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.
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.
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.
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 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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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.
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.
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.
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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Neil Williamson turns the family bequest into the scariest thing you own. Some objects come with … Hand-Me-Downs by Neil Williamson: The Horror You InheritRead more
A.J. Vane argues that ambiguous horror is not a cop-out but the hardest thing the genre can do. Drawing on Robert Aickman, Shirley Jackson and Picnic at Hanging Rock, this guest essay defends the unexplained ending and the fear that keeps working long after the book is shut. From the author of The Night Fair.
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Josh Hanson’s The House on Blood Street is literary haunted house horror with a giallo heart, a story about obsession and grief that makes the house feel like yours before it takes everything away. Here is my full review of the Black Crow Books release, out 29 July 2026.
