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Horror Legends – Neil Marshall

Neil Marshall, born and bred in Newcastle has long held a reputation for being both implausibly daring in his work and a true genre filmmaker. Over the past 20 years of his career, Marshall has managed to produce nothing but original work that tours every spector of horror and fantasy, exploring grizzly ghouls and monsters to folklore and sci-fi escapades. It can certainly be said that Marshall is the film version of a globetrotter. And within his first-rate range, he never misses a beat, creating cult classics and award-winning flicks. 

Marshall’s broadening work demands attention, it’s clear to see that blood, sweat, and tears have gone into his films, warranting a dedicated and acclaimed reception from audiences and critics alike. He even earns himself a ‘splat pack’ badge, joining the likes of Rob Zombie and Eli Roth in the stand for creating superbly nasty movies.

Now, Marshall is directing the upcoming rip-roaring action-horror The Lair which surrounds a group of half-human, half-alien creatures being let out on the loose and the fight to demolish them before they demolish the world.

After graduating from film school Marshall went on to work as a freelance film editor, working with Keith Bell (fellow film school graduate). In 1998 the pair worked on a low budget action-thriller Killing Time, which utilised everyone on set, with even Marshall venturing out of editing and contributing to the action coordination and choreography. The passion and vocation that everyone had in just trying their best to create something, inspired Marshall and Bell to say ‘you know what’ and get their own film rolling. This film which started out as a could-be pipeline dream ended up being one of Britain’s most hallmark horror’s, kicking the genre into a new era and generating a fantastic auteurship for Marshall. This film is Dog Soldiers! 

Dog Soldiers (2002) 

A routine training exercise in the Scottish Highlands for a small squad of British soldiers turns deadly when they are violently attacked by a group of vicious werewolves. Left without any form of transport or communication the team is forced to hide out in a remote farmhouse to wait for the full moon to disappear, little do they know the werewolves will stop at nothing until every one of them is dead. 

A whole twenty years have passed since Dog Soldiers was released, but the time has only made it richer, marinating a full-bodied horror that gushes enough blood to satisfy gorehounds, whilst also layering an intense narrative that unveils the inner terror of self-destruction and how internalised fears flourish to become a united enemy with the larger threat at hand, which in this case is werewolves. 

Incidentally, although Marshall delves into the context and demands of human nature, the actual layout of the lycanthropes themselves is simple but ultra efficient. An American Werewolf in London (1981) and The Howling (1981) both excel in highlighting the whole point of metamorphosis and what it means to transcend the boundaries between man and animal, however, rather than thrive in the actual transformation itself, Marshall uniquely opts for displaying a rooted story of the werewolf being the enemy, and that’s it. There’s no flamboyance of creating a ‘curse’ around the creatures. At the heart the film is a war horror infused with these beasts that are capable of being terrifying enough without having a tinseltown backstory. 

Infusing this basis of soldier vs. monster set within the emotional confounds of a military cladding is the whole idea of anonymity. The aforementioned lack of humanity regarding the werewolves immediately forms a hierarchical structure that makes the creatures ultra ruthless. There is no sense of empathy lingering behind the claws and fur, nor is there an opportunity for the viewer to sympathise with the beast. Alternatively, they are barbaric and cruel, willing to rip into every muscle because of their natural hunger for flesh. It’s quite scary to think that this feral ferocity is bared with no holding back.

 Brilliantly juxtaposing this nameless violence is the natural curiosity one feels towards the soldiers. As with any film exploring a small group of people, there is that certain dynamic where some individuals are favoured more than others. If this was any ordinary group we could easily be angered at any displays of chauvinistic masculinity and toxicity, instead, their experience of being in the military begs us to take a deeper look at how their anger is formed and why some characters are cruel and almost as barbaric as the villain at hand. The macho bravado archetype slowly dissolves, showing that ego fuelled swashbuckling, which usually saves the day in action horror, isn’t enough to fight off these evil monsters. 

Taking a step back from the emotive reasonings, it’s vital to look at why this film stands out and has kept its place as one of the most important werewolf films of the 21st century. The amalgamation of utilising the stereotypes of soldier characteristics to make the werewolves seem even more brutish is ingenious. It forces the viewer to dial into their own fearlessness, amping up the adrenaline and making this a film they’ll remember and feel incredibly immersed in. 

The Descent (2005) 

After a tragedy strikes a group of friends they decide to gain back their bond by going on a caving trip into the Appalachian Mountains. Everything is going smoothly until they realise that the cave they ventured into is not only undiscovered but is also plagued by hungry creatures. 

The Descent is Marshall’s second film and another horror. But rather than dilly-dally around in the same territory, Marshall spared no expense and created something that no one expected, shocking the world of dark cinema and shaping one of the best horror films to come from the 2000s, if not of all time. 

Originally The Descent’s most iconic factor, the all-female cast, was not initially planned, with a mixed lineup being considered in the first instance. Marshall rethought this element after he noticed that within horror women were highly underrepresented. This created a rare level of dimension that many films at the time wouldn’t dare venture into. Each character, no matter how minor, is fully fleshed out in the way that you could picture their lives outside of the film, they aren’t just paid professionals reading lines, they are ‘real’. Massive respect has to be dealt to Marshall for working in a collaborative way with the performers to develop multi-dimensional personas. Whilst filming the crew and cast would explore alternative ways in which their lines could be acted out, allowing for a sense of gritty realness to be exposed in the character’s manners, furthering their evolution from victims to fighters. In fact, in the DVD extras for The Descent Marshall calls this method of filmmaking the “flaky pastry” principle. 

Whilst the internalised dramatics and pathos for the narrative rely heavily upon the group of misguided cavers, what is essentially one of the most indispensable factors has to be the film’s own boogeymen- the Crawlers

The humanoid animals lurking amidst the caves have become known as Crawlers. Their grotesque slimy skin instantly repulses, creating a cringy curdingly feeling that makes you feel so grateful that you’re not one of those explorers who met their end down in the tunnels. The creature’s gnarly stature is monstrous as it is, but the bulk of the Crawlers innate creepiness derives from their unique ‘human-like’ qualities. The Crawlers were basically cavemen who never left the cave. They never evolved into people as we know it, they stayed lurking underground. Most distinctively, their superhuman traits aid them in adapting to life below the surface, including acute hearing and scent tracking, they can climb any rock and function flawlessly in the dark. To some extent, The Descent uses a very old but very effective moral tale, the women have come down into the Crawlers territory and their reaction is simply defensive. 

