- Published on
For those of you who missed it, the traditional slasher variety of Horror films experienced a significant narrative upgrade in the 1990’s.
The tried-and-true formula basically dumping a bunch of rowdy and sexually-active teens in an isolated environment and watching as they vanished one-by-one at the hands (or knifepoint) of some masked villain just wasn’t ‘bringing home the bacon’ for studios any longer. Even cornerstone franchises such as Friday The 13th and Nightmare On Elm Street were showing signs of audience fatigue, mostly because the consumer knew what was coming and they weren’t all that interested in revisiting so much of what they’d already been scared silly over. While intelligent and more adult-themed psychological Horror continued to rack up ticket sales, the plight of the great American young person just wasn’t all that interesting … and that’s where writer Kevin Williamson entered the chat.
Williamson’s script for 1996’s impressive Scream cleverly incorporated all of the old establishment tropes – the obvious setting of an impending murder, the predictable victims just passing time until their onscreen deaths, etc. – but twisted up the presentation by essentially having all of players aware of their dire circumstances. Rather than stop at presenting the cast as victims in wait, Williamson and director Wes Craven opted to make them overly aware in an almost meta sense that not only were they participating in a Horror construct but also there were things they could do that would intrinsically increase their chances for survival. It became a means with which to both comment subversively on their predicament while also saying something about Horror as a genre; and this new additive has been credited with reinvigorating the slasher film at a time when it had fallen to the theatrical wayside.
Almost three decades later, late writer/director Jeffrey Primm – along with co-writer Dominic Arcelin – thought the marketplace ripe for a theatrical homage: 213 Bones – a chiller set in a college town where the signature killer likes leaving bones as a calling card to announce his or her presence – is the result. But is it a cut above? It’s a question that’s never an easy answer, especially when one’s dealing with the core problems of being an homage. Too little of a good thing won’t do the trick, and too much might risk becoming a parody of what worked so well back when meta and Horror first merged.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“College students are brutally murdered by a gruesomely masked attacker. It is left to Sherriff Bracco, Laurie the County Coroner and their teacher, Kelly, to find out who the real bone crunching murderer is.”
Generally speaking, I’m no fan of homages.
While my list of arguments against them would be exhaustive for a single review, I usually boil it all down to a single metric: most homages don’t stand up well entirely on their own. By design, they require a certain degree of foreknowledge on the part of the viewer, a foundation that makes enjoyment almost entirely necessary to be ‘in’ on what the magic is. As such, they’re risk propositions, especially for young and/or untested storytellers; and they might be avoided unless one’s willing to rest a reputation on the shoulders of those who’ve spun yarns before.
Now, to his credit, director Primm strays just far enough away from those 90’s inspiration to give 213 Bones a bit of its own identity. He builds his modest killing spree around a somewhat formulaic central slayer – a predator in vividly dreadful mask – but he spends limited time in glorifying and/or exploiting the victims’ deaths to theatrical effect. In fact, the Ugly Face Stabber – I’m really not gifted at coming up with names, folks – really has no big, signature scene – Bones has a small body count with pretty tame slashings – and that does develop a greater sense of mystery if even only by omission. When we’re given so little to go on tactically, it’s incumbent that we keep watching, and Primm does make the affair watchable.
However, problems arise from the fact that, equally, there’s really nothing all that inventive, novel, or interesting about the entirety of his cast of characters. Oh, they’re all reasonably photogenic much in the same way that those 90’s chillers made bank by casting known commodities in their various pursuits: led by a Tom Cruise looking Professor Kelly (played by Colin Egglesfield), the cadre of young and relatively irresponsible corpses-in-waiting look like fashion models each and every one, but they’re not given much beyond basic descriptions to differentiate one from another. Yes, there’s the rough kid – Clyde (Mason Kennerly) – who suitably acts like the token rebel, and yet we don’t get to see him engaging in much rebellious behavior to really justify the evident label. Same for the group hottie – Candice (Toni Weiss) – and the rich kid – Brent (Hunter Nance) – and the aspiring genius – Lisa (Luna Fujimoto). Why, there’s even a token mysterious old guy in the mix – Bob (Dean Cameron) – who looks the part and yet never quite seems written to be anything greater than the façade he represents.
Sadly, all of these notable faces – while they might be damn good actors and actresses – are given nothing to do than serve as one piece of a fairly bland and surprisingly bloodless adventure, one that feels like it could’ve, should’ve, and would’ve been little more than a knock-off had it rolled out of production not long after 1996’s Scream all those years ago. Void of any real flavor – i.e. the name recognition of the cast actually given some incisive dialogue and riveting scenes to align with their fictional identities – Bones feels like nothing more than … well … bones. No flesh. No skin. No substance. While everyone goes through the motions, there’s just no heart beating at the center of the mystery, and it’s this lost passion that will always make this homage less important than the film (or films) that defined a generation.
213 Bones (2025) was produced by Studio Dome and Northwest Package. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional across the flick’s 85-minute run-time: the cinematography is quite good, though it couldn’t used a bit more dynamism in a few spots to help ratchet up tension. (Thrillers of this type of usually overflowing with weird camera angles, but Bones is surprisingly reserved.) Lastly, if you’re looking for special features? As I viewed this one via streaming, there were none under consideration.
Alas, this one is only Modestly Recommended.
The problem with theatrical homages is that often times they’re not original enough to stand entirely on their own; and 213 Bones – while expertly assembled – lacks the necessary substance to be its own animal. Oh, yes, the cast is fine – a bit nondescript – and the premise is workable – a tad predictable (homages often are) – but it’s almost as if director Primm had all of the right ingredients and yet ignored the fact that sometimes it’s that little something extra – that special sauce, that ancient Chinese secret – which truly brings out the flavor. What remains is a noble effort, but it likely won’t take home the gold.
In the interests of fairness, I’m pleased to disclose that the fine folks at Studio Dome provided me with complimentary streaming access to 213 Bones (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
The tried-and-true formula basically dumping a bunch of rowdy and sexually-active teens in an isolated environment and watching as they vanished one-by-one at the hands (or knifepoint) of some masked villain just wasn’t ‘bringing home the bacon’ for studios any longer. Even cornerstone franchises such as Friday The 13th and Nightmare On Elm Street were showing signs of audience fatigue, mostly because the consumer knew what was coming and they weren’t all that interested in revisiting so much of what they’d already been scared silly over. While intelligent and more adult-themed psychological Horror continued to rack up ticket sales, the plight of the great American young person just wasn’t all that interesting … and that’s where writer Kevin Williamson entered the chat.
Williamson’s script for 1996’s impressive Scream cleverly incorporated all of the old establishment tropes – the obvious setting of an impending murder, the predictable victims just passing time until their onscreen deaths, etc. – but twisted up the presentation by essentially having all of players aware of their dire circumstances. Rather than stop at presenting the cast as victims in wait, Williamson and director Wes Craven opted to make them overly aware in an almost meta sense that not only were they participating in a Horror construct but also there were things they could do that would intrinsically increase their chances for survival. It became a means with which to both comment subversively on their predicament while also saying something about Horror as a genre; and this new additive has been credited with reinvigorating the slasher film at a time when it had fallen to the theatrical wayside.
Almost three decades later, late writer/director Jeffrey Primm – along with co-writer Dominic Arcelin – thought the marketplace ripe for a theatrical homage: 213 Bones – a chiller set in a college town where the signature killer likes leaving bones as a calling card to announce his or her presence – is the result. But is it a cut above? It’s a question that’s never an easy answer, especially when one’s dealing with the core problems of being an homage. Too little of a good thing won’t do the trick, and too much might risk becoming a parody of what worked so well back when meta and Horror first merged.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“College students are brutally murdered by a gruesomely masked attacker. It is left to Sherriff Bracco, Laurie the County Coroner and their teacher, Kelly, to find out who the real bone crunching murderer is.”
Generally speaking, I’m no fan of homages.
While my list of arguments against them would be exhaustive for a single review, I usually boil it all down to a single metric: most homages don’t stand up well entirely on their own. By design, they require a certain degree of foreknowledge on the part of the viewer, a foundation that makes enjoyment almost entirely necessary to be ‘in’ on what the magic is. As such, they’re risk propositions, especially for young and/or untested storytellers; and they might be avoided unless one’s willing to rest a reputation on the shoulders of those who’ve spun yarns before.
