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With the start of the new year comes the promise of new fear! 2023 is slated to the brim with the return of legacy Horror franchises. This is hardly a surprise considering 2022’s box office results showed exactly why Horror is THAT girl. Here’s a look at some of the most anticipated... M3GAN A good killer can do a cute two-step. A GREAT killer can hit you with a body roll. Our newest bestie Megan caught the internet’s eye with her dance moves upon her trailer debut. Throw in a co-opt from Megan Thee Stallion herself and it’s hard not to be excited for Blumhouse’s latest Sci-fi Horror. Release: January 6, 2023 KNOCK AT THE CABIN Director M. Night Shyamalan hopes to have audiences knocking at theater doors with this movie centered on an LGBTQIA2S+ family facing an unthinkable ultimatum. Dave Bautista, Nikki Amuka-Bird, Jonathan Groff, and Rupert Grint star in the filmmaker’s first theatrical outing since 2021’s Old. Release Date: February 3, 2023 SCREAM VI Ghostface is taking the next train from Woodsboro to Grand Central Station and bringing 2022’s Scream cast along for the ride. The highly anticipated sequel is said to be the first without star Neve Campbell, despite rumors to the contrary. Timing could not be better considering Jenna Ortega is hot off the buzz from her record-smashing new series Wednesday. Release: March 10, 2023 EVIL DEAD RISE The book of The Evil Dead mythology isn’t closed yet! Although fans of the franchise have had Showtime’s Ash Vs. The Evil Dead to hold them over, Evil Dead Rise marks the series’ first theatrical outing in a decade. Release: April 21, 2023 INSIDIOUS: FEAR THE DARK Patrick Wilson is opening the door into The Further for his directorial debut with Insidious: Fear the Dark. This fourth installment in the series will be a direct sequel to Insidious: Chapter 2. The wait for this project since its announcement in 2020 has been…well, Insidious. Release: July 7, 2023 THE HAUNTED MANSION Disneyland’s famed 999 ghosts are headed to the big screen again, this time sans Eddie Murphy. Tiffany Haddish, Lakeith Stanfield, and scream queen Jamie Lee Curtis are just a few of the big names attached to this adaptation of the iconic ride by Bad Hair director Justin Simien. Release: August 11, 2023 THE NUN 2 Don’t start Nun, won’t be Nun. Thankfully, James Wan’s Conjuring universe is always feeding those hungry for Horror. This sequel to The Nun extends the Farmiga sisters’ shared role with the addition of Storm Reid (The Invisible Man) in the cast. Release: September 8, 2023 THE EXORCIST How do you follow your own act after revitalizing one of the most prolific Horror icons? For director David Gordon Green, the answer is clear: tackle some of the controversial and impactful material in the genre. The Halloween Ends filmmaker is reteaming with Blumhouse to bring an original Exorcist reboot just in time for Halloween 2023. Release: October 13, 2023 SAW X Do you want to play a game? Again?! After rebooting the Saw universe with 2021’s Spiral, Saw X is set to return with Horror’s most notorious gamemaker played by Tobin Bell. Release: October 27, 2023 HOWDY, NEIGHBOR Sometimes that cup of sugar isn’t worth meeting your neighbor. This screenlife feature explores the growing pains of childhood fame through a Horror lens. Considering their backgrounds on Disney Channel, director Allisyn Snyder and writer Matthew Scott Montgomery are set to bring this original story to life in 2023 starring fellow Disney alumni like Debby Ryan and Alyson Stoner. Release: TBA PICTURE This upcoming short from director and writer Sade Sellers (Afro Horror, Deadly Dispatch) proudly bears the title as the first film produced by Horror in Color. Follow Picture on IG for casting updates, BTS, and more! Release: TBA

