★★ Bloody Disgusting

‘Sam Reid swaggers through scenes like a true rock star… more theatrical and bombastic than the show has ever been… remains as moving as ever’ ★★★★ Empire

‘A mega-fun glam-rock musical… with bloodsucking’ ★★★★ The Guardian

‘Darkly magical: ambitious, unapologetic, loud… absolutely unforgettable… undoubtedly the season’s best show’ ★★★★.5 Den of Geek

‘A triumphant season of television… unlike anything else currently on the air… a riveting, chaotic, incredible ride’ ★★★★.5 Nerdist

The latest adaptation from Anne Rice’s The Vampire Chronicles book series sees Sam Reid (Belle, The Newsreader) take centre stage in an electrifying performance as the fearsome vampire Lestat De Lioncourt. The infamous befanged one attempts to set the record straight, with his own take on the events recounted by Louis de Pointe du Lac (Jacob Anderson – Game of Thrones, Doctor Who) in the first two seasons of Anne Rice’s Interview with the Vampire.

Reid and Anderson are joined once again by a stellar cast, with the latest series welcoming the return of Assad Zaman (Hotel Portofino), Eric Bogosian (Uncut Gems, Succession) and Delainey Hayles (Holby City, Carrie). We’re also introduced to new characters played by Jennifer Ehle (Pride and Prejudice, Zero Dark Thirty) and Sheila Atim (The Woman King, Doctor Strange in the Multiverse of Madness).

The latest instalment picks up in the wake of an unexplained global catastrophe before taking us back to 2025 where Daniel Molloy’s (Bogosian) infamous novel ‘Interview with the Vampire’ has become a bestseller. Enraged by his portrayal, Lestat (Reid) – now living in Montreal – sets out to tell his side of the story in a way only he can… by channelling his fury into a glam rock band and going on tour.

Each episode takes us through different American cities as the bloodthirsty rockstar attempts to complete his deeply personal new album, that explores his two-and-a-half centuries of trauma, reflects on his ties to the very first vampire: Queen Akasha (Atim) and an incredibly complex relationship with his mother Gabriella (Ehle).

Haunted by the muses of his wild and rebellious past, the vampiric virtuoso’s newfound career forces him to confront the darkest aspects of his own immortality. As his star power rises, so does his influence over vampires and humans alike, causing an unnatural surge in the bloodsucking population with disastrous consequences for all of mankind.

Hailed ‘a bold, thoughtful, and thoroughly enjoyable evolution for the most underrated series on television’ (Den of Geek), prepare to enter a new era as Anne Rice’s gothic saga of immortal perils and passion goes glam rock in The Vampire Lestat.

‘Filled with deep complexity, staggeringly emotional performances, and a protagonist who’s captivating in so many layered ways… not only the show at its best, but one of the best seasons of TV in 2026’ Screen Rant

SPECIAL FEATURES include:
The Vampire Lestat Series Preview
The Vampire Lestat After Dark
Episode Insiders
Long Face Karaoke Video
All Fall Down Lyric Video
Breaking Down: The Loneliness
Laying Down the Tracks
Panel at Comic-Con 2025
THE VAMPIRE LESTAT: ONE NIGHT ONLY LIVE Highlights

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The Other People (2025) Review

The Horror Collective, the genre label of Studio Dome, will release the acclaimed psychological horror thriller THE OTHER PEOPLE, the directorial debut of Chad McClarnon from a script written with his brother Trey, on digital platforms September 15.

THE OTHER PEOPLE has been celebrated on the festival circuit, earning the Audience Award at the Nashville Film Festival, the Special Jury Prize for Best Narrative Feature at the deadCenter Film Festival, the Best Screenplay award at La Samhain du Cinéma Fantastique, and a Best Narrative Feature nomination at the Rome International Film Festival. The Hollywood News praised the film for its innovation “McClarnon has created an intense haunted house movie that spins conventions on its head,” highlighting Greenwood’s stellar lead performance.

In a town plagued with sudden deaths and missing persons, Rachel (Greenwood) meets and quickly marries grieving single dad William, and the two set out to provide a stable, comfortable life for his troubled eight-year-old daughter Abby. When Abby makes friends with a boy that lives in the hidden corners of their new home, she learns why things that live in the dark don’t want to be seen. As Rachel strives to understand and face the terror that grips Abby, William becomes more self-involved.