Now, to his credit, director Primm strays just far enough away from those 90’s inspiration to give 213 Bones a bit of its own identity. He builds his modest killing spree around a somewhat formulaic central slayer – a predator in vividly dreadful mask – but he spends limited time in glorifying and/or exploiting the victims’ deaths to theatrical effect. In fact, the Ugly Face Stabber – I’m really not gifted at coming up with names, folks – really has no big, signature scene – Bones has a small body count with pretty tame slashings – and that does develop a greater sense of mystery if even only by omission. When we’re given so little to go on tactically, it’s incumbent that we keep watching, and Primm does make the affair watchable.
However, problems arise from the fact that, equally, there’s really nothing all that inventive, novel, or interesting about the entirety of his cast of characters. Oh, they’re all reasonably photogenic much in the same way that those 90’s chillers made bank by casting known commodities in their various pursuits: led by a Tom Cruise looking Professor Kelly (played by Colin Egglesfield), the cadre of young and relatively irresponsible corpses-in-waiting look like fashion models each and every one, but they’re not given much beyond basic descriptions to differentiate one from another. Yes, there’s the rough kid – Clyde (Mason Kennerly) – who suitably acts like the token rebel, and yet we don’t get to see him engaging in much rebellious behavior to really justify the evident label. Same for the group hottie – Candice (Toni Weiss) – and the rich kid – Brent (Hunter Nance) – and the aspiring genius – Lisa (Luna Fujimoto). Why, there’s even a token mysterious old guy in the mix – Bob (Dean Cameron) – who looks the part and yet never quite seems written to be anything greater than the façade he represents.
Sadly, all of these notable faces – while they might be damn good actors and actresses – are given nothing to do than serve as one piece of a fairly bland and surprisingly bloodless adventure, one that feels like it could’ve, should’ve, and would’ve been little more than a knock-off had it rolled out of production not long after 1996’s Scream all those years ago. Void of any real flavor – i.e. the name recognition of the cast actually given some incisive dialogue and riveting scenes to align with their fictional identities – Bones feels like nothing more than … well … bones. No flesh. No skin. No substance. While everyone goes through the motions, there’s just no heart beating at the center of the mystery, and it’s this lost passion that will always make this homage less important than the film (or films) that defined a generation.
213 Bones (2025) was produced by Studio Dome and Northwest Package. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional across the flick’s 85-minute run-time: the cinematography is quite good, though it couldn’t used a bit more dynamism in a few spots to help ratchet up tension. (Thrillers of this type of usually overflowing with weird camera angles, but Bones is surprisingly reserved.) Lastly, if you’re looking for special features? As I viewed this one via streaming, there were none under consideration.
Alas, this one is only Modestly Recommended.
The problem with theatrical homages is that often times they’re not original enough to stand entirely on their own; and 213 Bones – while expertly assembled – lacks the necessary substance to be its own animal. Oh, yes, the cast is fine – a bit nondescript – and the premise is workable – a tad predictable (homages often are) – but it’s almost as if director Primm had all of the right ingredients and yet ignored the fact that sometimes it’s that little something extra – that special sauce, that ancient Chinese secret – which truly brings out the flavor. What remains is a noble effort, but it likely won’t take home the gold.
In the interests of fairness, I’m pleased to disclose that the fine folks at Studio Dome provided me with complimentary streaming access to 213 Bones (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
As a critic, I’ve suffered the greatest pushback from readers from not hating what feature productions they find inferior.
Besides staying true to my motto of “it’s different strokes for different folks,” I’ve always maintained that films are made for vastly different reasons and it helps to keep that in mind when sounding off on them. For example, A-list actors and actresses are notorious for crafting their very own vanity projects and flooding theaters with them near to every awards season, knowing full well that a majority of moviegoers will likely pass on seeing it because it smacks of an attention-grabbing vehicle and nothing else. Eventually, you or I may catch it on screens once the hype has died down; or – more often than not – we’ll wait for it to turn up on streaming or home video so that it isn’t so big an investment. Similarly, if you’re planning a Friday night get together with some friends, then it’s highly likely you’re going to set the mood with some visual spectacle that goes down easy, is everything but controversial, and might get the gang laughing. I often point out that back in the 1980’s and 1990’s these pictures were exactly the kind of thing that would get rented over and over and over from the corner video store: even if you’d seen it before, another viewing could be counted on to set your gathering out on the right foot. Think of it as ‘disposable entertainment.’
Media giant Charles Band and his companies of Empire Pictures and Full Moon Features specialize in exactly the style of output I’m talking about. Generally speaking, these are low-budget B-movies – oft times something one might categorize as a lean knock-off of something that’s been done before – that rarely (if ever) graces the silver screen and instead fondly stakes out the territory of the ‘direct-to-video’ product. Usually, they’re flavored with a bit of Horror, Comedy, and/or Science Fiction; and the effects work – while efficient – might not be the kind of thing that the Academy Of Motion Picture Arts And Sciences gives out their coveted golden statues to. Band’s flicks might be a bit quirky, and a good handful of them have achieved modest Cult status; and yet his is a name only those of us who truly, truly, truly appreciate the full variety of what’s possible in all of filmdom recognize when we hear it.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Five young models go to an Airbnb in the woods for a full moon that comes once every five hundred years. What starts off as the perfect girl's trip quickly becomes a nightmare as a pack of ancient werewolves are awoken by the new moon.”
Over the years, I’ve cultivated a great deal of respects for films and filmmakers who know their worth.
This isn’t meant as a sleight in any way whatsoever. The point I make often when discovering smaller and quieter releases that often escape coverage elsewhere on the Information Superhighway is that stories that kinda/sorta know what they are and stay true to that path are few and far between. While everyone would love to be a part of some big budget production, the tireless work done in B-Movies, independent efforts, and beyond deserves equal praise when all of the I’s are dotted, T’s are crossed, and marks are hit. Such is the case with director Danny Draven’s latest, Models Vs. Werewolves. No, it’s not going to change the world, but it might definitely make its lean-and-mean 74-minutes worth living.
Nelly (played by Alexa Reddy) and her gal pals – all influencers and/or models – are longing for some quality decompression time and opt to escape to a rural AirBNB that has just enough creature comforts of home to make glamping endurable. Haley (Sarah Moliski), Nikki (Hannah Hueston), Tina (Sophie Swiszcz), and Eileen (Rebecca Stoughton) are all along for the ride; and each of the ladies brings along her own package – emotional or otherwise – which helps to define what role they play in the contemporary ensemble. While there may not be a lick of sense anywhere amongst the five, there is the shared desire to hang out, talk about boys, and have a good time.
But … as AirBNB’s go, this escape as managed by Judith Barnard Dixon (the great Dee Wallace in an oversized cameo-style part) does have one secret not listed on the brochure: apparently, there is a pack of werewolves that has been dining on wayward travelers to the area. As the weekend wears on, it becomes increasingly clear that their social media smarts or an unhealthy addiction to essential oils isn’t going to be enough to save all of them, so Models Vs Werewolves unspools as a somewhat low-budget interpretation of the Agatha Christie chiller ‘And Then There Were None’ but with vastly more bloodshed.
Screenwriters J.P. Talbot and Hugo Velazco capably set the stage for the Horror/Comedy to work as well as it does: while the construction could’ve used a bit more depth, they clearly knew what they wanted as a foundation and largely stayed true to the course. On the disc’s commentary track, director Draven admits that he allowed his actresses to engage in a fair amount of ad-libbing here and there; and I suspect a purveyor of as many films a year as I do might make give me the gift of pointing out a weak exchange here and there, ones that felt a bit too similar in style to what the ladies had already done (and said) before. That’s always a risk when letting the talent run loose; and yet there’s still some obvious unabashed glee to what a few of the women accomplish in their allotted screen time.
Additionally, Models Vs Werewolves has a surprising amount of CGI effects work, definitely much more than I’ve seen in other releases from Full Moon Features. Because there is a variety, there’s also a few bits which are demonstrably stronger than others; but Draven – who also handled the CGI output – manages to maintain some consistency from start to finish. Yes, some might argue that a few sequences are unusually gruesome, all of it still feels a bit over-the-top and cartoonish, so much so that I never felt the film was anywhere near slipping into a different thematic core wherein the Horror meant anything greater than did the Comedy. Balance matters, and I think the end result works as intended.