On Wednesdays, we wear black. Apparently, so do millions of viewers who watched the latest delve into Addams Family lore: Wednesday. According to Netflix’s data, the series surpassed Stranger Things to set the record for the most hours viewed in a week for an English language series on their platform. One week later, the show broke that record with over 400 million hours viewed in a single week. Following that impressive feat, the series garnered multiple Golden Globe nominations, including one for Best Television Actress in a Musical or Comedy Series. Jenna Ortega’s (Scream, X) pigtails are riding her wave of surging stardom. Tik Tok gave her character’s dancing scene viral attention after pairing Ortega’s polarizing moves that pay tribute to goth culture with Lady Gaga’s (American Horror Story: Hotel) own song, Bloody Mary. Other elements that contributed to the show’s success include Executive Producer Tim Burton’s (Beetlejuice) involvement, the story’s “aging up” of Wednesday as a teenager, and the reimagining of the Addams Family as Latinx characters. Despite its undeniable success, not everyone is giving Nevermore Academy a passing grade. Many have voiced criticism about the show’s ambiguous racial dynamics. None of the Black characters in the ensemble exist without starting off as an adversary to Wednesday. In one scene, a Black DJ announces the time as “eleven o’clockity.” Another widely discussed moment occurs when Catherine Zeta-Jones’ (The Haunting) Morticia tells the fictional town’s Black mayor that men like him “will never know what it’s like to not be believed.” Add in Burton’s own track record with diversity and it’s easy to understand the implied narrative that Wednesday failed its Black characters. When The New York Post reached out to Burton’s representative for comment on the show’s handling of racial undertones, Mike Simpson of WME responded with a jarring comment of his own. “I’m not forwarding a comment request this silly to Tim. However, apparently Daylight Savings Time (DYT) is racist. Wednesday was shot in Romania where DST is observed. Maybe that’s a better angle,” Simpson concluded. Only time will tell what Wednesday’s legacy ultimately looks like.

Off with his head! It’s been 3 years since Megan Thee Stallion’s Hottieween series debut. Since then, Megan has become a global superstar with her love of Horror front-and-center. In 2021, she revived her Hottieween brand with a LA Halloween party that boasted guests such as Cardi B and Normani. Fast forward to late last month when Megan took things to the next level with a short slasher film serving as the invite to her annual celebration. This new short features Miss Stallion as an original character who takes vengeance on toxic men by taking off their heads and freeing their partners. Blood is in no shortage here, even going so far as drenching a wedding cake in one of the more clever kill scenes. Take a look at the gory but gorgeous visuals below.

Impossible things are happening every day. Superstar Brandy is returning to Horror for the first time since her role in 1998’s I Still Know What You Did Last Summer. Fresh off of a huge year that saw the star return to TV and music, Brandy teased her involvement in a new movie via a video on her social media. Shortly after, Variety broke the news that the singer and actress would be starring in A24’s upcoming Horror feature The Front Room. Further details are scarce, but this psychological horror film is about a young pregnant couple being forced to take in an ailing stepmother with a mysterious past. “Thank you for this amazing opportunity to work with this unbelievable cast, crew, and the studio everyone wants to work with and of course my Eggers fam,” the star shared. Fans of the 90s sitcom Moesha (starring Brandy) may even remember an episode that satirizes I Still Know What You Did Last Summer titled I Know What You DId in the Third Grade. The Front Room will serve as the directorial debut of Max and Sam Eggers. If the last name is familiar, that’s because their older brother is Robert Eggers, the director and writer of films like The Witch and The Lighthouse. No release date has been announced as of yet. One question though, Brandy, can we get a soundtrack with it?!

Fall better get here in a snap. After having a phenomenal star-making year so far with roles in Scream (2022) and X, Jenna Ortega is putting on pigtails and heading back into the macabre as the star of Tim Burton’s Wednesday series. Focusing on Wednesday Addams of the Addams Family, the new Netflix show will follow the teenage ghoul entering her first year at a mysterious boarding school. Check out the first quick teaser showing Jenna Ortega’s Wednesday with Thing. Similar to what the streaming giant has done with franchises like Chilling Adventures of Sabrina, the new show will be more adult in nature than past iterations of the franchise. Rounding out the family tree is Catherine Zeta Jones (The Haunting) as Morticia Addams, Isaac Ordonez (A Wrinkle in Time) as Pugsley, George Burcea as Lurch, and Luis Guzmàn (The Bone Collector) as Gomez. As we shared early last year, Burton (Dark Shadows, Sweeney Todd: The Demon Barber of Fleet Street, Beetlejuice) is helming the series for Netflix. His signature imagery has captured imaginations of all kinds of audiences despite his own disappointing track record (and opinion) regarding diversity. However, this new project is the first to cast predominantly Latinx actors as the iconic Addams. Fans quickly shared the viral trailer for the series that debuted (appropriately) on a Wednesday. Teased as a “nightmare full of mystery, murder, and mayhem,” keep an eye out when Wednesday streams on Netflix this fall. Enjoy the full bloody trailer for Wednesday below:

