For an old soul like mine, it’s mid level on the shock-o-meter. My dark teenage days watching VHS nasties, discovering such fun pics as THE KILLING OF AMERICA and SALO, OR 120 DAYS OF SODOM, or walking in on some guys watching some very specific ‘Euro-porn’, means I’m largely desensitised to warty dicks, what lives in skin folds and all manner of bodily secretions. If this is your first walk on cinema’s wild side, have at it, but progress to Adam Rifkin’s THE DARK BACKWARD for a truly inspired transgressive U.S. indie.

Distracted, I began searching for some kind of subtext in Rohal’s dirty-diaper of a film. The first question I pondered was, ‘Why is Vermina being played by a man?’ There’s no doubt it’s a dude in make-up and drag, but she has breasts and, we eventually learn, female genitalia. Is Rohal implying Vermina is transgender? Which doesn’t make sense if Fabian is her son. The film’s morality (and logic) gets murkier when we learn Fabian’s father is a local cop, played by black actor George Sample III (Fabian clearly calls him, “Daddy” at one point). Why a black actor? Is the blister- and shit-covered Fabian the by-product of a mixed-race marriage?

The deeper I let myself dig, the uglier this already ugly film seemed to get. Fabian’s appearance leans close to a brutal distortion of Down Syndrome physiology; the very real struggle that the physically-impaired endure to experience physical love seems a particularly insensitive premise, even for a rape fantasy like F*CK MY SON!; and, in a sequence that can only be construed as the most vile symbolism, Vermina bellows a German chant (“Kinder Brötchen!”) as she slams the oven door on the terrified child.

I don’t know Todd Rohal’s politics. I'm sure he just set out to make an underground movie yuck-a-thon. How some of the audience will apply their own set of values and beliefs to the material is not the filmmaker's problem, of course. Unless the filmmaker is speaking directly to that audience, which I'm certain he's not...

A new chapter in global fan conventions has launched, with the groundbreaking entertainment mega-event HallowScreamCon announcing its residency at Las Vegas Convention Center. The debut show, which will include a vast multi-venue rollout across Sin City, will run October 1–4, 2026.

Three years in development and planning, HallowScreamCon promises a fully immersive fanverse that will celebrate pop culture, fandom, nostalgia, and spectacle. More than just another Halloween convention, it will aim to be a multi-genre fan experience that spans film, TV, games, anime, comics, music, fashion, beauty, stunts, live performance, tattoo and tiki culture and live theatre.

HallowScreamCon is produced by Screen Masters International, a female-founded, independently led company redefining the fan convention landscape. “We’re not here to separate, we’re here to elevate,” says CEO Kelly Warnell. “HallowScreamCon was born out of a love for entertainment, fandom, Halloween, and spectacle—and it’s designed to welcome everyone into the experience.”

Fans will enter a curated world divided into immersive zones, including the Main Stage & Black Catwalk, for cosplay contests, live shows, and major celebrity reveals; ScreamLabs, a pitch zone for creators of original horror, sci-fi, and fantasy IP; The SINema (pictured, right), for screenings of horror classics, cult gems, and premieres; Meet & Greet Graveyard, where celebrity photo ops and panels are staged; Game Over, for horror gaming, esports, VR, and interactive challenges; and, The Crossroads, a hub for tattoos, retro fashion, tiki culture and lowbrow art.

Also planned are glam, gore, makeup artistry, and live transformations; an enclave called Otaku Obscura, for anime, manga, K-horror, and Eastern fandoms; a Paranormal Activity Zone, for ghost hunters, séances, and supernatural lore; an art and animation community centre for comic artists, illustrators and voice actors; The PUNKINS Zone for family-friendly games and daytime fun; Something Wicked, an after-dark playground for 18+ scares and adult content; and The ShriekEasy, a hidden tiki haunt with its own cinematic backstory.

At the heart of the narrative is Countess Shrieky Von Tiki, a cursed 1950s starlet who vanished after sipping a forbidden cocktail called The Final Scream. Her legend lives on in the ShriekEasy, but finding her requires fans to play her game. Starting this fall, a nationwide treasure hunt will scatter HallowScream Coins and cryptic riddles across social media, fandom hubs, and major cities. Solving them will unlock secret show content, prizes, and access.