The inherent reaction stimulated by the caves is one deeply connected to an intrinsic fear, claustrophobia. By nature, the threat of being trapped and restricted is totally triggering, alerting this unlearned panic that will get under the skin of every single viewer. To make matters worse the cave itself is littered with human scraps and bones, which gives the environment its own unique gothic architecture. Indeed, the setting is bone-chilling as a result of the clever set design. The more solid walls of the caves were made from mouldings of real cliff faces, creating the backdrop for many scenes. Whilst the drippy ceiling hangers made from foam and spray paint gives off the impression of stalactites, the mineral formation that manifests underground. The polystyrene based shapings remain impressive to this day, but with budget constraints, the production could not afford to build miles of alcoves, in reality there were only six structures built, but due to retexturising, colouring, and deceptive lighting, the impression of endless caverns was executed.

The Descent is a true horror. Every single scene is daringly dark and terrifying, with the nightmare-fueled creatures and unforgiving ethos becoming almost as panic provoking as the extremely claustrophobic caves. 

Doomsday (2008) 

In 2008, the Reaper virus was unleashed in Scotland, taking over its host and making them homicidal. The government is unable to contain or create a cure for the virus, forcing British officials to create a 30-foot wall isolating the country. Fast forward to 2035 the supposed obsolete virus is found in London, leading a team to travel over the border in hopes of finding a cure. Along their journey, it is revealed that the Scottish survivors have been divided into two teams: a group of medieval knights, and a tribe of deadly bandits.  

After the success of Dog Soldiers and The Descent Marshall began attracting the attention of major studios offering big and bold budgets to create something fantastical, rare, and boisterous, and let’s just say that Marshall certainly delivers. 

Marshall is very open about his admiration for 1980s cinema having grown up during that period. During the late 1970s / early 1980s classic films such as Mad Max (1979), The Warriors (1979), and Escape From New York (1981) thrived in painting picturesque landscapes dominated by ferocious rebellions and dusty grounds, accompanied by starkly gruesome politics that were formed thanks to apocalyptic style tragedies and disasters. Just like these classics, Marshall encapsulated that old-school dystopian vibe that aimed to be completely obscure to the audience whilst also being stylistically captivating. 

The separation between Scotland and England and the virus work together in providing a thought-provoking plot device, as well as generating a devilishly delicious setup for utter mayhem to ensue. The road to destruction is grim from the very start. After crossing the border the team is met with aggression and terror, especially when it’s unveiled that the ‘living’ have turned into ravenous cannibals, revelling in the anarchy they started. Marshall has stated that Doomsday is not a horror, but it is filled with horrific things and an abundance of meaty gore.

The sci-fi elements work in harmony within the post-apocalyptic confinements that purposefully leave the audience bewildered. Upon its release, questions arose regarding ‘plot holes’. In actuality, there is literally no need for Marshall to go into the science of the virus or explain the character’s actions. The capabilities of sci-fi allow for rules and laws to slide, with Marshall forming the theologies and world order to his taste, creating a land that is blatantly irrational and rightly beyond anything explainable. 

Doomsday is deliberately frenzied, pushing a sense of hysteria onto the viewer. The Reaper virus is akin to the likes of the Rage virus in 28 Days Later (2002) in the way that they cause its victim to become mindless animals. 

Through this a contagious force of energy is thrust onto the viewer, getting their adrenaline pumping at all the chaos and violence. And this said ‘chaos’ comes in by the boatload. The manic society formed behind the border have these epic battles and circus-esque performances that really do perplex and amaze, especially when the tribe’s jukebox is filled with 1980s bands like Fine Young Cannibals, Adam Ant, and Frankie Goes to Hollywood

The land explored within Doomsday is murky and filled with death, but the atmosphere on-screen and generated off-screen is electric and memorable. The creative freedom seen within Marshall’s filming is off the charts, allowing for every weird and wonderful thought to be expelled, making Doomsday a standout film. 

The Reckoning (2020) 

After her husband dies during the Great Plague, Grace Haverstock (Charlotte Kirk) is unjustly sent to be placed in the hands of England’s most feared witch-hunter Judge Moorcraft (Sean Pertwee). Despite her pleads of innocence, she experiences unbearable levels of emotional abuse and psychical torture at the hands of Moorcraft and his fellows. During her imprisonment, the endless trauma is not the only thing Grace has to fight as she battles against her internalised demons as the devil himself worms his way into her mind.

Whilst all of Marshall’s work remains individualistic from one another, The Reckoning exudes such sheer amounts of distinct personality that forces the film to seriously stand out from many films released in 2020. 

Marshall acted as executive producer on Edward Evers-Swindell’s Dark Signal (2016), a highly underrated British indie horror. Evers-Swindell announced to Marshall that he had been working on an idea for a new film surrounding witches, particularly focusing on the element of ‘are they, aren’t they?’ when it comes to the witch prognosis. Along with Kirk, Marshall began exploring the history of witch hunts and soon became very interested in giving this idea a full backbone. Amid the excitement of Marshall getting back into his horror roots he started to come to terms with the reality of witch hunts and the fact that they never really ended, they just take place in new shapes and forms. 

Folklore and fables have been at the heart of horror for many years, whether it’s the damning crusade that accompanies the old tale legends or the possibility that something dark exists, people crave bygone lore. As everyone knows, the existence of the witch trials were very much a real thing with women being socially ostracised and sentenced to death at even the most trivial of matters. The truth behind these hunts surrounds the deeply embedded misogyny and prosecution of the other that bared itself within the seeds of society. The Reckoning combines both the real tragedy of witch history and the essence of old traditions to fabricate a film drenched in thoughtful performances and immersive backdrops. 

The characters of both Grace and Moorcroft encapsulate the push and pull relationships with period pieces. It’s easy to dissect who’s the protagonist and who’s the villain in many horror films, but in The Reckoning a rare standpoint of neutrality is slightly integrated to keep the viewers on their toes, abandoning formulaic storytelling in favour of sewing together a vibrant film brimming with dynamic personalities. 