Practice those snaps because Wednesday Addams is back in rhythm. The pigtailed Addams Family character is getting her own shine in a solo spin-off series for Netflix. Aptly titled Wednesday, this show will focus on the young teen’s supernatural sleuthing at Nevermore Academy. Beetlejuice director Tim Burton is confirmed to direct. While this pairing might seem like an inevitable match made in aesthetic-heaven, it’s worth noting that Burton infamously rejected calls for diversity in a 2016 Bustle interview. He told the magazine, “...things either call for things, or they don’t...I grew up watching blaxploitation movies, right? I didn’t go like, OK, there should be more white people in these movies.” Hopefully Burton’s apathetic attitude towards diversity is countered by Netflix, who recently published a study examining internal diversity gaps. Latinx people, LGBTQIA+, and people with disabilities all faced the widest margins of disproportionate representation. In reaction to their findings, Netflix pledged $100 million dollars into the Netflix Fund for Creative Equity to create resources for underrepresented communities. Who would you like to see cast as Wednesday Addams?

Warning: Spoilers Ahead Since Blumhouse’s They/Them premiered on Peacock, conversations around it have lit the internet ablaze. Queer viewers and critics have been especially engaged due to the wide and subversive aim of this project. Considering the current climate of Anti-LGBTQIA2S+ legislation, screenwriter John Logan (Sweeney Todd: The Demon Barber of Fleet Street, Alien: Covenant) decided to pursue this slasher story set in a gay conversion camp as his directorial debut. Most unique is the film’s authentically Queer cast in a Queer written, produced, and directed story. Add in the all-too-real subject matter and the result is a rarity across the industry. They/Them (THEY. SLASH. THEM.) navigates triggering territory through the comedic horror lens that its genius title implies. Conversion “therapy” has largely been exposed for the pseudo-scientific and abusive practice that it is. Regardless, only 20 states have legislation actively banning this abuse on minors. According to the Movement Advancement Project, a glaring 32% of LGBTQIA2S+ live in states with no laws or policies protecting them against conversion therapy. It's a heartbreaking reality for the youth that resemble the teenage characters in this film. These young actors are eclectic, charismatic, and vulnerable enough to carry LGBTQIA2S+ narratives in believable stride. Theo Germaine as non-binary teen Jordan brings life to dialogue that might otherwise feel one-dimensional. Quei Tann also brings a spirited energy to her role.   Austin Crute and Monique Kim standout with physically comedic performances. Queer sex scenes serve as a reminder of They/Them’s target demographic. Shout-out to Kim’s Veronica for name-dropping Jason Voorhees before getting intimate. Serial killers always seem to be the best aphrodisiacs at summer camps. Another memorable scene comes in the form of a musical sing-along to Pink’s “F*ckin’ Perfect.” Admittedly, it is a reach to believe a room of Gen Z teens know every word to a millenial hit in this fun if misplaced moment. Kevin Bacon (Friday the 13th, The Hollow Man) makes his long awaited return to horror as the enigmatic camp owner - Owen Whistler. His teachings insist that violence is within male nature whereas docility is inherently female. They/Them is careful not to attribute this morality to any one religion, making its threat universal. In reality, most similar institutions are backed by Christian beliefs. Imagery of birds feeding on smaller birds adorn the camp walls, representing the trauma enacted by these predatory adult counselors. Whistler firmly declares, “I am a man of respect here.” Therein lies the most unsettling truth of the film. These types of abusive, oppressive, cis, white, straight men will always boast respect and influence somewhere. Despite progressive intentions, They/Them ultimately suffers from mixed messaging. Physical torture sequences enter “trauma porn” territory, making it harder to justify for an LGBTQIA2S+ demographic. Guised under a cleverly slashed mask, the killer’s minute backstory still makes them a relative stranger by the time credits roll. This movie’s brand of redemption is a little too clean-cut to really stab into satisfying terror. Only the unequivocally bad (the counselors) face death and torment. No real high stakes are placed on any human death. The most upsetting kill by far happens when Duke the dog faces the end of a shotgun. Germaine’s Jordan feels righteous for choosing not to murder Whistler, taking away any sense of catharsis from the counselors’ deaths. Allyship itself is put into question when Jordan states, “No one needs to save me.” On the contrary, allyship is often crucial to Queer liberation and autonomy, as exemplified when Tann’s Alexandra depends on an empathetic counselor in order to get her medication. At its worst, They/Them aims for Queer viewers but misses its mark and lands as a piece better suited for cis, straight audiences. At its best, it is the beginning of a long-overdue conversation surrounding the lack of protection we offer young people and their identities.

Octavia E. Butler’s genre-bending novel Kindred is being reimagined for a new FX series. “Zola” filmmaker @Janicza Bravo will be directing the pilot episode for the adaptation. “Watchmen” alum Branden Jacobs Jenkins is signed onto the project as both a writer and executive producer. Since its release in 1979, Kindred has influenced generations of genre writers. The book follows a woman traveling across time in an effort to unravel family secrets. Will you be tuning in?

