Does the highly successful SCREAM 7 deserve the pummeling it received from critics? Nah, not at all. It’s got a spooky, surprisingly mature melancholy vibe going for it, one of the best kills in the franchise (clearly inspired by the classic 1981 slasher MY BLOODY VALENTINE), one of the stronger opening set pieces and juggles themes concerning trust, the paranoia of parenthood, post-trauma survival and toxic parasocial relationships fairly well (especially considering that its director, Kevin Williamson, is responsible for the cinematic detention known as TEACHING MRS TINGLE). It’s understandable that some folks might be reluctant to support the film on account of its lamentable behind the scenes drama (in a nutshell: Production company Spyglass Entertainment fired proposed returning actress Mellissa Barrera for speaking her mind, lost co-star Jenna Ortega and the creatives known as Radio Silence due to their solidarity with her, and caused a complete upheaval of the planned trilogy story arc). Personally though, I’m far too invested in the long running SCREAM franchise to consider a boycott. It takes many, many folks to make a movie so my attendance is officially in support of the film career of newbie horror icon McKenna (ANNABELLE COMES HOME) Grace and frankly, I need to know what my boo Gale Weathers is up to (It helps that avoiding unpleasant reality is a specialty of mine). Anyway, it turns out that all the negative energy surrounding the flick kept my expectations duly in check and as much as I enjoyed recent SCREAMs 5 & 6, I ended up digging 7 even more. It’s got an eerie, quieter tone (similar to my faves the OG & Part 4 ) and I didn’t miss the sometimes overly flashy and chaotic (too lively for gramps) beat of the previous two entries.

Venerable “celebrity victim” Sidney Prescott (properly paid her worth, Neve Campbell) is back and seemingly following in the luckless (yet pleasingly autumnal) footsteps of final squirrel Laurie Strode (preparing for the inevitable a’ la 2018's HALLOWEEN and pissing off her overprotected child a’ la ’98’s H2O… sans the problem drinking, self sabotage and questionable hair). Like many successful authors, she’s gone and opened a coffee shop (?) in a small town to raise her daughter Tatum (a surprisingly engaging Isabel May) hopefully in a murderer-free environment. Tatum seems a bit too tall to be Sid’s kid until you learn her cop-pop Mark Evans is played by longshanks Joel McHale ( I easily accept Joel as a police officer thanks to 2014’s DELIVER US FROM EVIL). Unsurprisingly, suburban harmony is short lived when one of Tatum’s besties Hannah (aforementioned horror royalty McKenna Grace) is heartlessly slaughtered while rehearsing for a high school production of Peter Pan (in which Tatum plays the dog). Who is responsible for this SCOOBY DOO calamity? Stalwarts Gale Weathers (Queen Courtney Cox with a killer entrance) and sidekick Meeks-Martin sibs Mindy & Chad ( Jasmin Savoy Brown & Mason Gooding) provide back-up in the search for multiple red herrings and iffy clues. Happily for me, no wheels are attempted to be reinvented and the entire cast is much more likable than usual, Sidney especially. Gone are Sid’s hemming and hawing quirky mannerisms and instead what stands before us is a take no crap momma bear we can all be proud of. She’s straight forward, direct and focused on others besides herself. I think this my favorite iteration of her and that’s saying a lot.

Maybe I’m just half glass full rationalizing, but did things somehow (no thanks to the powers that be) work out for the best? At least in the fictional SCREAM universe? By sitting out the last installment (due to a warranted salary dispute) Neve/Sidney developed a strong, returning champion status and solidifies further audience loyalty and appreciation. By not returning here the Carpenter sisters Sam and Tara ( Barrera & Ortega) avoid bummer fates (Tara was set to die, Sam was to become a killer bent on revenge) and provide some much needed space to focus on the Heckle and Heckle comedic stylings of the suddenly much more endearing Meeks-Martin twins Chad & Mindy (Mason Gooding and Jasmin Savoy Brown). If things had gone as planned, I’m not sure we would have gotten a glimpse into what I think may be the present heart of the series, the the reluctant yet powerful friendship and comradery between Sidney and Gale. At one point Sid describes their relationship as “complicated but enduring” and I found that strangely affecting (not sure if credit goes to Williamson or reliable Guy (FINAL DESTINATION: BLOODLINES, ABIGAIL, READY OR NOT) Busick). Missed too probably would be Sid clarifying to her daughter that she named her after her BRAVE friend Tatum not her “victim” friend Tatum which I also found fortifying. Surely not all will agree, but as a lifelong slasher fan and SCREAM enthusiast since day one, I was very pleased with how 7 luckily hurdled every messy obstacle thrown its way. If I have one complaint, it’s only that Kirby Reed (Hayden Panettiere) wasn’t squeezed into the winning proceedings. Oh well, there’s always part 8 for that.