From an aesthetic standpoint, the vibes of a grimy, blemished society are strongly portrayed. To create a believable period film every stop needs to be pulled out and no stone left unturned. And Marshall does just that. The set pieces have a texturized nature that aids in the catalysation of key plot points. Grace’s experiences of otherworldly exploits are stunningly melodramatic within its stylization, creating surreal imagery that is both untouched and theatrical

The Reckoning serves as an exciting point in Marshall’s career. At this point he has explored all sorts of monsters and the darkest depths of society, leaving a signature within cinema that ventures into every territory.

Neil Marshall’s new action horror ‘The Lair’ is currently in post production and due for release in 2022/23.

Looking for more top horror lists and reviews? Check out our blog here..


Unmissable horror films and television coming to 2022

Scream (Directed by Matt Bettinelli-Olpin and Tyler Gilett) 

Release date: 14th January 

Kicking off this exciting year for horror is Scream. If there was any film that ignited a wave of excitement amongst movie-goers last year then it was the news of Ready or Not (2019) directors Matt Bettinelli-Olpin and Tyler Gilett bringing back Ghostface once again. The upcoming fifth instalment in the beloved franchise, created by horror icons Wes Craven and Kevin Williamson brings the series back in a new light, with Sidney Prescott, Dewey Riley, and Gale Weathers all returning to Woodsboro once again. Just like its predecessors, the plot details of the new Scream have been kept quietly under wraps, but the poster does give us a sordid tease at who the new villain is thanks to the witty tagline- “The Killer is on this Poster”… 

Don’t Worry Darling (Directed by Olivia Wilde)

Release date: 23rd September 

Olivia Wilde made quite the impression with her hilarious coming of age comedy Booksmart back in 2019, and now she is bound to ‘wow viewers yet again with her upcoming psychological film detailing the tale of a bored housewife in 1950s America as she unveils a dark secret, whilst her husband harbours a disturbing truth of his own. Starring in Don’t Worry Darling is Florence Pugh, Harry Styles, Chris Pine, Douglas Smith, and Gemma Chan. The teaser trailer has already got devoted Styles fans hysterical, especially when you take into consideration those rumours about the steamy scenes between him and Pugh (whose phenomenal performance in Midsommar [2019] will go down in history). 

You Won’t Be Alone (Directed by Goran Stolevski) 

Release date: 22nd January 

You Won’t Be Alone sets the scene of a young witch who lives abandoned and feral in the woods. The isolated mountain setting ensures her secrecy, but curiosity strikes when she accidentally kills a peasant in a nearby village. The witch then shapeshifts into her victim’s body to quench her thirst for a human experience. However, events turn sinister when she begins to take the form of other bodies, leading to a riveting path of human discovery. The Macedonian set film will premiere at the upcoming Sundance film festival later this month, with high hopes already blossoming amongst future viewers all in ode to the spectacular trailer released late last year. Across the film an experience is provided, with the powerful themes not being afraid to cross emotional boundaries as stunning visuals and intense performances unite to simultaneously conjure shock and allure.

Nope (Directed by Jordan Peele)

Release date: 22nd July 

Jordan Peele’s first film Get Out released in 2017 completely stole the limelight from the get go, it even did something that horror movies rarely get the opportunity to do, win an Academy Award. Soon after his debut, Peele released Us (2019), another first class film whose legacy will continue for years. It’s safe to say that audiences have been holding out for his next project. Luckily enough, we won’t have to wait long as Peele’s latest venture, mysteriously titled ‘Nope’ is set to be released this summer! Not a single ounce of information has been released about what the film entails besides the cast and the gripping poster. Leading the compelling lineup is KeKe Palmer, Daniel Kaluuya, Michael Wincott, Steven Yeun, and Barbie Ferreira. Although we do not know much, the aforementioned poster does make your thoughts run wild as to what Peele has got up his sleeves; could the carnival-esque setting pictured be hinting at a circus based setting? or could it just be throwing us off the scent? Only time will tell… 

Orphan: First Kill (Directed by William Brent Bell) 

Release date: TBC 

Isabelle Fuhrman gave one of the most haunting performances modern horror has witnessed in Jaume Collet-Serra’s 2009 smash-hit, Orphan. Over a decade later director William Brent Bell brings the terrifying ‘Esther’ back to the screen as we follow her origin story. This upcoming horror is designed to be a prequel to the events in the first film and how Esther’s maliciousness was molded. The plot is set to begin with her escaping from an Estonian asylum, and then taking on the identity of a family’s missing daughter, but Esther’s childlike impression is not fooling everybody. Orphan: First Kill utilised creative filmmaking, such as forced perspectives and body doubles to ensure that Fuhrman pulls off that same doe-eyed performance that she mastered all those years ago. Joining Fuhrman are Julia Stiles and Rossif Sutherland, who will play the unsuspecting family that Esther digs her claws into. 

Bed Rest (Directed by Lori Evans Taylor) 

Release date: 15th July 

Bed Rest is certainly a standout indie horror due to come out this year. The script is an original story, the cast is more than promising, and the plot is beyond intriguing. Bed Rest comes from writer and director Lori Evans Taylor, who has written the latest upcoming instalment of the Final Destination franchise. Bed Rest will follow Julie Rivers (Melissa Barrera), an expecting mother who moves into a new home with her husband to get a fresh start. Soon after she is ordered to bed rest, causing her to become frustrated through the monotonous routines of her now day-to-day life. However, boredom will be the least of her troubles as she begins to experience ghostly events within her home, leaving her to question her own sanity and safety. Amongst a year crowded with reboots, remakes, and revivals, Bed Rest will certainly be a rejuvenating injection for the genre. 

Hellraiser (Directed by David Bruckner) 

Release date: TBC

The Hellraiser franchise has long garnered massive amounts of praise ever since Clive Barker’s intense visions was adapted for screen in 1987, encouraging an embrace for darker horror with taboo themes. Continuing the ever expanding Hellraiser universe is David Bruckner’s reboot, which will closely adhere to the original source material from Barker, The Hellbound Heart (1986). The news of this installment has been floating around for years now, with constant back and forths and creative disagreements causing the project to fall through. However, with the likes of David Gordon Green’s Halloween (2018) blossoming in popularity and generating an interest in horror classics, Hellraiser finally got the green light. 

Horror reimaginings over the years have adapted and remolded their iconic villains, and now the infamous Pinhead, leader of the mighty Cenobites, will be played by the incredibly talented Jamie Clayton, the series first female Pinhead.