*WARNING: SPOILERS AHEAD* 2019’s Us left Jordan Peele fans praying for another bloody miracle. Nope is the long-awaited answer. Get Out and Us boasted historic success with February release dates, but this film aimed at an ambitious summer release - and for good reason. Nope sucks you into a chilling blockbuster of mammoth proportions and spits you out left to wrangle with what it means to be a spectator. Two especially compelling performances carry the heart of Nope. The first is Daniel Kaluuya’s man of few words, OJ. His glossy eyes lead their own masterclass on body language. The second performance? Baby, that’s Keke Palmer. From the moment she runs into frame, she commands unwavering attention. Her portrayal as OJ’s LGBTQIA+ sister is undeniable and energizing. Keith David (The Thing, They Live) makes a memorable return to Horror as Otis Haywood Senior. All three characters are descendants of the first Black man to ever be exploited on moving film. Exploitation is violent, bloody, and loud. When Gordy the chimp revels in blood in front of an applause sign, that much is clear. Seconds in, Otis looks up, only to have a falling quarter slice through his eye and leave him for dead. This analogy frames upwards Black mobility as being pierced by capitalism. A bloodied quarter and the UFO creature it fell from seemingly represent the white construct of capitalism that is historically built upon Black and Indigenous labor. Further supporting this, only money and material things survive the path of destruction set upon it. Capitalism is the very filth thrown at those exploited, echoing Peele’s opening quote. “I will cast abominable filth upon you, make you vile, and make you a spectacle.” Peele loves a foreboding Bible quote. It’s ironic to imagine a purveyor of dark imagery scanning Old Testament pages for inspiration to conjure new nightmares. His strongest suit is tethering the fantastically frightening to grounded conflict of human morality. The genius of Nope is all in the details. In a time when mass gun violence and public health are some of our most frequent spectacles, Keke’s Emerald and Brandon Perea’s Angel offer rhetoric reflective of apolitical and moderate attitudes. When OJ contemplates a future survival strategy, Angel counters, “Read the room.” “...Nobody wanna talk about that,” Emerald adds. Another key (& Peele) detail comes into play when Steven Yeun’s Ricky greets Emerald and OJ into his office with, “Su casa es mi casa.” While clearly intended to resemble the phrase “Mi casa es su casa” or “My house is your house,” Ricky’s words instead translate into “Your house is my house.” This slight change reflects Ricky’s distorted boundaries after the trauma of his encounter with Gordy that took place on a house set broadcasted to households worldwide. Even the way Ricky recalls this incident exhibits his lack of ownership, showing that his trauma belongs to pop culture spectators. The claustrophobic depiction of a crowd being savagely devoured by the living UFO is sure to stay with moviegoers long after the credits. So too will Michael Wincott’s chilling recitation of The Purple People Eater. Another standout sequence pairs blood rain against a haunting rendition of Corey Hart’s Sunglasses At Night. However, the most frightening and gruesome moments of Nope belong to Gordy. A creation of CGI and motion capture, Gordy’s ferocious violence cutting through silence is terror personified. These scenes recall a real-life tragedy covered on Oprah in 2009. Each viewer is challenged in their role watching Nope. You’re seated, popcorn in hand, staring at mass death and animal exploitation. It’s no coincidence that the triggers for outbursts from Lucky and Gordy are reflective surfaces. When confronted with their truth - exploitation - these creatures lash out. The same is true for the living UFO when reflected in someone’s eyes. OJ attempts to wrangle this creature in the climactic third act. Emerald finishes the creature off before Peele drives his point home by having the media arrive first on the scene before the police. While the design of the extra-terrestrial feels original, it evokes fantastical wonder in contrast to the gritty, dark tone set throughout the first two-thirds of the film. The finale may feel disjointed for that reason, every bloody miraculous detail that richens Nope’s two hours and fifteen minutes are ones worth celebrating.

