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Movie Reviews
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Driven by Mason Coile: The Horror of The Self-Driving Car
Mason Coile’s Driven is a self-driving car horror novel that inverts every AI horror trope of the last three years: the machine does not wake up, the man goes to sleep. Andrew Pyper’s final book under the Coile name is a locked room story with wheels, a grief novel in disguise, and a very cold joke about the rental market.
Max Doty Interview: Domestic Horror in The House That Eats the Dead
Max Doty talks about The House That Eats the Dead, the domestic horror novel that began life as a NoSleep horror series and won the community’s Best Series award for 2023. He explains why the hungry house is a scavenger rather than a villain, how Save the Cat shaped his outlining, and how far Claire will go to protect her family. A horror author interview about houses, ownership, and the things we quietly agree to forget.
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Saint Delilah by Isabelle Spotts, A Ghost Story With Teeth.
Isabelle Spotts’s Saint Delilah is a ghost story that refuses to be gentle. This feminist supernatural suspense novel follows Delilah, a murdered nineteen-year-old who becomes a ghost and, with the help of a medium and a man who can see the dead, hunts her killer. Evil entities threaten to consume her soul. It is a revenge narrative, a thriller, and a meditation on grief and justice. The dead don’t forget. Neither will you. Read the full review at Ginger Nuts of Horror.
Party of a Lifetime by Henry Corrigan: A Queer Body Horror Novel That Puts the Real Monster in the Driveway
Henry Corrigan’s Party of a Lifetime strands four queer friends in Monotony, a 1950s hell town that reshapes itself around their nightmares and slowly reshapes them too. This is body horror written with a mechanic’s patience, with a narcissistic mother at the centre of it, and it is the best thing Corrigan has written.
The Sea Hides Its Dead By Megan Bontrager: Cosmic Horror That Makes You Confess
Trapped in a sea cave that rose overnight off the coast of Maine, nine academics must atone for their greatest sin or die. Megan Bontrager’s The Sea Hides Its Dead turns cosmic horror into a moral reckoning, and it is one of the finest horror novels of 2026.
Nightborn Review: Hanna Bergholm’s Finnish Folk Horror Nightmare
Hanna Bergholm follows Hatching with Nightborn, a Finnish folk horror about a mother who cannot love her own baby. Hope Madden’s review looks at how Seidi Haarla and Rupert Grint keep the film’s sympathies shifting. The creature effects wobble, but the nightmare holds.
Son of Sara Review: Houston Bone’s Sly Satanic Pregnancy Horror
Son of Sara takes the well worn Satanic pregnancy formula and finds fresh life in it, thanks to Houston Bone’s patient direction and a cast who make even familiar scenes land. Chloe Van Landschoot and Tymika Tafari sell the relationship at its centre, and the film’s quiet change in theme upends the expected ending. An indie horror film that spends its small budget wisely and gets you out in under ninety minutes.
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Tinsman Road Review: Robbie Banfitch’s Found Footage Grief Horror
Robbie Banfitch follows The Outwaters with Tinsman Road, a found footage horror about a missing sister, a grieving mother and a camcorder that cannot quite capture what is out there. Jim McLeod reviews the New Jersey grief horror ahead of its UK digital release through Blue Finch Films.
Marla by Jonathan Janz Review: A Slow-Burn Gothic Horror That Bruises
Jonathan Janz turns a small-town urban legend into a slow-burn gothic nightmare about grief, guilt and the girl everyone was too scared to actually see.
Lost In Found Footage by Joey Powell, Turns A Horror Fan Into The Final Girl
Joey Powell’s Lost in Found Footage traps a horror vlogger inside the cursed film he sneaked a camcorder into. Abby Wolf reviews a metafictional horror novel that asks whether knowing every found footage trope actually keeps you alive in Hope Hollow. Out from Mad Axe Media on 11 August 2026.
Re-run of the Repressed (or why every franchise monster you’ve ever loved ends up as a dog on a leash …) by Philip A. Suggars
Philip A. Suggars charts the four phase decline of horror franchise monsters, from the pure terror of Alien: Earth and Michael Myers to the merch shelf and the leash. Drawing on Freud, Robin Wood, and Mark Fisher, he asks why The Thing and It Follows stay frightening while everything else gets a Funko Pop. The domestication of horror monsters, it turns out, is exactly what the culture industry does best.
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