Losing sleep, fighting to save her marriage and her stepdaughter, Rachel grows increasingly suspicious of the strange noises and ghoulish shadows scratching at the edges of her sanity. Faced with unspeakable tragedy, Rachel has no choice but to press beyond what she can bear if they have any hope to survive.

Inspired by disturbing true events, The Other People proves to be a languid and prolonged endurance test, the kind of film where the plot can seemingly only breathe and move forward if its protagonists repeatedly make incredibly stupid decisions. And, boy, do they!

At the centre of the story is a couple whose daughter repeatedly tells them that strangers have been visiting her. Naturally, they dismiss this as nothing more than an imaginary friend. That might just about be understandable initially, but even when the child explains that a man, she believed to be her daddy tried to pick her up and carry her away, the parents still fail to take her seriously. That is not exactly the sort of thing most children would casually invent about an imaginary friend, yet the warning signs continue to be ignored.

Then there is a subplot involving William cheating on Rachel, which feels almost entirely superfluous, adding little to the story other than yet more unnecessary running time. Senior Officer Jim Craddock (B.D. Boudreaux) appears to know that something seriously sinister is happening yet has somehow decided that now is the appropriate time to confront ‘the other people’. Quite why he has waited until this point is anyone’s guess.

Of the mysterious ‘other people’, only one gets to interact directly with the other characters, and she spends much of her screen time cackling manically like one of the possessed from Sam Raimi’s original The Evil Dead. Whatever atmosphere the film manages to establish is quickly undermined by the relentless cackling, which eventually becomes less unsettling and more an assault on the viewer’s patience.

The characters’ behaviour becomes increasingly baffling as events unfold. When a child goes missing, the parents are, understandably, beside themselves with worry. Yet, give it a little while and they are calmly eating takeaway food before proceeding to have sex on their kitchen floor. It is the sort of tonal whiplash that makes it difficult to take the supposed horror seriously.

William is, without question, the most frustrating character of the lot. He repeatedly refuses to listen, first to his daughter and then to Rachel, despite the increasingly obvious evidence that something is seriously wrong. In all the films I have watched over the years, his character ranks remarkably high among the most stupid and irritating I have encountered. There is absolutely nothing remotely likeable about him.
To be fair, this is not a criticism of the actor, who is perfectly likeable; it is the character he has been given to play that is so thoroughly infuriating.

And then there is the character who is specifically told by Craddock not to return to the house. Naturally, guess where they go.

That, in a nutshell, is The Other People: people not listening, people making incredibly poor decisions, and people repeatedly ignoring increasingly obvious warning signs despite strange and disturbing things happening inside their own home. The characters continually plod onwards when any remotely sensible person would be running in the opposite direction.

Speaking of plodding, the film itself certainly does plenty of that. At a pace resembling a snail travelling uphill, The Other People stretches its premise far beyond what it can comfortably sustain. There are potentially some intriguing ideas buried within its disturbing true-event inspiration, but they become increasingly difficult to appreciate beneath the film’s sluggish pacing, frustrating characters and seemingly endless parade of questionable decisions.

Ultimately, The Other People proves to be less a frightening descent into supernatural terror and more a test of the viewer’s patience. When the characters are repeatedly presented with warning signs and respond by doing precisely the opposite of what any sensible person would do, the resulting frustration becomes considerably more pronounced than the intended fear.

THE OTHER PEOPLE will be available on major digital platforms beginning September 15, 2026.

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Tense Zombie Horror THE COLONY – On Digital & 4K Blu-ray from 28th September

YOU TOOK THE TRAIN TO BUSAN… DARE YOU ENTER THE COLONY

WATCH THE OFFICIAL TRAILER HERE

Colony will be available to buy & keep on digital platforms and on DVD, Blu-ray & 4K UHD from 28th September

Enter at your own risk as STUDIOCANAL invites you to a biotech conference gone horribly wrong, in Yeon Sang-ho’s tense, timely and terrifying zombie horror thriller COLONY, available to buy & keep on digital platforms and on DVD, Blu-ray & 4K UHD from 28th September.

From pioneering director Sang-ho, whose Train to Busan was a cult horror sensation, COLONY is an equally thrilling mass zombie outbreak rollercoaster ride, following a group of survivors trapped inside a high-rise building after a rapidly mutating virus transforms those infected into an unpredictable and seemingly unstoppable new lifeform. Praised by Screen Daily as having “carefully choreographed action sequences unfolding at a breakneck pace, saturated by lashings of gore”, COLONY is a frenetic, graphically gruesome, visually incredible tower block terror trip. Miss it at your peril!