Consider this an addendum to the (semi) recent post looking back at the horror films of 2025 (HERE)! There are still a few I need to track down but at least I’ve done my due diligence. Special thanks go to my local free library for filling in the gaps created by a multiple of slapdash streaming services!

I’m very glad that knowledgeable reader DekesYellowBikini suggested I check out Drew Hancock’s COMPANION, it certainly deserves to be mentioned among the best of the year. Boy, was I mislead by the awkward advertising for this fun flick, the trailer somehow gave away both too much AND too little! To be fair, the movie does mesh genres and changes its colors and tone like a hard to define drugged up slippery chameleon but I would have at least liked to have known how darn funny it is at times. In any case, it’s certainly not the cold, affected scold-y flick I wrongfully assumed it was. COMPANION is hilarious, horror laced, and action packed and truly thought provoking (especially for someone who rooted for the replicants in BLADE RUNNER). It also features an impressively game cast of horror alumni which includes Jack Quaid (SCREAM, 2022), Harvey Guillen (WEREWOLVES WITHIN & the much missed TV series WHAT WE DO IN THE SHADOWS, Lukas Gage ( SMILE 2), Megan Siri (IT LIVES INSIDE ) and the truly commanding Sophie Thatcher (HERETIC, 2023’s THE BOOGEYMAN). It’s loads of fun and super expedient if you’re looking to get your sci-fi, horror, action and dark comedy itch scratched in one bright and gripping fell swoop.

BONE LAKE concerns two attractive couples who find they’ve both booked a lakeside manor for a weekend getaway and (foolishly) decide to shrug their shoulders and share the joint. Seems like an easy fix except one of the couples is clearly cray, highly deceitful and super sleazy on multiple levels. This is a taunt, highly engaging psychological thriller that satisfies but doesn’t leave much of a dent due to its garden variety set-up (I mean, we already got two versions of SPEAK NO EVIL clogging up the pantry) and hardly revolutionary revelations. As a die hard fan of nineties era “Blank From Hell” flicks, I highly enjoyed the time I spent at BONE LAKE but I have a strong feeling that I won’t remember having viewed it a month from now. It’s sorta like that FRUIT STRIPE gum that cartoon zebra used to peddle; it hits the spot but has very little staying power (note: It’s possible I watched this too soon after the more flashy COMPANION which might have dulled its effect).

DANGEROUS ANIMALS has got my name written all over it because I love Australian horror, adore sharks and dig the ever-loving weirdness of Jai Courtney on account of he reminds me of the late, great (and perhaps certifiably insane) Oliver Reed. Although Courtney usually comes across as a ticking time bomb I don’t think I’ve had the privilege of witnessing him portray a truly unhinged psychotic before. He does not disappoint. Here he plays a barrel chested serial killer named Tucker with the decidedly frowned upon hobby of taking folks out on his boat, feeding them to sharks and amassing a large collection of VHS recordings of the killing (Seeing VHS tapes on a boat gives me anxiety because it seems like the perfect breeding ground for mold). One day he makes the grave mistake of abducting a feisty young woman named Zephyr (tough as nails Hassie Harrison) who has gotten the sticky end of the lollipop one to many times in life and ain’t having any of it. For the most part, DANGEROUS ANIMALS is pretty much WOLF CREEK, AHOY! and I’m afraid it has a really rough looking CGI climax (& not enough sharks) but its definitely worth checking out for the performances and for the fact that Zephyr could be one of the all time toughest, strongest, most formidable and resilient horror heroines.