Early bird tickets will be released October 1st, 2025, exactly one year before the show opens. With a strong waiting list already in place, these are expected to sell out quickly. Fans are encouraged to sign up early, follow the clues, and unlock exclusive early access rewards before general admission opens.

In ‘The Red’, this unforgettable character is hell bent on terrorising the remote town of Axehead, and is set to become a beloved fixture in the international comedy/horror genre. Alongside Rippy, the film features an all-star Aussie cast, including Terminator and Alien legend Michael Biehn, Australian acting royalty Angie Milliken, Mystery Road’s Aaron Pedersen, and rising star Tess Haubrich.

THE RED follows the story of young police officer Maddy (Tess Haubrich; pictured, right), who is determined to live up to her deceased father's legacy. Her courage is put to the test when locals are found brutally ripped to shreds by the zombie kangaroo. As the undead beast leaves a trail of carnage, Maddy, with the help of her eccentric uncle Schmitty (Michael Biehn) and resilient aunt Donna (Angie Milliken), must embark on a high-stakes battle to save the town.

Producer Jessica Butland promises, "A wild ride from start to finish, delivering everything creature feature fans would expect from such an outrageous concept! It also delivers for mainstream audiences with its throw back to classic Aussie slang and pop-culture.”

Director Ryan Coonan says, “THE RED is a horror comedy film influenced by classic creature features such as THE THING, AN AMERICAN WEREWOLF IN LONDON, JAWS and RAZORBACK."

THE RED is distributed in Australia and New Zealand by Radioactive and will be in cinemas across Australia and New Zealand this Halloween.

Leading Oz indie distributor Umbrella Entertainment has partnered with premium streaming service, Shudder, to release writer/director Chris Nash’s slasher hit In a Violent Nature in cinemas in Australian and New Zealand on August 1, 2024.

It is the latest co-branded release between Umbrella and Shudder following their collaboration on past genre titles You’ll Never Find Me, The Demon Disorder and Late Night With the Devil.

Following its premiere in the Sundance Film Festival ‘Midnight’ strand on January 22, In a Violent Nature released theatrically on 1,426 screens in the US and grossed $3 million USD in its first week. Nash’s chilling, gruesome feature debut has been praised as a one-of-a-kind horror experience best enjoyed on the big screen. The New York Times called the film, “an ambitious blend of art house and slaughterhouse.”; Globe and Mail labelled it, “the most thrilling, terrifying, gross and often quite funny reworking of the slasher genre in ages.”

The film follows a resurrected killer, played by the imposing Ry Barrett, who goes on a rampage in the Canadian wilderness, with the slayings presented via the murderer’s perspective. It currently boasts a very positive 84% fresh score on Rotten Tomatoes with audience members reporting scenes so gory and gruesome, that they started to feel unwell in the audience.

Ari Harrison, General Manager of Umbrella Entertainment said: “After the success of the theatrical release in the US, we jumped on a call with Shudder to see what we can do to get this film in ANZ Cinemas. We are very happy to be working with Shudder and bringing it to cinemas on August 1. Horror fans, you do not want to miss the “Yoga Scene” on the BIG screen!”

Emily Gotto, Senior Vice President of Acquisitions and Production for Shudder said: “We are delighted to have Umbrella on as our theatrical partners in ANZ to bring In A Violent Nature to the big screen in the territory. They are passionate supporters of the genre and great partners to IFC Films and Shudder.”

Australia’s new horror and dark genre film event, Dark Nights Film Fest has revealed the esteemed jurors onboard for its first three-day event, to be held at the iconic Randwick Ritz cinema from October 11-13.

The festival is calling for submissions from emerging and established Australian and international filmmakers and screenwriters to help the organisers celebrate the best new independent visions from the more tenebrous corners of cinema.

Feature film judges include rising Latino filmmaker Gigi Saul Guerrero, whose short El Gigante led to a first-look deal with Hollywood horror studio Blumhouse; Australian director Andrew Traucki (pictured, right), whose creature features Black Water and The Reef have garnered critical and commercial success globally; and, prolific U.S. producer and documentarian Sylvia Caminer, whose debut narrative feature Follow Her won Best Film honours at the prestigious Fantasporto festival in 2022.