The film received its World Premiere at the 79th Cannes Film Festival and screened at this year’s FrightFest London along with retrospective screenings of the directors’ previous films Seoul Station and Train to Busan, which celebrates its 10th anniversary this year.

COLONY stars Gianna Jun (My Sassy Girl, Assassination) Koo Kyo-hwan (Peninsula, Escape), Ji Chang-wook (The Manipulated, The Worst of Evil), Shin Hyun-been (The Ugly, He’s on Duty), Kim Shin-rock (Hellbound, Burning), and Go Soo (Missing: The Other Side, The Fortress) and is produced by Wowpoint and Smilegate in association with Midnight Studio.

SYNOPSIS: In downtown Seoul, a professor attends a biotech conference only to witness it spiral into catastrophe when a rapidly mutating virus is unleashed. As the outbreak spreads and the infected begin to transform, authorities seal off the entire facility and the survivors, barricaded inside the building, must contend with the mounting and unpredictable threat.

Colony will be available to buy & keep on digital platforms and on DVD, Blu-ray & 4K UHD from 28th September

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Ignition (2026) Review

Every second counts in Ignition – Steve Looker’s (The Night Runner) exhilarating, real time, suspense-filled thriller set arrive on UK digital on 7 September, courtesy of GrimmVision.

The film opens with a pulsating electro score accompanying the opening credits, immediately suggesting that something suitably tense and unsettling may be about to unfold. Unfortunately, what follows struggles to deliver on that promise.

Young explosives expert Leon finds himself confronted by an extraordinary situation when his television switches itself on and a skull-masked figure appears on screen. The mysterious caller insists on having a conversation and warns Leon not to report what is happening. He wants to play a game, and before long announces that he was responsible for 9/11. It is an audacious opening, but rather than develop this premise into something genuinely gripping, the film becomes bogged down in a prolonged exchange of threats, retorts, and repetitive arguments.

Leon is supposedly “the best of the best” at what he does, yet the urgency one would expect from an explosives expert dealing with an apparent bomb threat is strangely absent. Much of the dialogue revolves around whether Leon will call the incident in, whether he will play the game, and whether the masked figure is actually going to kill him. The same exchanges are revisited repeatedly, creating the impression of a screenplay struggling to generate momentum from an inherently limited setup.

The introduction of Leon’s drug-dealing brother Robert, along with his associate Brandon and references to “the beast” and a supposed side hustle, attempts to broaden the story beyond its two-hander central premise. However, these elements feel more like distractions than meaningful developments. The stop-start delivery of the dialogue doesn’t help matters either, with conversations that are presumably intended to be menacing instead coming across more like petty squabbles.

This is particularly problematic because, with such a confined setting and essentially two principal characters carrying the film, the dialogue needs to sizzle. Instead, we get variations on “I’m going to kill you”, “No, you won’t”, “I’ll kill myself”, “No, you won’t” and “Let’s play another game.”

There is a moment when Leon tells his tormentor, “You should be terrified,” and, ironically, he’s absolutely right. We should be terrified. The premise certainly gives the filmmakers ample opportunity to create genuine suspense, but the tension simply isn’t there. Why isn’t anyone from Leon’s workplace checking in on him after the bomb threat that initially prompted their involvement? When they eventually do check in, it feels less like a natural escalation and more like the screenplay remembering that other people should probably be concerned about what is happening.

The biggest problem is that very little actually happens. The film repeatedly promises danger without delivering the sense of imminent peril required to make that danger convincing. Threats become increasingly meaningless when they are constantly repeated without consequence.

Visually, matters aren’t helped by the largely static camera work. Given the claustrophobic premise, there is nothing inherently wrong with adopting a restrained visual approach, but here it feels less deliberately minimalist than simply basic. There is little sense of cinematic invention to compensate for the limited setting.

There is the kernel of an effective contained thriller here, and the opening certainly hints at one. But for a film built around a deadly game of psychological cat and mouse, the dialogue needed considerably more bite and the direction needed to find ways of generating tension within its confined environment. Instead, the film spends far too long telling us that we should be afraid without ever giving us much reason to be.