The Black Phone (Directed by Scott Derickson) 

Release date: 24th June 

Blumhouse Productions is set for another very successful year, particularly in ode to Scott Derrickson’s The Black Phone amassing a lot of buzz. The film is an adaptation of the 2004 short story from Joe Hill, that will take the viewer on a journey back in time to the 1970s where a string of abductions are plaguing a small suburban town in Colorado. Mason Thames will star as Finney Shaw, a young boy who gets kidnapped by a spiteful serial killer, resulting in him being trapped inside a completely soundproof basement. It seems that all hope of discovery is gone, but Finney discovers a disconnected phone that has the ability to feedback voices of the killer’s previous victims. Ethan Hawke makes his return back to horror through playing ‘The Grabber’, the sinister man responsible for the disappearances. As seen in the trailer, The Black Phone has something for everyone, whether it’s a creepy mask, haunted basements, a dash of psychological horror, or a vicious fight for survival. 

Bones & All (Directed by Luca Guadagnino) 

Release date: TBC 

Bones & All is one of the most promising films to be released later this year across every single genre. The film stars Timothèe Chalamet and Taylor Russell, accompanied by Luca Guadagnino as director. Bones & All is based on Camille DeAngelis’s novel of the same name. Throughout the book, copious themes surrounding loneliness and angst, all encased within a dramatic, romanticized frame are explored. Although these elements are already weighty subject matters, what Bones & All exposes above all is the relationship between cannibalism and self discovery, as we follow Maren (Russell) and Lee (Chalamet) whilst on a treacherous road trip across America where a craving for flesh lays bare more than they can handle. 

With Guadagnino behind the camera, the film is sure to join previous masterpieces exploring such hypersensitive material, such as Ravenous (1999) Trouble Every Day (2001), and Raw (2016). 

Halloween Ends (Directed by David Gordon Green) 

Release date: 14th October 

Halloween has not only sparked an interest for horror amongst younger audiences, but it has also generated a more than pleasant reception for die hard Michael Myers fans. The final instalment within this reboot trilogy is set to be released this October, meaning that it’s not long until we get to see the conclusion of this riveting battle between Haddonfield residents and ‘The Shape’. Direct plot details surrounding Halloween Ends have been kept extremely hushed, and considering how merciless Halloween Kills (2021) was, anything can happen next. What we do know is that in the film (unlike the previous two) the events will not take place on the same night, instead there will be a time leap of four years where issues surrounding the pandemic will be covered. Although this decision of focusing on incorporating a sense of grounded reality is beyond a risk, hopefully David Gordon Green will pull it off. 

Something in the Dirt (Directed by Justin Benson and Aaron Moorhead)

Release date: TBC 

Justin Benson and Aaron Moorhead have collaborated many times before to create some truly amazing cinema, particularly Spring (2014) and The Endless (2017). Once again they are expected to deliver yet another visually impactful and emotionally rich film in their latest project Something in the Dirt. The ominously named film acquires the acting talents of Benson and Moorhead as they play the characters of neighbours John and Levi who witness supernatural occurrences in their apartment complex. Upon realising that their ghostly haunts could earn them some serious internet wealth and fame they begin to document the events, only to voyage down a much darker rabbit hole. The duo have proven in previous works that they have a natural talent for showcasing complex relationships with the self, all the while forgoing cliches and predictability. 

Texas Chainsaw Massacre (Directed by David Blue Garcia)

Release date: 18th February 

Back in the early 1970s Tobe Hooper was an assistant film director at university doing documentary work on the side, hoping for a shot at cinematic success. Little did anyone know that he would become one of the biggest horror icons in filmic history all thanks to The Texas Chainsaw Massacre (1974). The franchise has spawned a further eight films with the latter being released in February this year. This take revolves around Melody (Sarah Yarkin), her sister Lila (Elsie Fisher), and their friends Ruth (Nell Hudson) and Dante (Jacob Latimore), as they travel to rural Texas to set up a new business venture. But, the harmony doesn’t last for long as they land in Sawyer’s territory, encountering Leatherface himself. Their only chance of survival comes from the return of Sally Hardesty (Olwen Fouéré), who’s been waiting for a chance at vengeance all along. David Blue Garcia serves as director, whilst Fede Álvarez and Rodo Sayagues wrote the original story. Texas Chainsaw Massacre will be a direct sequel to the original, discounting all of its predecessors. There have already been multiple attempts at resetting the series, yet not all tries have been well received, Texas Chainsaw 3D (2013) only holds a mere 19% rating on Rotten Tomatoes. Fingers crossed Garcia’s talents will ensure that this anticipated sequel will be a triumph. 

Fresh (Directed by Mimi Cave) 

Release date: 20th January 

Mimi Cave’s feature film debut titled Fresh delves into the tribulations that innately infest the dating scene for women in the modern age. Daisy Edgar-Jones will play Noa, a singleton tired of scrolling on dating apps. On a whim, she goes on a date with the shy charmer Steve (Sebastian Stan). From the first date, their chemistry is fiery, leading to Noa becoming smitten, seeing a potential partner to settle down with, but an impromptu weekend away with prince charming unveils his unusual “appetite’’.The coverage surrounding Fresh has been sparse, but if that electrifying synopsis is anything to go by, then we’re definitely in for a treat. 

All of Us Are Dead (Directed by Lee Jae-kyoo and Kim Nam-su)

Release date: 28th January 

All of Us Are Dead surrounds itself with one of the most famed movie monsters of all time- ZOMBIES! The undead (as gruesome as they are) always makes for great entertainment material, with old-time classics such as Night of the Living Dead (1968) to modern staples including Shaun of the Dead (2004) being considered as two of the best horror movies out there. To add to the ever expanding sub-genre is the highly anticipated South Korean TV series, All Of Us Are Dead which will follow a group of students trapped in their high school whilst a savage zombie apocalypse roars throughout society. The series is based upon the popular Naver webtoon titled Now at Our School created by Joo Dong-geun. 

Archive 81 (Directed by Rebecca Thomas) 

Release date: 14th January

Colliding a daring blend of truth and fiction is Archive 81, a convoluted series combining found footage, cult activity, cold cases, and demonic activity, The series is co-produced by the one and only James Wan, the force behind the Insidious franchise, the Conjuring Universe, and most recently the opinion dividing Malignant (2021). Archive 81 will take us on a menacing journey with Dan Turner (Mamoudou Athie), an archivist who is employed to restore a horde of damaged videotapes dating back to 1994. On the tapes is the work from documentarian Melody Pendras (Dina Shihabi), who went missing under suspicious circumstances 25 years ago after investigating a shady cult. Archive 81 is a semi-original piece, with the inspiration coming from a real-life, found footage podcast of the same name that explores the fictionalised mystery of cults and rituals. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

Curiosity Corner News


It goes without saying that we’re huge fans of Fangoria here at Dead Northern. So here’s the low down on the January 2022 issue!