It’s hard to believe that just 5 years ago, most audiences would never associate Jordan Peele with Horror. Peele was most known as half of the Key and Peele comedy sketch series at the time. Half a decade later, Peele is a revered director whose production company is responsible for critically and commercially celebrated Horror projects (Get Out, Us, Lovecraft Country, Candyman, etc.) as well as the current #1 movie in the country, Nope. Peele’s work is accessible and visible with major studio backing, so his films have served as many audiences’ first Horror experience. Recently, artist Adam Ellis praised the director by making a statement a little too bold for Peele’s liking. Ellis went to twitter to share his viewpoint stating, “I know this is a hot take, but at what point do we declare Jordan Peele the best Horror director of all time? Can you think of another Horror director that had 3 great films, let alone 3 in a row? I can’t.” Ellis’ controversial statement caught the attention of none other than Peele himself. “Sir, please put the phone down I beg you,” he responded via Tweet. “Sorry. I love your enthusiasm but, I will just not tolerate any John Carpenter slander!” This interaction went viral, with movie fans joining in on the conversation. Many cited Wes Craven (Nightmare on Elm Street, Scream, The Hills Have Eyes,) John Carpenter (Halloween, The Fog, The Thing,) and George A. Romero (Night of the Living Dead franchise) as fellow Horror directors with at LEAST 3 great films. James Wan (Saw, The Conjuring, Insidious,) Sam Raimi (The Evil Dead, Evil Dead II, Army of Darkness,) and Alfred Hitchcock (Psycho, Vertigo, The Birds) definitely have streaks of their own. Which Horror directors would you add to the list?

As the release of Nope nears, Universal Studios Hollywood has revealed plans to bring the “Jupiter’s Claim” theme park set to life. Most of the plot for Jordan Peele’s latest directorial effort has been shrouded in secrecy, similar to 2019’s Us. However, audiences have caught a glimpse of the “Jupiter’s Claim” set in multiple trailers for the movie. Recently, a website (JupitersClaim.com) appeared for the fictitious property. When a user stays on the site long enough, chilling music crescendos as dark, dismal colors devour the screen. Now, Universal Studios Hollywood is getting in on the fun with the actual set being added to their Studio Tour attraction. Original props and detailing are being used to meticulously recreate this set on the historic Universal backlot. Nope is in good company on the tour, sharing space with the sets of Frankenstein, The Creature from the Black Lagoon, Jaws, and Psycho.  This addition makes history as the first time that a film set has been added to the attraction the same day as its film release. Nope’s production. Catch Keke Palmer, Daniel Kaluuya, Steven Yeun, and more when Nope debuts in theaters on July 22nd.

Pay Neve or watch her leave. Legendary Scream actress Neve Campbell made a clear statement after rumors circulated regarding her involvement in next year’s reboot sequel. “Sadly, I won’t be making the next Scream. As a woman, I have had to work extremely hard in my career to establish my value, especially when it comes to Scream. I felt the offer that was presented to me did not equate to the value I have brought to the franchise,” Campbell shared to Variety. Since 1996’s Scream, not a single entry in Wes Craven’s meta slasher series hasn't featured Campbell as the iconic Sidney Prescott character. Dimension Films and The Wayans brothers even crafted a successful franchise (Scary Movie) around Anna Farris’ Cindy Campbell, a direct parody of Campbell’s Sidney Prescott character. Fellow genre icon Jamie Lee Curtis (Halloween) has also been vocal about not seeing big paydays from her own work in Horror. Scream co-stars such as Matthew Lillard (Scooby Doo) and Jasmin Savoy Brown (Yellowjackets) have shown public support for the actress in her decision to walk away. While this may not be the development most fans wanted to hear, Campbell assures that this was no easy choice. “It’s been a very difficult decision to move on. To all my Scream fans, I love you. You’ve always been so incredibly supportive to me. I’m forever grateful to you and to what this franchise has given me over the past 25 years.” Spyglass and Paramount Pictures have yet to publicly address the issue. Earlier this year, the franchise’s reboot proved to be a commercial success in an unsteady time for most theatrical releases.