Though it’s mostly a forgettable affair (again, that’s not a complaint), the feature’s biggest downfall is that it doesn’t quite end so much as it wraps up some of the dangling plotlines. Audiences know in this kind of storytelling not every character is going to make it out alive; and, thankfully, most of the demises are handled with a bit of tongue-in-cheek humor. (Whoever thought viewers would ever see Dee Wallace boxing a lycanthrope – the same Dee Wallace who became a werewolf in The Howling – who forced her back up against a wall? Oh, the cinematic poetry!) Draven’s focus never shifts from keeping things moving, and I can’t help but wonder what an additional 10 minutes (or so) of content would’ve done for the finale. Leaving on a somewhat loose ‘punch line’ will never be as noble as typing everything up neatly in a bow; but that doesn’t always happen in the world of B-Movies as much for budgetary reasons as narrative.
Models Vs Werewolves (2026) was produced by ReelShort, Full Moon Empire, and Full Moon Features. DVD distribution (for this particular release) has been coordinated by the fine folks at Full Moon Features. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are pretty good throughout: as I said above, the CGI work is a bit silly (and unrealistically bloody) in a few spots, but it’s all meant to perhaps match the silliness of the acting. Lastly, if you’re looking for special features? Wow. I was impressed to find an introduction from Charles Band along with some behind-the-scenes stuff, the original trailer, the isolated music score, and a director’s commentary. It truly is a great package.
Modestly Recommended.
As I’ve often said, films should know their place; and the stewards who’ve been behind content for Full Moon Features for decades know exactly what I’m talking about. In that regard, there’s absolutely nothing wrong substantively with Models Vs. Werewolves (2026) – well, nothing a big budget makeover and some script doctoring couldn’t fix – and it succeeds entirely as a reasonably spiffy, passable bit of entertaining schlock at its running time of 74 minutes. No, it isn’t going to change the world, but this kind of fluff was never intended for such noble pursuits. It’ll help you pass the time with a gaggle of good-looking ladies, a few good laughs, and some adequate CGI … and there’s absolutely nothing wrong with that.
In the interests of fairness, I’m pleased to disclose that the fine folks at Full Moon Features provided me with a complimentary Blu-ray of Models Vs. Werewolves (2026) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Besides staying true to my motto of “it’s different strokes for different folks,” I’ve always maintained that films are made for vastly different reasons and it helps to keep that in mind when sounding off on them. For example, A-list actors and actresses are notorious for crafting their very own vanity projects and flooding theaters with them near to every awards season, knowing full well that a majority of moviegoers will likely pass on seeing it because it smacks of an attention-grabbing vehicle and nothing else. Eventually, you or I may catch it on screens once the hype has died down; or – more often than not – we’ll wait for it to turn up on streaming or home video so that it isn’t so big an investment. Similarly, if you’re planning a Friday night get together with some friends, then it’s highly likely you’re going to set the mood with some visual spectacle that goes down easy, is everything but controversial, and might get the gang laughing. I often point out that back in the 1980’s and 1990’s these pictures were exactly the kind of thing that would get rented over and over and over from the corner video store: even if you’d seen it before, another viewing could be counted on to set your gathering out on the right foot. Think of it as ‘disposable entertainment.’
Media giant Charles Band and his companies of Empire Pictures and Full Moon Features specialize in exactly the style of output I’m talking about. Generally speaking, these are low-budget B-movies – oft times something one might categorize as a lean knock-off of something that’s been done before – that rarely (if ever) graces the silver screen and instead fondly stakes out the territory of the ‘direct-to-video’ product. Usually, they’re flavored with a bit of Horror, Comedy, and/or Science Fiction; and the effects work – while efficient – might not be the kind of thing that the Academy Of Motion Picture Arts And Sciences gives out their coveted golden statues to. Band’s flicks might be a bit quirky, and a good handful of them have achieved modest Cult status; and yet his is a name only those of us who truly, truly, truly appreciate the full variety of what’s possible in all of filmdom recognize when we hear it.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Five young models go to an Airbnb in the woods for a full moon that comes once every five hundred years. What starts off as the perfect girl's trip quickly becomes a nightmare as a pack of ancient werewolves are awoken by the new moon.”
Over the years, I’ve cultivated a great deal of respects for films and filmmakers who know their worth.
This isn’t meant as a sleight in any way whatsoever. The point I make often when discovering smaller and quieter releases that often escape coverage elsewhere on the Information Superhighway is that stories that kinda/sorta know what they are and stay true to that path are few and far between. While everyone would love to be a part of some big budget production, the tireless work done in B-Movies, independent efforts, and beyond deserves equal praise when all of the I’s are dotted, T’s are crossed, and marks are hit. Such is the case with director Danny Draven’s latest, Models Vs. Werewolves. No, it’s not going to change the world, but it might definitely make its lean-and-mean 74-minutes worth living.
Nelly (played by Alexa Reddy) and her gal pals – all influencers and/or models – are longing for some quality decompression time and opt to escape to a rural AirBNB that has just enough creature comforts of home to make glamping endurable. Haley (Sarah Moliski), Nikki (Hannah Hueston), Tina (Sophie Swiszcz), and Eileen (Rebecca Stoughton) are all along for the ride; and each of the ladies brings along her own package – emotional or otherwise – which helps to define what role they play in the contemporary ensemble. While there may not be a lick of sense anywhere amongst the five, there is the shared desire to hang out, talk about boys, and have a good time.
But … as AirBNB’s go, this escape as managed by Judith Barnard Dixon (the great Dee Wallace in an oversized cameo-style part) does have one secret not listed on the brochure: apparently, there is a pack of werewolves that has been dining on wayward travelers to the area. As the weekend wears on, it becomes increasingly clear that their social media smarts or an unhealthy addiction to essential oils isn’t going to be enough to save all of them, so Models Vs Werewolves unspools as a somewhat low-budget interpretation of the Agatha Christie chiller ‘And Then There Were None’ but with vastly more bloodshed.
Screenwriters J.P. Talbot and Hugo Velazco capably set the stage for the Horror/Comedy to work as well as it does: while the construction could’ve used a bit more depth, they clearly knew what they wanted as a foundation and largely stayed true to the course. On the disc’s commentary track, director Draven admits that he allowed his actresses to engage in a fair amount of ad-libbing here and there; and I suspect a purveyor of as many films a year as I do might make give me the gift of pointing out a weak exchange here and there, ones that felt a bit too similar in style to what the ladies had already done (and said) before. That’s always a risk when letting the talent run loose; and yet there’s still some obvious unabashed glee to what a few of the women accomplish in their allotted screen time.
Additionally, Models Vs Werewolves has a surprising amount of CGI effects work, definitely much more than I’ve seen in other releases from Full Moon Features. Because there is a variety, there’s also a few bits which are demonstrably stronger than others; but Draven – who also handled the CGI output – manages to maintain some consistency from start to finish. Yes, some might argue that a few sequences are unusually gruesome, all of it still feels a bit over-the-top and cartoonish, so much so that I never felt the film was anywhere near slipping into a different thematic core wherein the Horror meant anything greater than did the Comedy. Balance matters, and I think the end result works as intended.
Though it’s mostly a forgettable affair (again, that’s not a complaint), the feature’s biggest downfall is that it doesn’t quite end so much as it wraps up some of the dangling plotlines. Audiences know in this kind of storytelling not every character is going to make it out alive; and, thankfully, most of the demises are handled with a bit of tongue-in-cheek humor. (Whoever thought viewers would ever see Dee Wallace boxing a lycanthrope – the same Dee Wallace who became a werewolf in The Howling – who forced her back up against a wall? Oh, the cinematic poetry!) Draven’s focus never shifts from keeping things moving, and I can’t help but wonder what an additional 10 minutes (or so) of content would’ve done for the finale. Leaving on a somewhat loose ‘punch line’ will never be as noble as typing everything up neatly in a bow; but that doesn’t always happen in the world of B-Movies as much for budgetary reasons as narrative.
Models Vs Werewolves (2026) was produced by ReelShort, Full Moon Empire, and Full Moon Features. DVD distribution (for this particular release) has been coordinated by the fine folks at Full Moon Features. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are pretty good throughout: as I said above, the CGI work is a bit silly (and unrealistically bloody) in a few spots, but it’s all meant to perhaps match the silliness of the acting. Lastly, if you’re looking for special features? Wow. I was impressed to find an introduction from Charles Band along with some behind-the-scenes stuff, the original trailer, the isolated music score, and a director’s commentary. It truly is a great package.