  • FANGORIA’s January cover features the new SCREAM! 
  • Our cover story is a conversation between Radio Silence (Tyler Gillett, Matt Bettinelli-Olpin, and Chad Villella, the filmmaking team behind the new film), and franchise creator Kevin Williamson.
  • This issue will also look back at the entire history of the franchise (and just to earn that cheeky cover, we’ll include an article about the not-quite-real Stab film series).
  • This cover is going to SUBSCRIBERS ONLY. Our newsstand cover will be different! 
  • Folks must subscribe by December 19th to get the exclusive Scream cover. They can use the code STAB5 to get 25% off a new subscription.

Get your subscription to Fangoria here

More info about Fangoria Vol 2 #14

Other articles in this issue include a conversation between Scott Derrickson, C. Robert Cargill and Joe Hill on THE BLACK PHONE, a set visit from THE LAST THING MARY SAW, an interview with Lucky McKee on the 20th anniversary of MAY, a retrospective piece on the 100TH ANNIVERSARY of NOSFERATU, and a candid chat with the lovely and talented Devon Sawa (CHUCKY), covering his journey through the genre. Issue 14 also contains a round-up of the best deaths of the year, and the list of nominees for next year’s Chainsaw Awards. The issue also features new original art by Vanessa McKee and Spicy Donut (Devin Lawson). 

Again: this SCREAM/STAB 5 cover is a subscriber exclusive, which means you can only get the issue by subscribing to the mag for a year. Our newsstand cover will feature an entirely different image, as is our custom since issue 11. Considering our last subscriber cover (from only one month ago) is now selling on eBay for over $200, and considering SCREAM is the most eagerly anticipated franchise jump-start on the horror landscape, you might want to subscribe before December 19th to make sure you get this exclusive cover.

In case you missed it, you can get your subscription to Fangoria here


This week in horror: 15.08.21

Host director Rob Savage unveils details about new film with Blumhouse Productions

Host was certainly the most talked about film of last year, with its soaring reputation going down in horror history. Rob Savage’s feature debut soon gained buzz amongst major production companies, particularly Blumhouse Productions. When news broke last year that Savage had set up a three film deal with Blumhouse everyone was more than excited to learn more about this upcoming hit, especially since he joins forces yet again with Host writer’s Gemma Hurley and Jed Shepherd!

Although the details have been kept very much underwraps, it has been revealed that the title of his second feature is Dashcam. Based on the sneak preview image, Dashcam is presumably conveyed as vehicle dashcam footage. The innovative filming technique is very similar to the desktop method used in Host, but this isn’t where the similarities stop as Dashcam is kept short and sweet with the length only totalling 77 minutes. 

Dashcam is set to premiere at the Toronto International Film Festival this year. 

Head Count’s Elle Callahan brings us ‘Witch Hunt’’ 

Head Count was one of the most surprising horror’s to come out of 2018. The looming atmosphere coupled with impeccable performances, and tense thrills quickly gained buzz within the horror community. Now, the mind behind Head Count, Elle Callahan delivers another soon to be success ominously titled ‘Witch Hunt’. The film follows Claire (Gideon Adlon), and her family who help fleeing women across the border to seek asylum in Mexico.

However their operation meets a bitter halt when they are stopped by witch hunters. The reviews have definitely aired on the positive side with Callahan cementing a strong reputation as a young horror auteur. Audiences can now get a taste of the action as Witch Hunt will be released via video-on-demand on the 1st October, in perfect time for those Halloween movie marathons. 

The latest ‘Scream’ earns itself an R-rating 

Scream 5 has been the talk of the horror scene ever since its production began in early 2020. The return of Ghostface is getting closer and closer as it is scheduled for release in early January 2022, however, the question lingering on everyone’s minds has surrounded whether or not Scream 5 will carry on the series reputation of getting an R rating? Our questions have finally been answered as Scream producer Chad Villella has revealed that the fifth installment will be as gory as it gets. 

Filming on Chucky wraps

Everyone’s favorite maniacal doll Chucky will be back later this Halloween as the upcoming Child’s Play TV series ‘Chucky’ has finished filming. The series will go back to the earlier days of the franchise as Jennifer Tilly reprises her role as Tiffany, Chucky’s devilishly dark companion. Whilst the return to what made Chucky so iconic has been welcomed by fans, the show will also dive into uncharted territory as the episodes will take a focus on Chucky’s unexplored backstory. 

Chucky will premiere on October 12th on SYFY.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.


This week in horror: 07.08.21

10/31: Part II hits VOD this August 

Anthology horror 10/31 quickly became a fan favourite after its 2017 release, so much so that 10/31: Part II will be coming to video-on-demand this August. Staying true to its predecessor, Part II’s segments will be directed by indie filmmakers including Brett DeJager, Max Groah, John Hale III, Zane Hershberger, Robert Lanphere, Jennifer Nangle, Tory van Buskirk, and Stephen Wolf. Part II is said to be even more explorative as we are treated to a varied mix of short films which range from possessed nuns and serial killers to vampires and hatchet wielding maniacs. Enveloping the segments is a wrap-around story told by an Elvira-like host called Malvolia: Queen of Screams. 

10/31: Part II premieres on VOD on August 13th. 

Trick or Treat Studios releases House of 1000 Corpses figures 

Trick or Treat Studios are known for their masks, film props, costumes, and figures, now adding to their boastful collection is four new figures based on Otis Driftwood, Baby Firefly, The Professor, and Doctor Satan all from Rob Zombie’s House of 1000 Corpses (2003). The figures stand at 5” tall and will feature individual accessories appropriate to each character. Baby Firefly dons her iconic silver dress, whilst Doctor Satan wears his blood stained surgical apron with his oxygen mask. The figures will be joining Trick or Treat’s Captain Spaulding figure whose release was announced back in may. 