In my humble opinion, 1984’s cult classic THE TOXIC AVENGER does not seem like the type of movie that should be remade. I’d assume it would be a recipe for clunky, out of touch, disaster to try to duplicate something so inherently campy, charmingly cobbled together and adorably tasteless. Well, I guess for the millionth time I’ve learned that I should have more faith in the universe because writer/ director Macon (I DON”T FEEL AT HOME IN THIS WORLD) Blair’s flavorful, properly-punk, gooey fluorescent spin is its own fine beast and does my passed away feline “Toxic” who was named after THE TOXIC AVENGER ('84) proud. Peter Dinklage is Winston Gooze, a put upon employee of a pharmaceutical company who embarrasses his son Wade (Jacob Tremblay) with his mild mannered fecklessness. Winston eventually discovers that his boss Bob Garbinger (ubiquitous legend Kevin Bacon) is beyond corrupt and has an equally sinister bro named Fritz who sorta resembles Batman’s nemesis The Penguin (the always welcome Elijah Wood). In an attempt to silence Winston, Fritz’s gang “The Killer Nutz” throw him into a vat of radioactive waste that transforms him into the monstrous yet lovable superhero we all know and adore and we are treated to a molten stew of thrills, hilarity, slapstick gore and a surprising touching tale of acceptance between father and son. I couldn’t have been more wrong about this movie so as Prince once said to Sheena Easton, “I stand corrected”.

Emilie Bilchfeldt’s THE UGLY STEPSISTER is a gruesome retelling of the Cinderella story from the viewpoint of one of the stepsisters. It is incredibly beautiful and incredibly ugly at the same time like an ornate decadent pink pastry filled with squirming worms. Theoretically unattractive Elvira (objectively lovely Lea Myren) has a dream of marrying a certain poetic prince but like many a dream, it is actually a soul shredding Hubert Selby Jr. designed nuclear warhead waiting to explode in her face. Pushed by her manipulative, abusive mother (Ane Dahl Torp), the foolhardy young woman attempts to better herself with increasingly painful and emotionally devastating results. Typically, a small glimmer of hope appears and it seems her efforts will be rewarded but alas, the light at the end of the tunnel is a freight train transporting rotting garbage. This is a glorious looking film with an incredible score that utilizes the body horror sub-genre to explore self harm, body dysmorphia and the corrosive nature of atrocious parenting. I’m so glad I watched this incredible work of art but I’m also banishing it to the “never view again” pile on account of it kicking me in the emotional shins over and over again. It’s a clever, stunning, harrowing journey that does not let up for a second and I’m mostly just going to try to forget it. But I can’t. Because of the tape worm. I can’t forget the tape worm (sobs).

I feel like I saw 28 YEARS LATER: THE BONE TEMPLE a million years ago in another dimension because I viewed it before the 2026 snow-pocalypse and the general collapse of society. Those were the days…two weeks ago! From what I recall through the hazy mist of seasonal depression, BONE TEMPLE picks up right after the divisive tone-stomping conclusion of 28 YEARS LATER with spunky survivor Spike (Alfie Williams) being recruited into a CLOCKWORK ORANGE by way of TELETUBBIES gang of blond wig wearing miscreants lead by bonkers Jimmy Saville wannabe/Satanist Sir Lord Jimmy Crystal (creep master Jack O’Connell). Spike proves his mettle by offing a fellow member but really isn’t enthusiastic about the gang’s penchant for torturing and killing innocent people on the daily. He’s clearly looking to scrape the lot of them off his shoe as soon as possible and finds an unexpected ally in a punky gal known as Jimmy Ink & later, Kelly (portrayed by talented standout Erin kellyman).

Meanwhile, at the titular bone temple, Dr Ian Kelson (a never better Ralph Fiennes) is building a tentative friendship with the infected behemoth known as Sampson (Chi Lewis-Perry). Like many a successful relationship, they connect by getting as high as possible while listening to Duran Duran in a clothing optional setting. This is actually more touching than it sounds, especially when Samson recalls his last moments before infection (aboard the dilapidated train featured in the previous movie) and through drug therapy, is able to speak a single word once again, “moon” (giving off some nice "Bub" from DAY OF THE DEAD (’85) vibes). Of course, Spike and the doctor’s paths eventually cross again (after an incredible show stopping dance number featuring the doc & IRON MAIDEN) and the aftermath is worse for some characters than others.