Modestly Recommended.
As I’ve often said, films should know their place; and the stewards who’ve been behind content for Full Moon Features for decades know exactly what I’m talking about. In that regard, there’s absolutely nothing wrong substantively with Models Vs. Werewolves (2026) – well, nothing a big budget makeover and some script doctoring couldn’t fix – and it succeeds entirely as a reasonably spiffy, passable bit of entertaining schlock at its running time of 74 minutes. No, it isn’t going to change the world, but this kind of fluff was never intended for such noble pursuits. It’ll help you pass the time with a gaggle of good-looking ladies, a few good laughs, and some adequate CGI … and there’s absolutely nothing wrong with that.
In the interests of fairness, I’m pleased to disclose that the fine folks at Full Moon Features provided me with a complimentary Blu-ray of Models Vs. Werewolves (2026) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
On this day in 1979, The Hitchhiker's Guide To The Galaxy by Douglas Adams was first published for mass consumption. According to our friends at Google.com, here's what you need to know about this landmark project:
The plot of The Hitchhiker's Guide to the Galaxy follows an ordinary Englishman named Arthur Dent who is pulled into an absurd cosmic journey after Earth is unexpectedly demolished by an alien Vogon fleet to make way for a hyperspatial express route. [1, 2]
Key Plot Events
[1] https://www.litcharts.com
[2] https://www.britannica.com
[3] https://the-book-lovers.fandom.com
[4] https://www.youtube.com
[5] https://www.supersummary.com
[6] https://www.youtube.com
[7] https://en.wikipedia.org
[8] https://www.sparknotes.com
[9] https://www.coursehero.com
The plot of The Hitchhiker's Guide to the Galaxy follows an ordinary Englishman named Arthur Dent who is pulled into an absurd cosmic journey after Earth is unexpectedly demolished by an alien Vogon fleet to make way for a hyperspatial express route. [1, 2]
Key Plot Events
- The Escape from Earth: Seconds before Earth's destruction, Arthur is saved by his friend Ford Prefect—an undercover alien researcher for the eccentric galactic guidebook, The Hitchhiker's Guide to the Galaxy. They hitch a ride on a Vogon constructor ship, endure agonizing Vogon poetry, and get tossed out into the vacuum of space. [3, 4]
- The Heart of Gold: The pair are improbably rescued by the Heart of Gold, a stolen starship powered by the Infinite Improbability Drive. Aboard the ship are Zaphod Beeblebrox (the two-headed, three-armed Galactic President), Tricia "Trillian" McMillan (a human woman Arthur once met at a party), and Marvin (a chronically depressed, hyper-intelligent robot). [2, 3, 5, 6]
- The Discovery on Magrathea: Zaphod is searching for the legendary planet Magrathea, an ancient world that builds custom planets. Once they land, Arthur meets a planetary architect named Slartibartfast. [2, 6]
- The Secret of Earth: Slartibartfast reveals that Earth was actually a massive organic supercomputer built by Magratheans and commissioned by a race of hyper-intelligent, pan-dimensional beings (who manifest in our dimension as mice). Its sole purpose was to calculate the "Ultimate Question of Life, the Universe, and Everything," following an earlier computer (Deep Thought) determining the answer to be 42. [7]
- Climax and Departure: Earth was destroyed by the Vogons just five minutes before completing its ten-million-year program. Because the mice believe Arthur's biological brain holds the missing question, they try to dissect him. The group narrowly escapes when Marvin depresses a police ship's onboard computer so severely that its life-support systems shut down. [4, 6, 7, 8]
- Resolution: Reunited and hungry, the crew sets course for the Restaurant at the End of the Universe. [9]
[1] https://www.litcharts.com
[2] https://www.britannica.com
[3] https://the-book-lovers.fandom.com
[4] https://www.youtube.com
[5] https://www.supersummary.com
[6] https://www.youtube.com
[7] https://en.wikipedia.org
[8] https://www.sparknotes.com
[9] https://www.coursehero.com
- Published on
On this day in 2001 (in Spain), audiences in attendance of the Sitges Film Festival were treated to the big screen premiere of Dagon. Directed by Stuart Gordon from a story based on the works of H.P. Lovecraft, the film starred Ezra Godden, Francisco Rabal, Raquel Meroño, and others.
According to our friends at IMDB.com, here's the plot summary:
"A boating accident runs a young man and woman ashore in a decrepit Spanish fishing town which they discover is in the grips of an ancient sea god and its monstrous half human offspring."
For the record:
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"A boating accident runs a young man and woman ashore in a decrepit Spanish fishing town which they discover is in the grips of an ancient sea god and its monstrous half human offspring."
For the record:
- At the 2003 Saturn Awards, Dagon received a nomination in the category of 'Best DVD Release.'
- At the 2003 Fangoria Chainsaw Awards, Dagon received nominations in the categories of 'Best MakeUp / Creature FX,' 'Best Screenplay,' and 'Fest Limited-Release / Direct-To-Video Film.'
-- EZ
From Google.com:
Stuart Gordon's 2001 horror film Dagon remains a cult classic for Lovecraftian horror fans. The three most significant pieces of trivia surrounding the production include:
1. It is barely based on the short story "Dagon"
Despite being titled Dagon, the movie is almost entirely an adaptation of H.P. Lovecraft’s famous 1936 novella, "The Shadow Over Innsmouth". The producers primarily used the title "Dagon" because they already owned the rights to it. To fit the Spanish production and filming locations, the fictional Massachusetts fishing town of Innsmouth was changed to "Imboca" (a clever linguistic nod, as "boca" means "mouth" in Spanish). [1, 2, 3]
2. A real-life gunpoint altercation inspired a famous line
During the film, the protagonist Paul Marsh famously exclaims that he needs a bigger cell phone after trying to use one as a weapon. This bizarre line was actually inspired by a terrifying real-life event experienced by the film's producer, Brian Yuzna. While driving with his wife, they were ambushed and held at gunpoint. In a panic, Yuzna's wife hit the attacker over the head with her mobile phone and yelled that she wished she had a bigger cell phone to hit him with. [4]
3. The final role of a Spanish acting legend
The town drunk, Ezequiel, who provides crucial exposition about the dark history of Imboca, was played by legendary Spanish actor Francisco "Paco" Rabal. Tragically, Rabal passed away in August 2001, just two months before the film made its premiere at the Sitges Film Festival. Because he struggled with the English dialogue, director Stuart Gordon deliberately left much of his heavily accented narration untouched to enhance the eerie, foreign atmosphere of the town. The film features a dedication to him right before the end credits. [1, 2, 5, 6]
[1] https://absolutehorror.fandom.com
[2] https://www.youtube.com
[3] https://tvtropes.org
[4] https://halloweenyearround.wordpress.com
[5] https://en.wikipedia.org
[6] https://moriareviews.com
[7] https://morbidlybeautiful.com
[8] https://en.namu.wiki
Stuart Gordon's 2001 horror film Dagon remains a cult classic for Lovecraftian horror fans. The three most significant pieces of trivia surrounding the production include:
1. It is barely based on the short story "Dagon"
Despite being titled Dagon, the movie is almost entirely an adaptation of H.P. Lovecraft’s famous 1936 novella, "The Shadow Over Innsmouth". The producers primarily used the title "Dagon" because they already owned the rights to it. To fit the Spanish production and filming locations, the fictional Massachusetts fishing town of Innsmouth was changed to "Imboca" (a clever linguistic nod, as "boca" means "mouth" in Spanish). [1, 2, 3]
2. A real-life gunpoint altercation inspired a famous line
During the film, the protagonist Paul Marsh famously exclaims that he needs a bigger cell phone after trying to use one as a weapon. This bizarre line was actually inspired by a terrifying real-life event experienced by the film's producer, Brian Yuzna. While driving with his wife, they were ambushed and held at gunpoint. In a panic, Yuzna's wife hit the attacker over the head with her mobile phone and yelled that she wished she had a bigger cell phone to hit him with. [4]
3. The final role of a Spanish acting legend
The town drunk, Ezequiel, who provides crucial exposition about the dark history of Imboca, was played by legendary Spanish actor Francisco "Paco" Rabal. Tragically, Rabal passed away in August 2001, just two months before the film made its premiere at the Sitges Film Festival. Because he struggled with the English dialogue, director Stuart Gordon deliberately left much of his heavily accented narration untouched to enhance the eerie, foreign atmosphere of the town. The film features a dedication to him right before the end credits. [1, 2, 5, 6]
[1] https://absolutehorror.fandom.com
[2] https://www.youtube.com
[3] https://tvtropes.org
[4] https://halloweenyearround.wordpress.com
[5] https://en.wikipedia.org
[6] https://moriareviews.com
[7] https://morbidlybeautiful.com
[8] https://en.namu.wiki
- Published on
press release
Epic Pictures and Dread Proudly Announce
DEVOUR
AVAILABLE IN SELECT THEATERS AND ON DIGITAL PLATFORMS STARTING OCTOBER 13th
All-Girl Heavy Metal Band Battles Vampires, Cannibals, a Werewolf and a Warlock in New Horror Film Starring Butcher Babies’ Heidi Shepherd Award-Winning Fan Festival Favorite from Bad Candy Director Scott B. Hansen
Epic Pictures and Dread, the genre specialty releasing label of Epic, announce the October 9th release of DEVOUR, a wild new supernatural horror film from director Scott B. Hansen (Bad Candy, The Possession Experiment), written by Desiree Hansen (Bad Candy). Combining heavy metal, vampires, cannibals, witchcraft and werewolf horror into one blood-soaked night of mayhem, the film stars KateLynn E. Newberry, Gus Langley, Alex Lucchesi, Chelsea LeSage, Gaven Wilde and Heidi Shepherd, vocalist for the heavy metal band Butcher Babies.