Ignition is on UK digital 7 September from GrimmVision

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The Spirit Lock (2026) Review

Desperate to save their possessed son, a struggling couple turn to a cursed Pagan device, unleashing a greater evil that threatens their sanity, marriage and souls in new British gothic horror The Spirit Lock.

From acclaimed cinematographer turned director Steven Fierberg (Secretary, Emily in Paris, The Affair), this supernatural chiller features a stellar cast of British acting talent, including Joe Anderson (Across the Universe, Outsiders, Hannibal), rising star Yasmin Al-Khudhairi (Rye Lane, A Good Girl’s Guide to Murder, Ackley Bridge) and Tim Downie (Half Man, Toast of London, Outlander). Get ready to unearth the evil of The Spirit Lock when it arrives on UK digital on 7 September, courtesy of Seven Tales.

I was pleasantly surprised by Steven Fierberg’s gothic supernatural horror The Spirit Lock. Effectively housebound for almost the film’s entire duration, it initially reads on paper like yet another possession flick, and you might expect it to eventually go full The Exorcist in the latter stages. Thankfully, Fierberg takes things in a more refreshing direction, favouring ambiguity and creeping unease over the generic scares one might anticipate.

The small cast acquit themselves well, while Fierberg does an impressive job of sustaining a consistently foreboding atmosphere within the film’s confined setting. The sense of tension gradually builds, and rather than relying on an abundance of conventional horror tropes, the film allows uncertainty to do much of the heavy lifting.

If I did have one niggle, it would be the family drawing produced by the son. Given that the boy appears to be closer to his teenage years, the picture looks more like something you would expect a five-year-old to draw, which did pull me out of the moment somewhat.

Otherwise, The Spirit Lock proves to be a solid and unexpectedly effective horror treat. It offers a neat twist on the familiar demonic-possession formula and, most importantly, sticks the landing with an ending that pays off the stealthy tension so carefully built throughout.

The Spirit Lock is on UK digital 7 September from Seven Tales

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BLOODSTREAM ADDS MORE THAN 300 CULT FILMS FROM SEVERIN FILMS

Landmark catalog addition brings The Changeling, Cemetery Man, Santa Sangre, The Day of the Beast and hundreds more to BloodStream beginning in September

BloodStream, the streaming destination for horror, thriller and cult cinema, has partnered with Severin Films to bring more than 300 films from the celebrated cult-film label to the platform beginning in September.

The partnership arrives as Severin celebrates its 20th anniversary, marking two decades of rescuing, restoring and releasing provocative, overlooked and unconventional cinema from around the world. The agreement represents a continued expansion of BloodStream’s classic and international catalog, spanning supernatural horror, slashers, giallo, folk horror, exploitation, creature features and some of the strangest films ever committed to celluloid.

Among the best-known titles joining BloodStream are Peter Medak’s acclaimed haunted-house classic The Changeling, Michele Soavi’s cult favorite Cemetery Man, Alejandro Jodorowsky’s surreal masterpiece Santa Sangre, Álex de la Iglesia’s horror comedy The Day of the Beast, and Soavi’s Italian horror favorites The Church and The Sect.

The collection also includes cult staples such as Anthropophagous, Absurd, Patrick, Next of Kin, Turkey Shoot, Vampyros Lesbos, Zombie Holocaust, Psychomania, The Manson Family, The Peanut Butter Solution, When the Wind Blows and Kier-La Janisse’s acclaimed documentary Woodlands Dark and Days Bewitched: A History of Folk Horror.

“Severin Films was founded on the belief that genre films speak a common language of transgressive entertainment,” says Severin founder David Gregory. “Twenty years later, we continue to evolve that global mission by rescuing, restoring and releasing the boldest and best of entertainment with sharp edges for streaming, physical media and like-minded audiences. We’re now proud to share it all with BloodStream.”

“Severin has spent two decades rescuing, restoring and celebrating movies that might otherwise have disappeared,” said Shaked Berenson, founder of BloodStream. “This is exactly the kind of catalog BloodStream was created for”; Heidi Honeycutt, Lead Programmer at BloodStream added: “Their films are deeply important to fans of genre cinema and to film history. Adding more than 300 of them at once is a huge step toward building the most complete and adventurous horror streaming library possible.”

Founded in Los Angeles in 2006 by David Gregory, Carl Daft and John Cregan, Severin Films has become one of the world’s leading independent labels devoted to restoring and releasing provocative, overlooked and unconventional cinema. Its library now encompasses more than 500 films and television projects from around the world.