Short film judges are Natalie Richards, the founder and director of Australian youth horror festival Bloodfest; horror expert and genre academic Dr. Tara Lomax; and movie freak-geek, cinephile and podcaster, Adam Lovett.

Tackling the unproduced screenplays are script guru Anthony Egan, whose work includes such genre pics as Needle, Crush, Wanted, The Devil’s Work, Mortal Fools, and Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau;, author and commentator Emma Westwood, co-host on Triple R's weekly Plato's Cave radio show and author of books that examine David Cronenberg's The Fly, John Frankenheimer's Seconds and James Whale’s Bride of Frankenstein; and, Dr. Adam Daniel, a filmmaker and Associate Lecturer in Communication at Western Sydney University.

The winning feature film and short film screenwriters in the unproduced screenplay competition will be given the opportunity to be mentored by Robbie Miles, an internationally experienced producer and development executive, and an AFTRS alumnus. 

“We want audiences to immerse themselves in an atmosphere that redefines and pushes boundaries and leads them into new, unknown or lesser-known territory. Not just visceral horror, but psychological thrills, dark fantasy, cosmic dread, neo-noir, other kinds of dark genre vibes,” states Dark Nights’ festival director Bryn Tilly (pictured, left).

Stars Lauren LaVera, Claudia Gerini, Linda Zampaglione, Yassine Fadel, Gianluigi Galvani, Melanie Gaydos, Jonathan Dylan King and Courage Osabohine.
Writers: Federico Zampaglione and Stefano Masi.
Director: Federico Zampaglione

Official Selection - FANTASPORTO 2024; FRIGHTFEST GLASGOW; SITGES; TRIESTE SCIENCE+FICTION FILM FESTIVAL.

Rating: ★ ★ ★ ½

 The structure is lean but the frights are plentiful in The Well, a gruesome, gleeful throwback to the Italian film sector’s heyday as the prime purveyor of Europe’s grisliest B-pics.

Unburdened by real-world logic but positively oozing imagery straight out of the most vivid nightmares, director Federico Zampaglione’s latest is certainly a polished production. That said, The Well would not have been out of place during the VHS boom, when producers kept dialogue to a monosyllabic minimum and revved up the splatter effects to appease gorehounds (and sales agents) in the vast foreign markets.

With co-writer Stefano Masi, the always reliable Zampaglione (Shadow, 2009; Morrison, 2021) wastes no time setting up the premise. In a slick first act, we meet our heroine, Lisa (blossoming scream queen, Lauren LaVera; pictured, above), an art restoration expert bound for an Italian castle; camping backpackers Tony (Gianluigi Galvani), Madison (Courage Osabohine) and Tracy (Taylor Zaudtke), each destined for various moments of unpleasantness; and, a two-tiered narrative that balances the unfolding mystery of a cursed artwork with the bloody resurrection of an horrific demon and his minions.

Overseeing the restoration and with one foot in the supernatural otherworld is the icy blonde castle keeper Emma, played with scenery-chewing flair by the terrific Claudia Gerini, reteaming with Zampaglione after starring roles in A Dream House Nightmare (2007) and Tulpa: Demon of Desire (2012). As Emma’s teenage daughter Giulia, a mysterious presence who befriends Lisa and clues her into the details of what’s going on in the building’s depths, is the compelling Linda Zampaglione - daughter of the director and Gerini.

As Lisa polishes off hardened layers on the (frankly, hideous) painting, the monstrous images beneath have fresh life breathed into them; soon, Lisa is tormented by visions from the canvas as she sleeps. Most visually arresting amongst them is ‘Dorka’, played by model/actress Melanie Gaydos (pictured, above), whose uniquely beautiful features are a result of a genetic condition called ectodermal dysplasia. 

Equally striking, although infinitely more repellent, is Lorenzo Renzi as a drooling, grunting sadistic cell guard, grease-painted in clown makeup (echoing ‘Canio’, the murderous clown from the opera Pagliacci), who butchers his prisoners in imaginatively disgusting ways to appease the grotesque creature in the well (Stefano Martinelli).

The Well isn’t deep, but committed turns from all involved both behind and in front of the camera ensures it effectively conjures the psychological dread and harrowing horrors for which the best Italian shockers are renowned.