In the vein of Deathgasm, DEVOUR follows an all-girl heavy metal band left stranded after a disastrous gig. When the musicians encounter a woman in danger, they find themselves trapped in a remote town controlled by a powerful warlock and populated by cannibals, vampires and a deadly werewolf. With nowhere to run and an increasingly bizarre collection of supernatural enemies closing in, the band is forced to tap into dark powers of its own to have any chance of surviving until morning.
Mixing the energy of heavy metal with an anything-goes approach to supernatural horror, DEVOUR throws its characters into a world where seemingly every nightmare is real. Hansen, whose previous horror feature Bad Candy became an award-winning festival favorite, returns to the genre with an ambitious collision of monster movie, occult horror and bloody survival thriller, driven by a group of women who refuse to become easy prey.
Central to the film’s approach is an extensive use of practical creature and gore effects, bringing its cannibals, vampires and werewolves to life physically on set through handcrafted creature suits, prosthetics, makeup and animatronics rather than relying primarily on digital effects. The creature and practical FX were led by veteran designer Wayne Anderson, whose credits include Stranger Things, IT: Chapter One, Jurassic World: Fallen Kingdom, Avatar: The Way of Water and The Tomorrow War. A former finalist on Syfy’s Face Off, Anderson worked with the OX FX team to create the film’s creatures and practical gore, giving DEVOUR a tactile, old-school horror aesthetic in which the monsters share the physical space with the cast.
The film has already built momentum on the genre festival circuit, earning more than a dozen festival selections and multiple honors, including Best Feature, Best Director and Best Vampire Feature at the Freakshow Horror Film Festival. DEVOUR was also an Official Selection of the Atlanta Horror Film Festival and Days of the Dead, and received additional attention through an endorsement on Chris Jericho’s Talk Is Jericho podcast.
DEVOUR was directed by Scott B. Hansen, written by Desiree Hansen, and produced by Ryan Shelor, Desiree Hansen and Scott Hansen. The film stars KateLynn E. Newberry, Gus Langley, Alex Lucchesi, Chelsea LeSage, Gaven Wilde and Heidi Shepherd.
Hansen previously directed the award-winning horror anthology Bad Candy, starring Zach Galligan and Corey Taylor, as well as The Possession Experiment, starring Bill Moseley. A filmmaker with deep roots in the music world, Hansen has also directed hundreds of music videos and commercials, working with artists including Meshuggah, Willie Nelson, Motionless in White, A Day to Remember, Ill Niño and Fear Factory. His background in both horror and music comes together in DEVOUR, where the identity of the band and the film’s supernatural world are closely intertwined.
Dread is the same company that brought audiences the original Terrifier film, continuing its commitment to distinctive independent horror. With DEVOUR, the label brings together heavy metal and a full roster of classic monsters for a supernatural horror film that embraces the genre’s wildest impulses.
In the vein of Deathgasm, DEVOUR follows an all-girl heavy metal band left stranded after a disastrous gig. When the musicians encounter a woman in danger, they find themselves trapped in a remote town controlled by a powerful warlock and populated by cannibals, vampires and a deadly werewolf. With nowhere to run and an increasingly bizarre collection of supernatural enemies closing in, the band is forced to tap into dark powers of its own to have any chance of surviving until morning.
Mixing the energy of heavy metal with an anything-goes approach to supernatural horror, DEVOUR throws its characters into a world where seemingly every nightmare is real. Hansen, whose previous horror feature Bad Candy became an award-winning festival favorite, returns to the genre with an ambitious collision of monster movie, occult horror and bloody survival thriller, driven by a group of women who refuse to become easy prey.
Central to the film’s approach is an extensive use of practical creature and gore effects, bringing its cannibals, vampires and werewolves to life physically on set through handcrafted creature suits, prosthetics, makeup and animatronics rather than relying primarily on digital effects. The creature and practical FX were led by veteran designer Wayne Anderson, whose credits include Stranger Things, IT: Chapter One, Jurassic World: Fallen Kingdom, Avatar: The Way of Water and The Tomorrow War. A former finalist on Syfy’s Face Off, Anderson worked with the OX FX team to create the film’s creatures and practical gore, giving DEVOUR a tactile, old-school horror aesthetic in which the monsters share the physical space with the cast.
The film has already built momentum on the genre festival circuit, earning more than a dozen festival selections and multiple honors, including Best Feature, Best Director and Best Vampire Feature at the Freakshow Horror Film Festival. DEVOUR was also an Official Selection of the Atlanta Horror Film Festival and Days of the Dead, and received additional attention through an endorsement on Chris Jericho’s Talk Is Jericho podcast.
DEVOUR was directed by Scott B. Hansen, written by Desiree Hansen, and produced by Ryan Shelor, Desiree Hansen and Scott Hansen. The film stars KateLynn E. Newberry, Gus Langley, Alex Lucchesi, Chelsea LeSage, Gaven Wilde and Heidi Shepherd.
Hansen previously directed the award-winning horror anthology Bad Candy, starring Zach Galligan and Corey Taylor, as well as The Possession Experiment, starring Bill Moseley. A filmmaker with deep roots in the music world, Hansen has also directed hundreds of music videos and commercials, working with artists including Meshuggah, Willie Nelson, Motionless in White, A Day to Remember, Ill Niño and Fear Factory. His background in both horror and music comes together in DEVOUR, where the identity of the band and the film’s supernatural world are closely intertwined.
Dread is the same company that brought audiences the original Terrifier film, continuing its commitment to distinctive independent horror. With DEVOUR, the label brings together heavy metal and a full roster of classic monsters for a supernatural horror film that embraces the genre’s wildest impulses.
DEVOUR
Directed by: Scott B. Hansen (Bad Candy, Until It Hurts, The Asphalt Ballad of Lenny Disco)
Written by: Desiree Hansen (Bad Candy)
Produced by: Ryan Shelor, Desiree Hansen, Scott B. Hansen
Starring: KateLynn E. Newberry (Cape Fear, Clint Eastwood's Juror #2, Hulu's Mike), Gus Langley (Day of Reckoning), Alexandra Lucchesi (Jack Reacher 2: Never Go Back, Bad Candy), Chelsea LeSage (21st Century Demon Hunter), Gaven Wilde (The Righteous Gemstones, Halloween Kills), Heidi Shepherd (vocalist for band Butcher Babies)
Genre: Horror, Thriller, Independent
Distributor: Epic Pictures
Run Time: 113 minutes
Directed by: Scott B. Hansen (Bad Candy, Until It Hurts, The Asphalt Ballad of Lenny Disco)
Written by: Desiree Hansen (Bad Candy)
Produced by: Ryan Shelor, Desiree Hansen, Scott B. Hansen
Starring: KateLynn E. Newberry (Cape Fear, Clint Eastwood's Juror #2, Hulu's Mike), Gus Langley (Day of Reckoning), Alexandra Lucchesi (Jack Reacher 2: Never Go Back, Bad Candy), Chelsea LeSage (21st Century Demon Hunter), Gaven Wilde (The Righteous Gemstones, Halloween Kills), Heidi Shepherd (vocalist for band Butcher Babies)
Genre: Horror, Thriller, Independent
Distributor: Epic Pictures
Run Time: 113 minutes
WHAT THE CRITICS ARE SAYING..