The Severin collection will begin rolling out on BloodStream in September, with curated collections and filmmaker spotlights planned throughout the fall.

BloodStream is available free with ads, as well as through ad-free and Early Access subscription plans, on the web, mobile devices and major connected-TV platforms.

For more information, visit BloodStreamTV.com

https://bloodstreamtv.com

ABOUT BLOODSTREAM
BloodStream is a streaming platform dedicated to horror, thriller and science-fiction entertainment. Built by the team behind The Horror Collective, BloodStream combines cult classics, festival favorites, independent discoveries, original programming, shorts and filmmaker-focused content in one destination created for genre fans. BloodStream is available free with ads, with additional ad-free and Early Access subscription options.

ABOUT SEVERIN FILMS
Founded in 2006, Severin Films is a Los Angeles-based independent film company dedicated to creating, rescuing, restoring and releasing some of the world’s most provocative cinema. With a library of more than 500 films and television projects, Severin has earned an international following among collectors and fans of horror, cult, exploitation and overlooked genre cinema.

Direct link to Severin’s titles on BloodStream

https://bloodstreamtv.com/category/severin?career=severin

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It Hunts (2026) Review

Written and directed by Gabriel Black, It Hunts gets off to an impressively brutal start, opening with a couple of brief but effective kill scenes before settling into a more psychological supernatural mystery centred on Casey, a call-centre operative working from home on the graveyard shift.

Casey’s life is going nowhere. His diet is poor, his dead-end job offers little fulfilment and his relationship is beginning to fall apart. Then, one night, he suddenly wakes with the unsettling feeling that something—or someone—is coming for him. What follows is a descent into recurring nightmares, disturbing visions and an increasingly debilitating sense of paranoia as Casey attempts to unravel the mystery before it consumes him.

For much of its running time, It Hunts remains focused on Casey and his deteriorating state of mind. His girlfriend initially comes across as somewhat whiny and self-absorbed, particularly in her frustration over a computer he has yet to fix, but as Casey’s predicament becomes increasingly apparent, she develops into a more sympathetic character and eventually encourages him to seek professional help.

Shot in Miami, the film benefits considerably from a crisp visual presentation, with some pleasing use of primary colours and framing that is considerably more accomplished than its modest budget might suggest. There is also a decent, retro-sounding score that complements the film’s brooding atmosphere and gives proceedings an appropriately unsettling edge.

The screenplay is another of the film’s strengths. Once Casey begins seeing a psychotherapist, we learn more about his troubled background, including his experiences in foster homes and his chronic lack of sleep. There is considerably more characterisation here than is often found in low-budget horror, and Black deserves credit for taking the time to give his protagonist some depth rather than simply using him as a vehicle for a succession of scares.

Unfortunately, the film occasionally becomes bogged down in exposition, particularly when it delves into medical detail. There are lengthy discussions concerning what might be required to stop someone’s heart and the medication Casey may need to help deal with his hallucinations. Some explanation is necessary, of course, but at times entire dialogue scenes feel consumed by information that could have been conveyed far more economically.

The biggest issue for me, however, is the film’s lack of incident once that promising opening has established its supernatural credentials. The initial thrills are largely sidelined in favour of dialogue-heavy scenes, and although the character development and mystery are worthwhile, I found myself wishing for a better balance between the two. The film has a good central idea, but it might have benefited enormously from a tighter edit, greater restraint with the exposition and more frequent supernatural thrills.

Towards the climax, the dramatic elements also become somewhat over-egged, with the film occasionally sagging at precisely the point where it needs to build momentum towards its conclusion.

There is plenty to admire in It Hunts, particularly its atmospheric presentation, stronger-than-expected characterisation and the intriguing premise at its heart. Black clearly has an eye for composition and demonstrates a confidence behind the camera, while the screenplay is more considered than the film’s budget might suggest. Ultimately, though, the movie would have been more effective had it trusted its supernatural elements a little more and spent less time explaining them. A tighter, more restrained approach could have turned a promising low-budget horror into something considerably more potent.

“IT HUNTS” IS AVAILABLE TO WATCH ON PRIME VIDEO

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‘SPOILING YOU’ AND ‘MR. WHISPERS’ HEAD TO GLOWFLARE HORROR FILM FESTIVAL THIS WEEKEND

Two new British independent horror features, Spoiling You and Mr. Whispers, will screen at the Glowflare Horror Film Festival in Beverley, Yorkshire, UK this weekend, with both films showing on Sunday, 6 September at Parkway Cinemas.