Australia’s longest running showcase of horror and dark genre cinema, A Night of Horror International Film Festival (ANOH) is back for its 15th year, with a typically frightening program. From 28th September to 1st October, the Festival will take over Dendy Cinemas Newtown, screening the very best in freaky, macabre and spine-chilling films from around the globe.

ANOH will present a total of ten features and 31 short films, hailing from different corners of the world, including Australia, United States, United Kingdom, Spain, Austria, Lithuania, Brazil, Switzerland, France, Denmark, India, and New Zealand.

“The calibre, ingenuity, and range of submissions this year truly surpassed all expectations. We were astounded by the exceptional talent and diversity on display, making the selection process a both challenging and exhilarating journey,” said Festival Director, Bryn Tilly.

“This year’s final line-up has films from all shades of the horror spectrum, and, as one would expect post- pandemic, many of them deal with grief and trauma, each promising to send shivers down your spine, immersing you in delightfully bizarre worlds and blood-curdling nightmares.”

Opening Night Thursday 28 September will see the world premiere of The Devil’s Work, the third instalment in Ursula Dabrowsky’s award-winning Demon Trilogy (Family Demons, Inner Demons). All three films stand alone, yet share similar themes of survival, revenge, and the loss of innocence.

Sydneysider Jack Dignan follows his 2022 ANOH award-winning debut feature After She Died with Puzzle Box, a riveting and deeply unsettling found footage purgatory tackling addiction and psychological trauma. Marie Alice Wolfszahn’s Austrian Mother Superior (pictured, right), winner of Best Film & Best Director at Brooklyn Horror Film Festival 2022, is a unique delve into witchcraft and folk horror.

The Festival’s much-loved signature event, the Australian Shorts Gala, will feature nine of the very best short-film shockers from these shores. The International Shorts Showcase will take place Sunday 1 October, showcasing a selection of the creepiest, freakiest new short films from around the world.

Other features include Sarah Tice’s feature film debut DID I?, a whip-smart, giallo-inspired study of alter personalities and the effects of trauma on the mind, body, and soul; Gareth Carr & David Sullivan’s Saving Grace, winner of Best Horror Feature at Washington DC International Cinema Festival 2023 and Liverpool Indie Awards 2023, a psychological thriller featuring a fierce, compelling performance from rising Aussie star Kirsty McKenzie; and, Nicholas Tomnay’s spellbinding neo-noir thriller What You Wish For, a morality tale roasting greed, told with crisp efficiency, laced with the sharp smack of horror.

Jonas Trukanas’s Pensive (pictured, top), a slasher flick screened in Lithuanian language with English subtitles, tackles social responsibility and identity roles in a very contemporary vein; The Coffee Table by Spanish Director Caye Casa is a pitch-black comedy that balances farce, melodrama, tragedy and absurdism and Winner of Best Film at Tallinn Black Nights Film Festival; and, Chris Cronin’s The Moor presents a creeping tale of guilt that pushes the boundaries of folk horror and found footage format into Lovecraftian territory.

Closing out the festival is Steven John Mihaljevich’s Violett (pictured, right), a surreal exploration of trauma, abject grief, and destructive self-preservation, constructed like a poetic puzzle.

A Night of Horror International Film Festival will run 28th September to 1st October 2023 at Dendy Cinemas, 261-263 King St, Newtown. DETAILS HERE.

Following the success of last May’s inaugural MONSTER FEST WEEKENDER, the Monster Fest team have announced the return of the three-day mini-festival to Cinema Nova in Melbourne from Friday 7th to Sunday 9th of July.

For the very first-time in Monster Fest history, the program will be completely composed of retrospective films, each one presented in head-spinning 3D, from all-time classics to unsung genre greats, spanning decades of horror cinema. Several films in the line-up will be making their Australian big screen debuts.

Once the celebration wraps in Melbourne, the MONSTER FEST WEEKENDER 3D hits the road to interstate EVENT Cinema venues in Sydney, Brisbane, Adelaide and Perth from Friday 14th to Sunday 16th of July. 