WARNING: MAJOR SPOILERS AHEAD With posters featuring a menacing face buried in shadows, Alex Garland’s Men reveals itself to be just as mysteriously tormenting as it promises. Like Annihilation and Ex-Machina, Garland pulls double duty here as writer and director. On display are both the strengths and limitations of having a man pen his own portrayal of toxic masculinity. Men poses the question: was the Garden of Eden just a trap? Morbid nuance and religious imagery devour fill every devastatingly gorgeous frame. Rob Hardy’s cinematography and Mark Digby’s production design illustrate a grounded reality that eases into the supernatural. Matching its vibrance is the film’s score and sound design, piercing through tragedy and the fantastical. If Men came with trigger warnings, the list would scroll like credits. Such is an effect of the movie’s ambition. Jessie Buckley nimbly carries emotional weight as Harper, a woman attempting to heal when her experience is terrorized by…you guessed it: men. Paapa Essiedu holds firm on his short screen time as the center of Buckley’s trauma. Rory Kinnear is literally a man of many faces in this nightmare scenario, playing almost every male character. Buckley’s clash with every iteration of Kinnear warns that all men pose the same threat. Police are depicted truthfully in Men. Buckley’s Harper realizes that even a woman police officer is ultimately a tool of patriarchal malevolence. Another poignant moment occurs during Harper’s confrontation with a vicar who villainizes her body. Garland’s ambiguity proves purposeful yet a double-edged sword of sorts. While achieving diverse interpretations, vague subtext also allows for problematic dichotomizing. When a teen disguised in a woman's mask is quick to curse at Harper, it’s hard not to wonder if there’s an underlying current of TERF-like transphobia at play. Vanity Fair was among the outlets noticing a “tinge” of Men feeling “gender critical.” Horror audiences will devour Garland’s masterful gore. He depicts similar violence in entirely separate tones. Once in tragedy and then again in titillating shock. However, the body horror most central to Men is a grossly effective birthing scene symbolizing generations of toxicity breeding itself. The irony of men crying to a woman over birth is surely not lost. These characters all bear the same wound, representing generational blame against women in the tradition of original sin. A dandelion weed that easily spreads and plants itself is a brilliant analogy for toxic masculinity. Garland’s portrait of the male threat is enjoyably demented despite feeling underdeveloped at times. Regardless, the conversations around Men have fruitful potential in a time when men in power are legislating against all women. Queer women. Trans women. Women with uteruses. Oh girl, we’re plucking weeds tonight.

Hayden Panettiere’s Kirby is warming up those vocal chords for another Scream. Over a decade after Scream 4 (2011) failed commercially; its main character is getting one more stab at the franchise. According to the Hollywood Reporter, Panettiere just closed a deal to return for next year’s Scream installment. Ghostface fans have been begging for this development since the announcement of Radio Silence’s reboot that hit theaters last January. Reactions to this casting update have been overwhelmingly positive. Many hold high regards for Scream 4 out of respect for Wes Craven in his final directorial pursuit before his passing in 2015. The time to manifest those fan theories is NOW. Twitter user @somehaginblack gets it: Panettiere joins the returning cast of Scream (2022) such as Melissa Barrera, Mason Gooding, Jenna Ortega, and Jasmin Savoy Brown. Who else from the Scream 4 cast do you want to see make a comeback next year?

*WARNING: THIS REVIEW CONTAINS SPOILERS AND IS INTENDED FOR MATURE AUDIENCES ONLY. TW:// RAPE, SA* “Is it possible to make a good dirty movie?” Director Ti West answers that question in his original slasher, X. Despite a purposefully familiar aesthetic, the concept of a crew secretly filming an adult film on an elder couple’s property is original enough to warrant a hooked audience. Those looking for a campy sex romp will instead find a reverent exploration of aging and art that excitedly lives up to its creative ambitions. Brittany Snow erases any memory of Prom Night and replaces it with Bobby-Lynne, who leads the film’s raciest moments. Making his genre debut is Scott Mescudi (rapper Kid Cudi.) His role as a sexually brazen war veteran srikes as both memorable and charismatic. Jenna Ortega brings wide-eyed sincerity and her signature scream last heard in January’s Scream. Mia Goth is a versatile wonder pulling double duty as the violently jealous Pearl and deliciously fierce Maxine. X displays a remarkable amount of skin, semen, and blood without treading gratuitous territory. West’s camera never lingers on these elements for long. One particular sex scene is heard amid closes-ups of recording equipment, playing with the separation of art from reality. Sexual assault and rape get close-ups and camera-time, but thankfully not long enough to feel exploitative In fact, the lack of exploitation keeps the film’s tone modern, along with its sex-positive themes. It’s invigorating to find no moral degradation behind these characters’ sexual agency. At long last, sex workers are centralized without insecurities or trauma rationalizing their profession. Only terribly corrupt characters (Goth’s Pearl and Ortega’s Lorraine) pass damning judgment. What arises as true horror is the construct of morality itself. Sadly, X briefly (and needlessly) includes police. Since 2020, Hollywood has attempted to remedy calls for glorified portrayals of police by filling those roles with Black actors. It was mentioned in Horror in Color’s review for A Quiet Place Part II, so it must be restated: police did not serve any purpose in this movie. X’s musicality, however, is a true joy. From Snow’s “Landslide” cover to Pearl’s dance in blood-soaked headlights, music accentuates every underlying tension. Pearl’s movement is gentle, soothing, and brilliantly gratifying. Tyler Bates and Chelsea Wolfe crafted a titillating score that stands on its own against classic Horror features. Every part of this 70s nightmare feels relevant today. Even Howard, one half of the elderly white couple, can be argued as an allegory for the docile moderate who understands rationality yet defies it to please those around him. Alligators circling a naked Maxine allude to the predatory lens through which men often view women. Even the flash of a “65 cent” gas sign stabs at viewers today. Ouch. X makes a case for itself as a more worthy Texas Chainsaw Massacre sequel than its newest Netflix counterpart. Classic Horror imagery (Psycho, TCM, etc.) is sprinkled throughout the short running time. West has achieved a guiltless “X factor” that exemplifies how “good” and “dirty” belong together. Let’s hope that his prequel Pearl continues to straddle that line between the two.