Mr. Whispers will screen at 4pm, followed by Spoiling You at 6pm.

Directed by Megan Tremethick, Spoiling You is an ASMR psychological horror exploring loneliness, parasocial obsession and the increasingly uneasy relationship between comfort and control. The film follows Drew, a socially isolated insomniac who becomes fixated on online ASMR creator Miss Mutter. When he wins the opportunity to meet her for a private ASMR session, the encounter gradually descends into something far darker.

The film marks Tremethick’s feature directorial debut and was written by Tremethick and Lawrie Brewster. Tremethick also stars as Miss Mutter alongside Stephen Kerr, Laurence R. Harvey, best known for The Human Centipede II and The Human Centipede III, and Peter F. Mahoney. The film is produced by Lawrie Brewster and Sarah Daly through British Horror Studio.

Mr. Whispers, meanwhile, is a late-1990s-inspired supernatural found-footage horror centred on a group of young filmmakers investigating the disturbing history of an abandoned cinema linked to a series of child disappearances. Led by student filmmaker Kathryn Hale, the group set out to document the urban legend of Mr. Whispers, a mysterious porcelain-faced figure said to haunt the building.

Mr. Whispers is directed by Dorian Todd, Oliver Revie, and Seumas MacNeil with Todd and MacNeil also writing the screenplay. Tremethick stars alongside Dorian Todd, Novarro Ramon, Stephen Corrall and Sam MacMillan. The filmmakers have cited The Blair Witch Project, Noroi: The Curse and Lake Mungo among the film’s influences.

Glowflare Horror Film Festival was founded by Daniel Smales and is dedicated to showcasing independent horror filmmaking across a wide range of subgenres. The festival returns to Parkway Cinemas in Beverley, Yorkshire, UK, for its 2026 edition on Saturday 5 and Sunday 6 September and has recently been accepted into the Film Festival Alliance, an international network supporting the film festival community.

Glowflare Horror Film Festival

https://www.glowflarehorrorfestival.com

Spoiling You Teaser Trailer

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The Supernatural UK presents Burford Priory: The Woman Who Watches Over Us

Charlotte Murdoch Freud opens the doors of her family home for a remarkable new documentary feature

Trailer

Burford Priory: The Woman Who Watches Over Us, is a deeply personal paranormal investigation inside one of England’s most extraordinary private homes. It will premiere exclusively on The Supernatural UK YouTube channel on Friday 4 September 2026 at 7pm.

In this 55-minute documentary feature, Charlotte Freud invites The Supernatural UK team into the historic Oxfordshire home in which she grew up – a place she has long believed they share with something unexplained. What begins as an investigation into a haunting, becomes something far more personal: a moving story about love, memory and the possibility that those who once cared for us may never truly leave.

Charlotte said: “When I was asked to do this, I thought it would be fun and nobody had ever ghost hunted in the priory, besides my brothers and sisters as kids. Armed with magnifying glasses and vacuum cleaners, we played ghostbusters often. What I did not expect was for the team to prove something real to me.”

Charlotte leads the team through the Priory’s most significant rooms and recounts the unexplained experiences reported by her family, friends and visitors over the years. What follows is not simply a search for evidence of a haunting, but an intimate exploration of a family’s relationship with its home – and the possibility that somebody may still be watching over them.

Produced by TSUK duo John Shackleton and Andy Bourne, the film brings together sensitive Kate Ray, sceptic Justin Cowell and paranormal investigator Karin Beasant. As the night unfolds, a series of striking apparent connections begins to draw together the Priory’s history, Charlotte’s testimony and the experiences of the investigation team.

Producer-director John Shackleton commentated. “Charlotte gave us extraordinary access, not only to the Priory but to the family stories attached to it. What emerged felt much more intimate than a conventional paranormal investigation. It became a film about home, family, memory and the possibility that the people who matter to us may never entirely leave.”

Burford Priory has stood in one form or another for more than 800 years. Once a medieval hospital and later a religious community, it has witnessed royal visits, political intrigue and family tragedy before being painstakingly restored as a family home by the Freud family. Beyond its remarkable history, however, are the stories known only by those who have lived there.

Burford Priory: The Woman Who Watches Over Us premieres exclusively on The Supernatural UK YouTube channel on Friday 4 September 2026 at 7pm.

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