Despite having performed strongly at the U.S. box office, 2013’s TEXAS CHAINSAW was passed over for cinema release in Australia, providing Monster Fest with the opportunity to boast Theatrical Premiere rights on the film’s 10th anniversary. Director John Luessenhop foresaw the star power of Alexandra Daddario (pictured, right) and Scott Eastwood, casting them in early career roles, helping the film to a solid $50million global gross and re-energising the franchise.

In what could arguably be considered to be the last great sequel to 1979’s The Amityville Horror, Monster Fest will present a 40th Anniversary Screening of Richard Fleischer‘s AMITYVILLE 3-D. Along with its practical effects and eye-popping visuals, this installment in the franchise is notable for featuring America’s sweetheart Meg Ryan in an early role.

Director André De Toth’s evergreen classic HOUSE OF WAX (pictured, left) will celebrate its 70th Anniversary at the Weekender screenings. One of the first studio-produced 3D colour features, it stars Vincent Price as the malevolent and memorable Professor Henry Jarrod.

Penned by Todd Farmer (Jason X) and directed by Patrick Lussier (Drive Angry), MY BLOODY VALENTINE is one of the rare remakes that not only stands tall with its predecessor (which suffered terribly under the censor’s knife upon release) but gives you more of what you want, now with epic gore and in glorious 3D.

Lavishly bathed in garish viscera, Andy Warhol‘s FLESH FOR FRANKENSTEIN (pictured, right), written and directed by Paul Morrissey, is an undisputed classic of cult cinema and returns for its 50th Anniversary, restored in 4K and presented in 3D.

Lensed by Gerald Feil, the cinematographer responsible for Friday the 13th part III 3D, the 1984 slasher SILENT MADNESS remains somewhat obscure locally as it suffered distribution woes and ultimately landed direct-to-video in the late-eighties. Monster Fest will present the film for the first-time on Australian cinemas screens, in a 4K restoration and as intended in 3D.

MONSTER FEST WEEKENDER 3D screens July 7-9 at Cinema Nova in Melbourne, then July 14-16 at EVENT Cinemas George Street (NSW), Innaloo (WA), Marion (SA) and Brisbane Myer Centre (Qld). Session and ticket details can be found via the Monster Fest website. 

Production has begun in New Zealand on the new horror feature GRAFTED, the first project for the freshly formed horror and genre label (Yet) Another Monster Company. The production represents the directorial feature debut for Sasha Rainbow (pictured, below) and stars Joyena Sun, Jared Turner, Jess Hong, Eden Hart and Sepiutaruth To’a.

Shot across Tāmaki Makaurau – Auckland, the film tells the story of a Chinese student who travels to New Zealand to complete the scientific work of her deceased father, only to find a new way of achieving popularity, one bloody body at a time.

A partnership between Grant Hardie’s ANZ horror distribution specialists Monster Pictures and Phil Hunt's (Yet) Another Distribution Company, (Yet) Another Monster Company incorporates an investment partnership with Head Gear Films with further support from Ginette McDonald and Mark Mitchinson.  (Pictured, right; lead actress Joyena Sun)

 Sasha Rainbow put the industry on notice as director of the short film KAMALI, which was nominated for a BAFTA and long-listed for an Oscar. “When I first read the script, I knew I had to be involved,” said Rainbow. “I am incredibly excited about playing in the body-horror space for such an incredible, surprising, female-lead-project like GRAFTED. I can't wait to unleash it to audiences around the world.” 

GRAFTED is produced by Murray Francis of Propaganda, and Leela Menon and Fraser Brown of FluroBlack and is written by Mia Maramara & Hweiling Ow, and Lee Murray. Monster Pictures previously handled the Australia-New Zealand release for James Ashcroft’s COMING HOME IN THE DARK. (Pictured, left; co-star Jared Turner) 

"We are genuinely thrilled to launch in New Zealand with the announcement of GRAFTED. It is the perfect film for us to be attached to, a completely over-the-top body horror,” says Co-Head of Acquisitions and Development Grant Hardie. “We fully expect that GRAFTED will join an impressive list of world-class modern horror films from New Zealand and make a huge splash on release". 

The film is made with investment from The New Zealand Film Commission, the New Zealand Government’s Screen Production Grant, Traus Holdings, Department of Post and with GAP financing from Head Gear Films. The film will be distributed in New Zealand and Australia by (Yet) Another Monster Company.