2021 saw an onslaught of fresh Horror appear on screens both big and small. Thankfully, some prestigious institutions have gotten better at recognizing genre projects like Yellowjackets and Are You Afraid of the Dark? Enjoy this list of Horror-related nominations to help you navigate awards season. Which Horror film or show do you think deserves recognition this year? Screen Actors Guild Awards Cate Blanchett - Nightmare Alley - Best Supporting Actress Writers Guild Awards Yellowjackets - Best Drama Series What We Do in the Shadows - Best Comedy Series Yellowjackets - Best New Series American Horror Story - Original Longform Series Midnight Mass - Original Longform Series Them: Covenant - Original Longform Series Art Directors Guild Awards What We Do in the Shadows - Best Half Hour Single Camera Series Nightmare Alley - Best Period Feature Film Candyman - Best Contemporary Feature GLAAD Media Awards Chucky - Outstanding New TV Series Yellowjackets - Outstanding New TV Series Fear Street Trilogy - Outstanding TV Movie Directors Guild Awards Jeff Wadlow - Are You Afraid of the Dark? - Outstanding Directorial Achievement in Children’s Programs Academy Awards Nightmare Alley - Best Picture Nightmare Alley - Best Costume Design Nightmare Alley - Best Cinematography Nightmare Alley - Best Production Design VES (Visual Effects Society) Candyman - Outstanding Supporting Visual Effects in a Photoreal Feature Last Night in SoHo - Outstanding Supporting Visual Effects in a Photoreal Feature Nightmare Alley - Outstanding Supporting Visual Effects in a Photoreal Feature The Stand - Outstanding Visual Effects in a Photoreal Episode Critics Choice Super Awards Candyman - Best Horror Movie Last Night in SoHo - Best Horror Movie Malignant - Best Horror Movie The Night House - Best Horror Movie A Quiet Place Part II - Best Horror Movie Titane - Best Horror Movie Yahya Abdul Mateen II - Candyman - Best Actor in a Horror Movie Nicolas Cage - Willy’s Wonderland - Best Actor in a Horror Movie Dave Davis - The Vigil - Best Actor in a Horror Movie Vincent Lindon - Titane - Best Actor in a Horror Movie Cillian Murphy - A Quiet Place Part II - Best Actor in a Horror Movie Sam Richardson - Werewolves Within - Best Actor in a Horror Movie Barbara Crampton - Jakob’s Wife - Best Actress in a Horror Movie Rebecca Hall - The Night House - Best Actress in a Horror Movie Anya-Taylor Joy - Last Night in SoHo - Best Actress in a Horror Movie Thomasin McKenzie - Last Night in SoHo - Best Actress in a Horror Movie Agathe Rousselle - Titane - Best Actress in a Horror Movie Millicent Simmonds - A Quiet Place Part II - Best Actress in a Horror Movie Marina Marzepa (performer) and Ray Chase (voice) - Malignant - Best Villain in a Movie Tony Todd - Candyman - Best Villain in a Movie Be sure to stay tuned as we update this regularly with nominees and winners.