Endorsed by pro wrestler/rock musician/actor Chris Jericho on his TALK IS JERICHO PODCAST
"The wildest horror film of the year" - ASYLUM HORROR
"A vampire movie for the ages soaked in buckets of blood." - CHUCK THE MOVIE GUY
"Full of monsters, tons of blood, and heads exploding!" - WITCHING HOUR PODCAST
"An epic bloodbath of monsters, magic and metal." - HALLOWEEN DAILY NEWS
"Gnarly practical effects straight out of a VHS nightmare." - SINISTER SCRIPTS PODCAST
"One of the most violent vampire movies ever." - COLBY DOES HORROR
Endorsed by pro wrestler/rock musician/actor Chris Jericho on his TALK IS JERICHO PODCAST
"The wildest horror film of the year" - ASYLUM HORROR
"A vampire movie for the ages soaked in buckets of blood." - CHUCK THE MOVIE GUY
"Full of monsters, tons of blood, and heads exploding!" - WITCHING HOUR PODCAST
"An epic bloodbath of monsters, magic and metal." - HALLOWEEN DAILY NEWS
"Gnarly practical effects straight out of a VHS nightmare." - SINISTER SCRIPTS PODCAST
"One of the most violent vampire movies ever." - COLBY DOES HORROR
About Epic Pictures and Dread:
Founded in 2007, Epic Pictures is an independent content studio with the mission of delivering the best-in-class genre entertainment “for fans, by fans.” Epic Pictures produces, finances, and distributes approximately twenty-thirty independent genre films a year. In 2013, the company established Epic Pictures Releasing, its U.S.-focused distribution division. In 2017, Epic launched its genre film label, Dread, a recognized name in horror. In 2020, Epic launched DreadXP, its video game production and publishing division in collaboration with some of the most innovative developers in the independent gaming space.
Founded in 2007, Epic Pictures is an independent content studio with the mission of delivering the best-in-class genre entertainment “for fans, by fans.” Epic Pictures produces, finances, and distributes approximately twenty-thirty independent genre films a year. In 2013, the company established Epic Pictures Releasing, its U.S.-focused distribution division. In 2017, Epic launched its genre film label, Dread, a recognized name in horror. In 2020, Epic launched DreadXP, its video game production and publishing division in collaboration with some of the most innovative developers in the independent gaming space.
- Published on
press release
COMING TO SELECT THEATERS & VOD/DIGITAL PLATFORMS OCTOBER 23RD FROM DARK SKY FILMS
Friends, Lovers, Enemies, Frenemies, Little Guns, Bigger Guns, Love, Hate, Life, Death, and Things A Hell Of A Lot More Super Than Natural
Dark Sky Films announces the October 23rd release of HUMAN, a new horror film directed by Matt Stuertz and written by David Neiss. After freaking out - and grossing out - audiences at Fright Fest and Obscura Film Fest, HUMAN will be available in select theaters & on VOD and Digital Platforms October 23rd.
HUMAN follows Dani Ferris (Jackie Kelly), who is alone and exhausted past the point of reason. What she wanted: a little tease of digital debauchery before bed. What she's going to get: a blood-drenched supernatural nightmare of horrors and heartbreak.
With the claustrophobic feeling of a single-night thriller and an abundance of bodily fluids, HUMAN throws its heroine into a story where every relationship is a gamble and every hour brings a new threat. Director Stuertz, who also produced the film, keeps the pressure rising as Dani rides a roller coaster of emotions she never saw coming.
HUMAN was directed by Matt Stuertz (Tonight She Comes, RWD), written by David Neiss (Flush), and produced by Matt Stuertz and David Christopher Pitt. The film stars Jackie Kelly, Brock Russell, Cecily Dowd, Jeffrey Decker and Mia Sydney.
Official Synopsis:
It's past midnight and Dani Ferris is all alone. Away from home. Tired as hell. Not prepared for the roller coaster of emotions she's about to ride front-row. Sleep? Lol. Nope. Tonight is a night for friends, lovers, enemies, frenemies, little guns, bigger guns, love, hate, life, death, and things a hell of a lot more super than natural. A night Dani will never forget. And neither will he.
HUMAN follows Dani Ferris (Jackie Kelly), who is alone and exhausted past the point of reason. What she wanted: a little tease of digital debauchery before bed. What she's going to get: a blood-drenched supernatural nightmare of horrors and heartbreak.
With the claustrophobic feeling of a single-night thriller and an abundance of bodily fluids, HUMAN throws its heroine into a story where every relationship is a gamble and every hour brings a new threat. Director Stuertz, who also produced the film, keeps the pressure rising as Dani rides a roller coaster of emotions she never saw coming.
HUMAN was directed by Matt Stuertz (Tonight She Comes, RWD), written by David Neiss (Flush), and produced by Matt Stuertz and David Christopher Pitt. The film stars Jackie Kelly, Brock Russell, Cecily Dowd, Jeffrey Decker and Mia Sydney.
Official Synopsis:
It's past midnight and Dani Ferris is all alone. Away from home. Tired as hell. Not prepared for the roller coaster of emotions she's about to ride front-row. Sleep? Lol. Nope. Tonight is a night for friends, lovers, enemies, frenemies, little guns, bigger guns, love, hate, life, death, and things a hell of a lot more super than natural. A night Dani will never forget. And neither will he.
HUMAN
Directed by: Matt Stuertz (Tonight She Comes, RWD)
Written by: David Neiss (Flush)
Produced by: Matt Stuertz, David Christopher Pitt
Starring: Jackie Kelly (Hag, In Memory Of, Oscar Tango Hellwater), Brock Russell (Tonight She Comes, Revisions), Cecily Dowd (Black Card Teaser, Miss Valentine), Jeffrey Decker (Relentless, Mischief Beyond Mischief), Mia Sydney (Ink of Ages, Mendocino)
Genre: Horror
Distributor: Dark Sky Films
Run Time: 107 minutes
Directed by: Matt Stuertz (Tonight She Comes, RWD)
Written by: David Neiss (Flush)
Produced by: Matt Stuertz, David Christopher Pitt
Starring: Jackie Kelly (Hag, In Memory Of, Oscar Tango Hellwater), Brock Russell (Tonight She Comes, Revisions), Cecily Dowd (Black Card Teaser, Miss Valentine), Jeffrey Decker (Relentless, Mischief Beyond Mischief), Mia Sydney (Ink of Ages, Mendocino)
Genre: Horror
Distributor: Dark Sky Films
Run Time: 107 minutes
WHAT THE CRITICS ARE SAYING..
"Human’s constant tonal whiplashes create a film with which the audience never feels safe. This unease is what genre fans thrive on and with Human, Stuertz gives it to them in spades, alongside some truly stomach-turning practical effects that will leave those sensitive to bodily fluids fighting to keep their lunch down." - THE HOLLYWOOD NEWS
"Thoroughly gripping" - FILM HOUNDS
"Relentless." - STARBURST MAGAZINE
"One of the craziest films we've seen!" - FRIGHT CLUB
"This is vibrant, crazy filmmaking, creating a nocturnal adventure so unstable and hallucinatory that the viewer will struggle to pin down what is real.... This popcorn movie, though elevated as a deep look into a woman’s beleaguered interiority, also rocks ." - PROJECTED FIGURES
"Human’s constant tonal whiplashes create a film with which the audience never feels safe. This unease is what genre fans thrive on and with Human, Stuertz gives it to them in spades, alongside some truly stomach-turning practical effects that will leave those sensitive to bodily fluids fighting to keep their lunch down." - THE HOLLYWOOD NEWS
"Thoroughly gripping" - FILM HOUNDS
"Relentless." - STARBURST MAGAZINE
"One of the craziest films we've seen!" - FRIGHT CLUB
"This is vibrant, crazy filmmaking, creating a nocturnal adventure so unstable and hallucinatory that the viewer will struggle to pin down what is real.... This popcorn movie, though elevated as a deep look into a woman’s beleaguered interiority, also rocks ." - PROJECTED FIGURES
- Published on
press release
Los Angeles, CA, October 5, 2026--Scatena & Rosner Films (S&R Films) is proud to announce the North American release of “Marrow”, the latest horror feature from writer-director Mitch McLeod (“Silhouette”), starring Jessica Dawn Willis (“The Woman Under the Stage”, “Death 4 Dinner”) alongside legendary genre actors Danielle Harris (the “Halloween” franchise) and Michael Ironside (“Scanners”, “Total Recall”).