The Shining TV show halts development as HBO Max cancels its release

Back in 2019 it was reported that production company Bad Robot would be producing Overlook, a TV series based on Stephen King’s The Shining. Overlook would focus on the hotel itself and its undiscovered history. Dustin Thomason (Castle Rock) and Scott Brown took on the role of writers of the show which would have focused on the untold stories of The Overlook’s lingering ghosts. However, although Stephen King’s novels are taking over the horror genre HBO Max has cancelled the show, completely halting its development. Rumours have speculated as to why, but sources have revealed that the cancellation is due to a matter of timing. But all hope is not completely lost as Overlook is still looking for streamers…

Night of the Animated Dead announces cast, release date, and cover artwork 

Night of the Animated Dead follows siblings Barbara and Johnny as they take a trip to visit their fathers grave in Pennsylvania. However, the graveyard doesn’t stay quiet for long as they are attacked by zombies. Barbara manges to escape and hides out in an abandoned farmhouse with a group of survivors and a lost motorist. Over the course of the night the group have to battle their own prejudices whilst tackling the undead.

The animated retelling of George A. Romero’s 1968 classic has been highly anticipated ever since its initial announcement, now zombie fans only have to wait until 21st September to get their hands on this soon to be hit. Starring is Josh Duhamel (Jupiter’s Legacy), Katharine Isabelle (Ginger Snaps), Dulé Hill (Psych), James Roday Rodriguez (A Million Little Things), Katee Sackhoff (Riddick), Jimmi Simpson (Westworld), and Nancy Travis (Last Man Standing). Although the animated take will visually differ from the original, plenty of suspenseful action is still guaranteed as the poster illustrates the survivors running from ghastly looking zombies. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.


This week in horror – 01.08.21

Jordan Peele announces his latest project

Since the successful releases of Get Out (2017) and Us (2019) everyone has been waiting to see what Jordan Peele will come up with next, that long wait is now finally over as Peele has announced his latest project simply titled Nope. The details surrounding the secretive Nope have been kept very hushed, as we only know the cast and the release date.

Nope reunites Daniel Kaluuya (Get Out) with Peele, alongside Keke Palmer (Hustlers), Steven Yeun (The Walking Dead), Barbie Ferreira (Euphoria), Brandon Perea (The OA), and Michael Wincott (The Crow). The plot for Nope has already been heavily debated as the mystifying poster reveals a stormy blue sky casting over a mountain setting, with a large cloud floating above dangling a kite string. The muddled setting hints at a sci-fi horror, but then the landscape hooks onto folk horror vibes… 

Nope is set for release on July 22nd 2022. 

I Know What You Did Last Summer TV series gets a release date

An exciting new slasher TV series is headed to Amazon Prime Video this October based on Kevin Williamson and Jim Gillespie’s 1997 teen horror I Know What You Did Last Summer. The plot is identical to its original material as we follow a group of teenagers who are stalked by a mysterious killer after they committed a fatal act on the night of their graduation a year prior. The TV series will be directed by horror legend James Wan, with Sara Goodman signing on as the writer. The modern spin on this 1990s classic will star Madison Iseman (Annabelle Comes Home), Brianne Tju (47 Meters Down: Uncaged), Ezekeil Goodman, Ashley Moore, Fiona Rene, and Sebastian Amoruso. 

Filming has wrapped on Paranormal Activity 7 

Paranormal Activity is possibly one of the most widely known found footage franchises, with the first film gaining its entire budget back within a week of its release. It has been six years since the last Paranormal Activity film, which was not necessarily met with much acclaim as the success of each film dwindled as the series went on. But, the upcoming seventh film is set to have a wide release via Paramount+, forgoing the typical theatrical release. William Eubank (Underwater) directs the new paranormal horror, with Christopher Landon (Happy Death Day) writing the script. The new film will tackle some new and innovative themes as producer Jason Blum aims to refresh the series for a younger generation. Paranormal Activity 7 is set for release on March 22nd 2022. 

The Exorcist trilogy is happening 

Rumours regarding a reboot of William Friedkin’s The Exorcist (1973) had been circling the horror scene for a while, but the question on everyone’s lips was finally answered earlier this month when it was revealed that David Gordon Green (Halloween ‘2018’) would be revisioning the genre defining classic. Now, it has been revealed that not only will we be getting a modern retake on The Exorcist, but a full trilogy!

Ellen Burstyn who played Chris MacNeil will be returning to her role, alongside The Exorcist ‘newbie’ Leslie Odom Jr. who will be playing a distressed father who seeks the help of MacNeil in healing his possessed child. The Exorcist trilogy has only just entered the earliest stage of production, so an expected release date is hard to predict, but with Gordon Green’s final Halloween installment reaching cinemas in 2022, it can be predicted that The Exorcist reboot will be premiered in 2023. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.


This week in horror – 24.07.21

First Look: James Wan’s Malignant 

James Wan has certainly built up a stellar reputation within genre cinema, with titles such as Saw (2004) and The Conjuring (2013) being created under his name. Wan’s latest venture is Malignant, which follows Madison, who is constantly terrorised by terrifying visions of ghastly murders, but when she unearths a sinister secret it is revealed that these dreams are in fact realities.

The trailer released just this week hints at a looming intense thrill focusing on developing a close character study whilst ensuring plenty of scares are had. Malignant has been described as a supernatural slasher, which is certainly a bold take. Audiences will be able to make up their own minds on this new exciting descent into madness when it hits cinemas in September 2021. 

Ari Aster to direct new A24 horror 

Ari Aster has been a hot topic within the last couple of years as both Hereditary (2018) and Midsommar (2019) exceeded expectations. Earlier this year it was revealed that Aster would be directing Disappointment Boulevard, a heavy drama following the story of an entrepreneur. There was definitely a mixed reception over his next voyage drifting away from horror, but now it has been revealed that he hasn’t abandoned the genre just yet as he joins forces with the aesthetically beloved A24 to direct another unsettling film. However, unlike his other films, he will not be penning the script, instead, Pulitzer Prize winner Michael R. Jackson will be writing this untitled project. Little detail has been released as the production is at the earliest stage possible, but be sure to check back here in the future for further information. 