Warning: spoilers ahead After years of silence, a new Scream emerges loudly above other entries in this revered franchise. Ironically, a creative team named Radio Silence is behind the noise. Filmmakers Matt Bettinelli-Olpin, Tyler Gillett, and Chad Villella (V/H/S) bring a fresh, sharp tone that continues Kevin Williamson and Wes Craven’s love letter to horror. Scream is drenched in meta, sometimes to its own cheeky detriment. Regardless, the trio succeeds in making Ghostface the scariest he’s been since 1997’s Scream 2. Long gone is the clumsy killer from Scream 3 and 4. Ghostface’s menacing aura was a casualty in the balancing act of comedy and horror in those features. Gory kills reveal a pensive murderer echoing 1996’s original threat. That’s not to say there aren’t growing pains bringing this ghoul into 2022. Similar to the vlogging in Scream 4, distracting technology hogs up screen time. Let’s not even get into the ridiculous red light under Ghostface’s hood. Despite this, Woodsboro seems to be one of the last places on Earth with a landline. However, this movie’s biggest revelation is the person who answers that very phone. Jenna Ortega is a sensational force. Melissa Barrera’s Samantha is clearly poised to be the new heroine, but it is Ortega’s performance that anchors each scene. Her piercing scream is the cherry on top, signaling the rise of a new scream queen. Considering Ortega’s casting in Tim Burton’s Wednesday Addams series and A24’s X, audiences definitely haven’t seen the last of her. Scream finally lands a Queer character with Jasmin Savoy Brown’s Mindy. Legacy fans should appreciate Skeet Ulrich’s return as the infamous Billy Loomis. A sentimental Dewey (David Arquette) and Sidney (Neve Campbell) once again deliver warm nostalgia. Granted, a police hero as a martyr in a POC-led film feels like a crime itself. Speaking of crime, Courtney Cox’s terrifying Scream 3 bangs even get a shout-out this time around. Don’t worry, we won’t show them. Just kidding. Early scenes with Sam and Billy hint at a larger, unfulfilled theme of mental health. An attempted resolve simplifies Sam as a “final girl” with an unhinged edge. On the opposite end, Mikey Madison deliciously devours physicality and snark in the third act’s reveal. Madison’s strongest efforts still can’t help the fact that Ghostface’s unmasking is not as satisfying or fun as the journey leading up to it. Thankfully, that journey lasts most of the movie; and it’s one that would make Wes proud.

Superstar rapper Kid Cudi is making his horror film debut in the first trailer for X. Set against the backdrop of Texas, X follows the secret production of an adult film in the 70s. When a property owner discovers the young group’s project, all bloody hell seems to break loose. Cudi, going by his real name Scott Mescudi, first dipped into the genre before with a role in an episode of Creepshow in 2019. Mescudi is among co-stars that boast some huge horror credentials themselves. Brittany Snow (Would You Rather?, Prom Night,) Jenna Ortega (Scream,) Mia Goth (Suspiria,) and Martin Henderson (The Ring) round out the cast for this upcoming A24 release. Director Ti West (V/H/S/, The Sacrament) has an impressive catalogue as well, directing episodes of the controversial series Them recently. Fans have been quick to notice visual references similar to Texas Chainsaw Massacre. Check out the full trailer and let us know what YOU think. TW/ violence, assault

Candyman, meet the little gold man. Nia DaCosta’s slasher sequel is in the running for an Academy Award thanks to its polarizing music. Every year, the Academy of Motion Picture Arts and Sciences reveals their shortlists for Oscar categories. Essentially, it’s a narrowed list of films in the running for coveted nominations. Out of only 15 features, Candyman stands as the only Horror fare making the list for Best Original Score. Composer Robert Aiki Aubrey Lowe’s music has been widely received as a highlight of the project. Tackling Candyman’s music seemed no easy feat, as the 1992 original’s music is widely beloved amongst fans. Encanto, The Green Knight, and King Richard are just a few of the other titles vying for a nod in the same category. Genre features are generally overlooked in “prestigious” circles, with notable exceptions such as Get Out, The Omen, and The Exorcist. Final Oscar nominations are set to be announced on the morning of February 8th, 2022. Take a listen to the score below and tell us if you hear sonic honey.

Final Destination (FD,) the franchise that made us all think twice before getting on a roller coaster, is getting ready to make a huge return. This sixth installment has no official title, but it’s creative team is already locked in. Sheila Hanahan (Breaking In) is returning along with Craig Perry to produce. Perry boasts the title of being the only producer to work on every FD film since the original’s debut in 2000. Writer Lori Evans Taylor (Wicked Wicked Games) is co-penning the script for HBO Max. There’s no word quite yet on whether FD6 will serve as a mere sequel or entire reboot. Joining the team as a producer is director Jon Watts, who has been riding high on the waves of success surrounding Spiderman: No Way Home. FD fans can rest assured that Watts has Horror credentials of his own, having led projects such as The Scariest Show on Television (2008) and Clown (2010.) These movies usually follow a group of strangers who attempt to cheat death twice. Thanks to its unique formula, the series easily lends itself to stand-alone sequels. 2009’s The Final Destination changed all that with an ending that threaded every film in the franchise. Which impractical fears did you get from watching this series?