“Marrow really stood out to me because of the way it explores our obsession with true crime and how far people are willing to go in the constant chase for views, attention, and relevance”, said Zach Stampone, VP of Distribution at Scatena & Rosner Films. “It takes something deeply rooted in our culture and pulls you into a much darker and more unsettling place. There’s a confidence in the filmmaking and performances that really impressed me. You can tell this was made by a team that knew exactly what kind of film they wanted to make.”
Based on a series of real-life police files regarding a stalking in small-town Texas, “Marrow” follows Jamie Foster, a formerly successful vlogger who attempts to revitalize her career by inviting her stalker onto the show—knowing he may be the serial killer responsible for murdering a string of influencers. Although Jamie’s views go up, she begins to realize more than her life is at stake when the stalker’s identity—and humanity—come into question.
"Marrow is based on true events surrounding a stalking that occurred many years ago to somebody who meant a great deal to me,” said McLeod. “The idea has been in my head for a while, so getting to sit down with star and co-writer Jessica Dawn Willis and get the ideas on paper and bring it to life on screen has been a truly rewarding experience. I'm looking forward to finally being able to release this horrifying story to the world, and I hope it resonates with them the same way the original story did with me."
Alongside Willis, Harris, and Ironside, “Marrow” co-stars Matthew Tompkins (“Sicario), Ashley Spicer, Phil Harrison, Abby Joy, Rrian Rhonda, Kristin Payne, and Vanessa Sun. The film is directed by Mitch McLeod, from a script by McLeod, Jessica Dawn Willis, and co-written by novelist Preston Fassel (“Our Lady of the Inferno; Beasts of 42nd Street”). McLeod and Willis' Absentia Pictures produced alongside Tompkins and Jon Keeyes (“The Cleanup Crew”, “Becky”).
“Marrow really stood out to me because of the way it explores our obsession with true crime and how far people are willing to go in the constant chase for views, attention, and relevance”, said Zach Stampone, VP of Distribution at Scatena & Rosner Films. “It takes something deeply rooted in our culture and pulls you into a much darker and more unsettling place. There’s a confidence in the filmmaking and performances that really impressed me. You can tell this was made by a team that knew exactly what kind of film they wanted to make.”
Based on a series of real-life police files regarding a stalking in small-town Texas, “Marrow” follows Jamie Foster, a formerly successful vlogger who attempts to revitalize her career by inviting her stalker onto the show—knowing he may be the serial killer responsible for murdering a string of influencers. Although Jamie’s views go up, she begins to realize more than her life is at stake when the stalker’s identity—and humanity—come into question.
"Marrow is based on true events surrounding a stalking that occurred many years ago to somebody who meant a great deal to me,” said McLeod. “The idea has been in my head for a while, so getting to sit down with star and co-writer Jessica Dawn Willis and get the ideas on paper and bring it to life on screen has been a truly rewarding experience. I'm looking forward to finally being able to release this horrifying story to the world, and I hope it resonates with them the same way the original story did with me."
Alongside Willis, Harris, and Ironside, “Marrow” co-stars Matthew Tompkins (“Sicario), Ashley Spicer, Phil Harrison, Abby Joy, Rrian Rhonda, Kristin Payne, and Vanessa Sun. The film is directed by Mitch McLeod, from a script by McLeod, Jessica Dawn Willis, and co-written by novelist Preston Fassel (“Our Lady of the Inferno; Beasts of 42nd Street”). McLeod and Willis' Absentia Pictures produced alongside Tompkins and Jon Keeyes (“The Cleanup Crew”, “Becky”).
- Published on
press release
PHILADELPHIA, PA — October 02, 2026 — More than 130 years after the Borden murders shocked the nation, the story of Lizzie Borden continues to fascinate audiences — and renewed interest surrounding Netflix’s newly released Monster: The Lizzie Borden Story is once again putting the infamous case at the center of popular culture.
Netflix released Monster: The Lizzie Borden Story on September 17 as the fourth installment of Ryan Murphy and Ian Brennan’s Monster anthology series, starring Ella Beatty as Lizzie Borden.
For viewers searching for more Lizzie Borden stories, Breaking Glass Pictures invites horror fans to discover The Lizzie Borden Game, a supernatural horror thriller that takes the enduring legend in a very different direction.
In The Lizzie Borden Game, the legend of Lizzie Borden comes back to life when a group of friends gathers for a secluded Friendsgiving getaway and discovers an unsettling ritual known as “The Lizzie Borden Game.” What begins as a dare quickly turns deadly when the game summons Lizzie Borden’s ghost from beyond the grave. The friends must uncover the truth behind the legend and close the portal before they all get axed.
Rather than dramatizing the historical Borden case, The Lizzie Borden Game uses Lizzie Borden’s place in American folklore as the foundation for a contemporary supernatural horror story.
“Lizzie Borden remains one of those names that immediately captures people’s attention,” said Rich Wolff of Breaking Glass Pictures. “With audiences once again talking about the case and searching for Lizzie Borden stories, this is a great moment for horror fans to discover The Lizzie Borden Game and see a completely different interpretation of the legend.”
The film is directed by Calvin Morie McCarthy and produced by Calvin Morie McCarthy, Chynna Rae Shorts and Rich Wolff. The cast includes Airisa Durand, Jason Brooks, Laura Wilson, Chynna Rae Shurts, Jessica Noel Thompson and Steve Larkin.
Netflix’s new series approaches Borden as a historical true-crime figure, while The Lizzie Borden Game embraces the supernatural possibilities that have grown around her name over generations. The two productions are entirely separate and unaffiliated, but the renewed cultural interest demonstrates the continuing fascination surrounding one of America’s most recognizable murder mysteries.
Netflix released Monster: The Lizzie Borden Story on September 17 as the fourth installment of Ryan Murphy and Ian Brennan’s Monster anthology series, starring Ella Beatty as Lizzie Borden.
For viewers searching for more Lizzie Borden stories, Breaking Glass Pictures invites horror fans to discover The Lizzie Borden Game, a supernatural horror thriller that takes the enduring legend in a very different direction.
In The Lizzie Borden Game, the legend of Lizzie Borden comes back to life when a group of friends gathers for a secluded Friendsgiving getaway and discovers an unsettling ritual known as “The Lizzie Borden Game.” What begins as a dare quickly turns deadly when the game summons Lizzie Borden’s ghost from beyond the grave. The friends must uncover the truth behind the legend and close the portal before they all get axed.
Rather than dramatizing the historical Borden case, The Lizzie Borden Game uses Lizzie Borden’s place in American folklore as the foundation for a contemporary supernatural horror story.
“Lizzie Borden remains one of those names that immediately captures people’s attention,” said Rich Wolff of Breaking Glass Pictures. “With audiences once again talking about the case and searching for Lizzie Borden stories, this is a great moment for horror fans to discover The Lizzie Borden Game and see a completely different interpretation of the legend.”
The film is directed by Calvin Morie McCarthy and produced by Calvin Morie McCarthy, Chynna Rae Shorts and Rich Wolff. The cast includes Airisa Durand, Jason Brooks, Laura Wilson, Chynna Rae Shurts, Jessica Noel Thompson and Steve Larkin.
Netflix’s new series approaches Borden as a historical true-crime figure, while The Lizzie Borden Game embraces the supernatural possibilities that have grown around her name over generations. The two productions are entirely separate and unaffiliated, but the renewed cultural interest demonstrates the continuing fascination surrounding one of America’s most recognizable murder mysteries.
About Breaking Glass Pictures:
Breaking Glass Pictures is an independent film distribution company dedicated to bringing distinctive feature films and documentaries to audiences across theatrical, digital, television and home entertainment platforms.
Important editorial note:
The Lizzie Borden Game is not affiliated with, endorsed by, or associated with Netflix, Ryan Murphy, Ian Brennan, or Monster: The Lizzie Borden Story. References to the Netflix series are included solely to describe the renewed public interest in Lizzie Borden.