Julia Ducournau receives the Palme d’Or at Cannes Film Festival for new body horror ‘Titane’ 

Julia Ducournau is the first solo woman to win the most prestigious award at Cannes Film Festival. It’s not the first time the French director has turned heads as her 2016 film Raw received great acclaim. Winning her the award is Titane, a disturbing body horror that centers on Alexia (Agathe Rousselle), who has a metal plate installed in her head after a tragic car accident when she was younger, but her true story lies within her sexual desires for automotive vehicles. Titane is beyond transgressive as it has been likened to Cronenberg’s early filmography through its courageous and zealous exploration into the human psyche. The eccentrically driven film will be available theatrically and via VOD later this year. 

The Final Girl Support Group TV series to be directed by Andy Muschietti 

Grady Hendrix’s novel The Final Girl Support Group was only published this month, but already HBO has picked the novel up to be adapted into a TV series. The project already has It (2017) director Andy Muschietti tied to direct the pilot, with his production company ‘Double Dream’ also co-producing the show alongside Charlize Theron.

The Final Girl Support Group is sure to please horror audiences as it takes on one of the genres most quintessential topics, the final girl. The novel follows a group of women who meet up in their support group to discuss the horror movie-like events that they have miraculously survived through, but when one of them doesn’t show up they suspect that something sinister must be at play. 

Waxwork records unveil exclusive Fear Street soundtrack vinyls 

Waxwork Records are known for their specialisation of cult and genre cinema soundtrack releases. To add to their repertoire is the Fear Street trilogy soundtrack featuring the score composed for all three films. The vinyl’s embody the film’s neon-lit aesthetic, with bright pink, green, and blue covering the exterior.

Also included in the release are liner notes by Leigh Janiak, the writer and director of Fear Street, as well as new and exciting artwork by the very talented Sam Gilbey, who has clearly been inspired by the iconic 1990s covers of R.L. Stine’s original Fear Street novels in which the trilogy is based on. The vinyl package is available to pre-order right now at


This week in horror – 10.07.21

First look: New images released from the Slumber Party Massacre remake 

Slumber Party Massacre is one of horror’s lesser-known trilogies, with its reputation still living on mainly via its cult status. Earlier last year news began to circulate about this slasher gem being remade, and it was not long until these rumours were confirmed as Shout! Studios announced that an official remake was in the works.

Recreating the sleepover based slasher is Danishka Esterhazy, known for The Banana Splits Movie (2019). Joining Esterhazy is writer Suzanne Keilly, who has written an episode of Ash vs. Evil Dead, and the screenplay for Leprechaun Returns (2018). The remake acts similarly to the original having been directed and written by women (Amy Holden Jones and Rita Mae Brown), but this is not the only essence remaining true to the original 1982 classic, as it has been revealed that the new slasher will follow a contemporary perspective, whilst still gorging in all the gruesome twists and turns. 

Scream Factory releases the Halloween movies on 4K Ultra HD 

Scream Factory is known for their ambitious and creative physical media releases, especially their exciting limited edition runs of horror favourites. Just this week it was revealed that the Halloween franchise would be joining the Scream Factory’s calibre as they release the first five Halloween films on 4K Ultra HD. The exclusive cover work hones in on Michael Myers terrifying look, accompanied with the autumnal iconography that makes Haddonfield’s on-screen appearances so timeless. Each film release comes with an array of extra features, including a 4K scan from the original negatives, audio commentary from Jamie Lee Curtis & John Carpenter, theatrical trailers, tv spot & radio spot footage, deleted scenes, alternative endings, additional commentary from Rick Rosenthal, behind the scenes action featuring location tours, and a brand new accompanying Dolby Atmos Track. 

Halloween 1-5 will be released on the 28th September 2021. 

Lovecraft Country has been disappointedly cancelled 

Lovecraft Country was an amalgamation of lovecraftian horror and mysterious drama, with craftful performances and innovative writing seeping throughout every episode. However, it seems that this was not enough to keep Lovecraft Country on air as HBO will no longer continue its development. After the commendable first series a second was already in the midst, titled Lovecraft Country: Supremacy, which would have delved deep into a fictionalised America where the country would evolve into a segregated sovereign state. There has been no news as to whether any streaming sites, including Netflix have picked it up for further continuation. 

 George A. Romero’s abandoned Goosebumps script has been archived

It is undeniable that George A. Romero’s legacy has continued long after his passing, with his previously unreleased film The Amusement Park only receiving a release this year. The presence of Romero’s continuing work has only been furthered as the University of Pittsburgh Library System’s Horror Studies group has unearthed an undeveloped script based on R.L. Stine’s Goosebumps novels. Of course, the material that Romero would use as an adaptation source was the zombie-based book Welcome to the Dead House (1992), which focuses on siblings Amanda and Josh Benson as they move into an old eerie house situated in the creepy town of Dark Falls. Romero closely followed R.L. Stine’s work rather than run with the basic outline, but in his archetypal style, he transgressed vital plot elements further, including the essences of hierarchy within work-towns, where townspeople’s independence withers to corporate superiority. 

More details can be found at the University of Pittsburgh Library System’s Horror Studies website:

Youtuber and film critic Chris Stuckmann set to direct upcoming horror ‘Shelby Oaks’

Chris Stuckmann is a pillar in the online horror community with his honest and entertaining reviews and film commentary captivating audiences, and amassing nearly 2 million YouTube subscribers. Stuckmann has recently made a deal with production company Gotham Group to develop a handful of horror scripts. His first project under them will be Shelby Oaks, which is based in the early 2000s and follows a missing group of ghost hunters named The Paranormal Paranoids. Aaron B. Koontz (The Pale Door) will be producing alongside Ashleigh Snead (Scare Package), and Cameron Burns (Camera Obscura). Shelby Oaks is quickly gaining traction as although filming has not yet begun, a viral marketing strategy has already started creating hype. A series of ‘found footage’ clips are being slowly released showing The Paranormal Paranoids in a mission gone wrong.

Production begins in late 2021. 

Scream 5
has wrapped production 

It seems that nearly everybody has been eagerly waiting for the new Scream movie release, now we’re one step further as director’s Matt Bettinelli-Olpin and Tyler Gillett have announced that production has finally finished after months of filming via an Instagram post showing Scream 5’s title screen card in an ultra flash editing suite. Although the stages of release are nearing we still have a little bit more to wait as the theatrical release date is scheduled for January 22nd 2022. The film will follow the franchise’s typical structure, with Scream 5 following on from its predecessor (Scream 4, 2011).

This weeks article comes via Grace from Film Overload, you can check out more of her work here.