Breaking Glass Pictures is an independent film distribution company dedicated to bringing distinctive feature films and documentaries to audiences across theatrical, digital, television and home entertainment platforms.
Important editorial note:
The Lizzie Borden Game is not affiliated with, endorsed by, or associated with Netflix, Ryan Murphy, Ian Brennan, or Monster: The Lizzie Borden Story. References to the Netflix series are included solely to describe the renewed public interest in Lizzie Borden.
- Published on
press release
A weekend camping trip becomes
a fight for survival when
a vengeful legend refuses
to stay buried
Philadelphia, PA — October 5, 2026 — Breaking Glass Pictures will release CAMP NIGHT, a new horror-thriller from writer/director Isaiah Russell, on October 13, 2026.
Five friends from Chicago head into the woods for a weekend getaway with their coworkers. What begins as a chance to escape the everyday quickly turns terrifying when the group discovers that the legend surrounding their destination is far from a campfire story.
CAMP NIGHT combines slasher and survival-horror elements with mystery, dark comedy, action, and a story rooted in the consequences of trauma passed down through generations.
Russell says the film is designed to put its characters in an unfamiliar environment and see how they respond when survival becomes the only thing that matters. "The workplace relationships were the catalyst for everyone to agree to go to the woods for this camping trip," Russell said. "However, when they get there, they discover the boundaries of that group dynamic."
The film stars Lonnie Davis, Aniah Davis, Brendan Mertens, Casey Brockway, Dina Aldabbagh, Eric Jacobson, Gavin Zbynski, Marlissa Stalling, Heaven Williams, Kareen Noble, Lawrence Mead, and Tyra Renee.
For horror fans drawn to films like The Cabin in the Woods, Wrong Turn, The Ritual, Get Out, and Candyman, CAMP NIGHT offers a new take on the familiar “friends in the woods” setup, with a deadly legend at its center.
CAMP NIGHT releases October 13, 2026 on Amazon and Fandango, with a Tubi release coming December 10.
"We are thrilled to bring Camp Night to horror fans this October," said Richard Wolff, CEO of Breaking Glass Pictures. "Isaiah has made a film that respects the genre's traditions while pushing them somewhere new, and with a cast and story this bold, we think it's going to find a devoted audience fast."
Five friends from Chicago head into the woods for a weekend getaway with their coworkers. What begins as a chance to escape the everyday quickly turns terrifying when the group discovers that the legend surrounding their destination is far from a campfire story.
CAMP NIGHT combines slasher and survival-horror elements with mystery, dark comedy, action, and a story rooted in the consequences of trauma passed down through generations.
Russell says the film is designed to put its characters in an unfamiliar environment and see how they respond when survival becomes the only thing that matters. "The workplace relationships were the catalyst for everyone to agree to go to the woods for this camping trip," Russell said. "However, when they get there, they discover the boundaries of that group dynamic."
The film stars Lonnie Davis, Aniah Davis, Brendan Mertens, Casey Brockway, Dina Aldabbagh, Eric Jacobson, Gavin Zbynski, Marlissa Stalling, Heaven Williams, Kareen Noble, Lawrence Mead, and Tyra Renee.
For horror fans drawn to films like The Cabin in the Woods, Wrong Turn, The Ritual, Get Out, and Candyman, CAMP NIGHT offers a new take on the familiar “friends in the woods” setup, with a deadly legend at its center.
CAMP NIGHT releases October 13, 2026 on Amazon and Fandango, with a Tubi release coming December 10.
"We are thrilled to bring Camp Night to horror fans this October," said Richard Wolff, CEO of Breaking Glass Pictures. "Isaiah has made a film that respects the genre's traditions while pushing them somewhere new, and with a cast and story this bold, we think it's going to find a devoted audience fast."
About Breaking Glass Pictures:
Founded in 2009 and based in Philadelphia, Breaking Glass Pictures is a leading independent film distribution company focused on delivering thought-provoking, inclusive, and impactful films to audiences worldwide. With a diverse catalog spanning horror, thrillers, LGBTQ+ cinema, documentaries, international films, and independent features, Breaking Glass Pictures works with visionary filmmakers to connect unique stories with audiences across theatrical, digital, and home entertainment platforms.
Founded in 2009 and based in Philadelphia, Breaking Glass Pictures is a leading independent film distribution company focused on delivering thought-provoking, inclusive, and impactful films to audiences worldwide. With a diverse catalog spanning horror, thrillers, LGBTQ+ cinema, documentaries, international films, and independent features, Breaking Glass Pictures works with visionary filmmakers to connect unique stories with audiences across theatrical, digital, and home entertainment platforms.
- Published on
press release
On November 10, Synapse Films will release director Douglas McKeown’s Sci-Fi/horror classic The Deadly Spawn in separate 4K Ultra HD and Blu-ray editions.
The Deadly Spawn presents the dark side of an extraterrestrial visiting Earth. When a meteorite smashes into the woods of New Jersey, a pair of curious campers discover a menacing lifeform has hitched a ride on the space rock. After killing and devouring the campers, the terrifying creature makes its way into the basement of a nearby house, whose owners become its next meal.
The kids upstairs are oblivious, believing their parents have left early for vacation. Nobody hears their screams because the youngest son, Charles (Charles George Hildebrandt), is blasting a horror movie on the TV. The kid has no clue that there’s a living nightmare right beneath his bedroom. Making matters worse, the extraterrestrial is giving birth to hundreds of terrifying, toothy babies eager to feast on humanity. Can a horror-loving teenage boy save what remains of his family and the Earth?
Director Douglas McKeown, producer Ted A. Bohus (Nightbeast) and special effects director John Dods are joined by a cast that includes Tom DeFranco, Richard Lee Porter, Jean Tafler, Karen Tighe, and James L. Brewster (Maniac).
The 4K Ultra HD edition features Synapse Films’ new 4K restoration of the original uncut 16mm camera negative, presented in the original 1.37:1 aspect ratio with Dolby Vision (HDR10 compatible). The Blu-ray features a 1080p remaster sourced from the new 4K restoration, also presented in the original 1.37:1 aspect ratio. Both editions include the original producer’s feature mix and the 21st Century Film Corporation theatrical mix in lossless DTS-HD Master Audio.
Special features include three audio commentaries featuring producer Ted A. Bohus, director Douglas McKeown, and the cast and crew, A Visit with John Dods and the Deadly Spawn featurette, The Deadly Spawn comic prequel sampler, the original audition tapes, an alternate opening credits sequence, behind-the-scenes footage, a still gallery, TV spot, and the theatrical trailer.
The Deadly Spawn presents the dark side of an extraterrestrial visiting Earth. When a meteorite smashes into the woods of New Jersey, a pair of curious campers discover a menacing lifeform has hitched a ride on the space rock. After killing and devouring the campers, the terrifying creature makes its way into the basement of a nearby house, whose owners become its next meal.
The kids upstairs are oblivious, believing their parents have left early for vacation. Nobody hears their screams because the youngest son, Charles (Charles George Hildebrandt), is blasting a horror movie on the TV. The kid has no clue that there’s a living nightmare right beneath his bedroom. Making matters worse, the extraterrestrial is giving birth to hundreds of terrifying, toothy babies eager to feast on humanity. Can a horror-loving teenage boy save what remains of his family and the Earth?
Director Douglas McKeown, producer Ted A. Bohus (Nightbeast) and special effects director John Dods are joined by a cast that includes Tom DeFranco, Richard Lee Porter, Jean Tafler, Karen Tighe, and James L. Brewster (Maniac).
The 4K Ultra HD edition features Synapse Films’ new 4K restoration of the original uncut 16mm camera negative, presented in the original 1.37:1 aspect ratio with Dolby Vision (HDR10 compatible). The Blu-ray features a 1080p remaster sourced from the new 4K restoration, also presented in the original 1.37:1 aspect ratio. Both editions include the original producer’s feature mix and the 21st Century Film Corporation theatrical mix in lossless DTS-HD Master Audio.
Special features include three audio commentaries featuring producer Ted A. Bohus, director Douglas McKeown, and the cast and crew, A Visit with John Dods and the Deadly Spawn featurette, The Deadly Spawn comic prequel sampler, the original audition tapes, an alternate opening credits sequence, behind-the-scenes footage, a still gallery, TV spot, and the theatrical trailer.