This week in horror – 04.06.21

Norman Nordstrom is back in the latest Don’t Breathe 2 trailer 

The Blind Man Returns in First Trailer for 'Don't Breathe 2' Tomorrow! -  Bloody Disgusting

It seems like forever ago when it was revealed that Fede Álvarez’s 2016 home invasion horror Don’t Breathe would be getting a sequel. However, the long wait was worth it as Dont Breathe 2 will finally be released in August. Following the announcement of the release date was the highly anticipated trailer which dropped just this week. The trailer does reveal a hefty portion of the film, with a running time of nearly three minutes, but what the clips most excitedly show is the change of character. Norman Nordstrom (Stephen Lang), who mercilessly protected his property and the secrets that lie within it in the predecessor seems to now be the victim, as we see him fight in vengeance over intruders attempting to abduct his adopted daughter, Phoenix (Madelyn Grace). 

Dont Breathe 2 will be released on the 13th August 2021. 

The Exorcist remake is officially happening 

Director Freidkin deleted the famous 'spider walk' scene from THE EXORCIST  - DarkmoonDarkmoon

It can be accurately said that The Exorcist is possibly one of the most universally well known horror films ever. Since it’s 1973 release The Exorcist’s reputation has only grown into worldwide success. Now, it has been officially revealed that Blumhouse Productions will be bravely producing this fan favorite. Blumhouse has made an effort to gain over the very negative presence that has stuck with the news of William Friedkin work being regenerated by enlisting David Gordon Green as the director, who successfully tackled Halloween (2018), and the upcoming Halloween Kills. So far The Exorcist has spawned four sequels, but Blumhouse’s upcoming project will abandon any continuation from the sequels, with the new film only following directly from the original. 

Werewolves Within adaption from Josh Ruben opens with beaming reviews 

Werewolves Within': How Josh Ruben Accidentally Made a Great Video-Game  Movie | Vanity Fair

Josh Ruben released the delightfully frightful Scare Me early last year, which gained immediate praise from fans and critics alike. Soon after it was revealed that Ruben would be directing Werewolves Within, an adaption of the 2016 video game of the same name. The premise follows Finn (Sam Richardson) and Cecily (Milana Vayntrub) as they attempt to restore harmony and unmask the secret behind a mysterious being that has started to terrorize the small town of Beaverfield. Michael Chernus, Michaela Watkins, Cheyenne Jackson, George Basil, Sarah Burns, Catherine Curtin, Wayne Duvall, Harvey Guilen, Rebecca Henderson also feature in the film. Similarly to Ruben’s preceding film Scare Me, Werewolves Within is an exciting combination of classic scares and hilarious comedy which only certain talents can achieve so well. So it’s of no surprise that the film has received such attention already. 

Werwolves Within is released via VOD on July 2nd 2021. 

Iconiq Studios unveils new American Psycho figure 

American Psycho – 1/6 Scale Patrick Bateman Collectible Figure | Iconiq  Studios

American Psycho’s Patrick Bateman has become a horror household name, as his eccentric and delirious persona has certainly left its mark across cinema. Iconiq Studios has officially released a marvelously detailed figure of Bateman, including various accessories and alternative pieces. The ultra exciting figure is brimming with precise detail including that terrifying menacing grin that Bateman wears so well. The release comes standard with the infamous pinstripe suit, but for variation includes a full length blazer coat, briefcase, headphone set (for all of his Huey Lewis and the News listening), three extra pairs of hands, knife, phone, watch, nail gun, axe, blood splatter piece, two business cards, and most importantly that clear raincoat.


This week in horror – 27.06.21

Full Candyman trailer is finally unleashed

Candyman has been the word on everyone’s lips since it’s teaser trailer release late last year, and now that buzz has only heightened with the brand new trailer released earlier this week showing Nia DaCosta’s take on revamping the iconic Candyman franchise. The Jordan Peele produced film brings Candyman back to where it all started with Tony Todd returning to his iconic role, but as the trailer reveals, this reboot will be far from anything we’ve already seen as it’s more of a spiritual sequel than a direct continuation. Scenes of inner turmoil, forgotten communities, and frightful legends all make an appearance, with the brief clips revealing a new Candyman with a strong message taking the forefront on societal constructions.

Universal Pictures releases Candyman on the 27th August. 

V/H/S/94 set for a late summer release on Shudder

News recently broke of a fourth installment in the V/H/S saga. V/H/S/94 is the upcoming horror showcasing exciting talent within the genre, with the anthology essence creating something for everyone. The ‘94’ essence is a direct nod to the year that handheld cameras came about, which means that we’ll probably be in for a nostalgic ride into horrors most absurd short films. V/H/S/94 will be curated in the franchises typical anthology method, with the segments being directed by Ryan Prows, Chloe Okuno, and Jennifer Reeder. It has not been disclosed whether this list will continue, but we do know that it won’t be long until we find out as the official premiere will be held on Shudder late this summer. 

Filming is wrapped on Mainframe Pictures latest horror ‘She Came from the Woods’

It has been revealed that Ten Minutes to Midnight creators Erik and Carson Bloomquist will be adapting their 2017 short film ‘She Came from the Woods’ into a feature film. The film focuses upon a group of camp staff members conjuring an old legend on the final day of camp in 1987. Already the film has an impressive lineup, with Adam Weppler who starred in Ten Minutes to Midnight reuniting with Bloomquist, alongside Cara Buono (Stranger Things), Clare Foley (Gotham), Spencer List (The Miseducation of Cameron Post), Ehad Berisha (Billions), Juliana Davis (The Post), and William Sadler (The Shawshank Redemption). Mainframe Pictures (founded by the Bloomquist brothers) has announced that production has just wrapped, with post production stages commencing shortly. 

Halloween Kills is one step closer to its release with the new trailer dropping this week

When it was announced years ago that David Gordon Green would be delivering the eleventh movie in the Halloween franchise, fans of the classic horror were not overly happy with yet another entry, however once Halloween (2018) was released the consensus changed entirely as the series went back to its roots for the first time since the early 1980s. So it’s safe to say that the long awaited Halloween Kills is one of this year’s most anticipated films.

After continued delays due to restrictions, the full trailer has finally been released. Although Michael Myers was left burning in Laurie’s trapped basement, the trailer shows Myers rising from the flames to go on yet another murderous rampage. The official release date is the 15th October, perfect timing for All Hallows’ Eve. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.