Alex Garland’s script is intriguing as you’d expect and Nia (CANDYMAN (2021)) DaCosta’s direction is a seamless fit for the material. It goes without saying that the DURAN DURAN peppered soundtrack hit yours truly in the feels (is there a more poignant song than “Ordinary World” in existence?). Most critics and audiences who went to the theater to see BONE TEMPLE gave it the high praise it deserves but unfortunately the confusing marketing, poor release timing and varied responses to the previous installment's semi-flippant closure resulted in a poor showing at the box office (even a couple folks in my sphere wondered why I was seeing the same film twice). Hopefully, we’ll get the next chapter anyway as the film closes with a stunning cliff-hanger that deserves to be fully explored ASAP.

Just as I was casually preparing a noose for myself like Blair (Wilford Brimley) in THE THING ('82) out of the frozen abyss a ray of startling, warming light broke through the ice in the form of a new film from the venerable Sam Raimi entitled SEND HELP. Somehow I’d missed any and all advertising for the film but who needs persuasion when the offering in question has Raimi at the helm and furthermore features the absolute dynamo Racheal McAdams? SEND HELP is an apt title for this gem because it is the answer to my every silent prayer for cinematic mental aid. It completely obliterated my own personal reality for its entire runtime just as a fine chum of a movie should. This fantastic flick had my best interests at heart and I think it even shoveled my driveway.

Rascally Canadian treasure Racheal McAdams plays Linda Liddle a frumpy, sad sack tuna salad enthusiast who is abused at work and lives in a shoebox apartment with her trusty animal familiar (think Michelle Pfeiffer’s Selina Kyle in BATMAN RETURNS (’92) or Kathleen ’s Turner’s Joan Wilder in ROMANCING THE STONE (’84)). Dylan (LOVE & MONSTERS (2020)) O’Neil is her smug, callous, nepo baby boss Bradley Preston who enjoys golf and exploiting underlings (Think Dabney Coleman’s Franklin Hart, Jr. in 9-5 (’80) but way younger and without a the killer ‘stache). The two are on an airplane with a bunch of not long for this world workplace stooges when things go awry (in a gloriously Raimi fashion) resulting in put upon Liddle and dippy despot Preston being stranded on a seemingly deserted island.

Turns out SURVIVOR superfan Liddle is remarkably capable and resourceful and soft handed Preston is a useless lump of whinery. In the absence of society’s guardrails, roles are reversed, heads butt and dark screwball comedy, serious thrills, splinters of horror and vague romantic tensions ensue (think the Tom & Jerry battles of the sexes violence of WAR OF THE ROSES (’89) meets the TALES FROM THE CRYPT moral commentary of DEATH BECOMES HER (’92) meets the satisfying workplace comeuppance of WORKING GIRL (’88) meets the rollicking adventure of THE LOST CITY (2022) meets the basic, nearly sitcom level set-up of the forgotten Amanda Bynes vehicle LOVE WRECKED (2005)- how’s that for a deep cut?). This delightfully bonkers spinning wheel of genres never once misses a beat while delivering both a hilarious good time and layered messaging on gender, power dynamics and social class. McAdams is phenomenal as is O’neil, and their chemistry together is pure riotous fireworks. A gruesome and gore happy as it sometimes gets, it perpetually blasts bright colorful fizziness that harks back to the colorful less dour and gloomy hits of the eighties. What can I say, Sam Raimi not only still has it, but arguably may have hit a career high and that’s really saying something. Thanks, Sam and company, I needed that (P.S. keep your eyes out for a clever Bruce Campbell cameo)!

I wasn’t sure if I wanted to see PRIMATE because I have grown to have zero tolerance as far as witnessing animals in any kind of distress. Plus, I wasn’t sure the scares would work on me due to my instinctively rooting for the animal against any human in any situation no matter how vicious said animal is behaving. But then I learned the movie was directed and partially written by Johannes Roberts, the righteous dude responsible for my beloved neon soaked, Kim Wilde riddled, slasher-extravaganza STRANGERS: PREY AT NIGHT and realized I had to see it. I’m so glad I did. PRIMATE is a super suspenseful, edge of your seat, breathless thriller that utilizes one location (think LADY IN A CAGE ('64), meets BURNING BRIGHT (2010)) to its best advantage. It’s brutally savage at times and yet there’s heart as well and it’s impossible not to walk away feeling compassion for all involved, be they man or beast. Oh, and the lavish goth synth score by Adrian Johnston is phenomenal and reminiscent of the best John Carpenter; it blew me away on several occasions and I may have to own it.

A college student named Lucy (Johnny Sequoyah) flies home to Hawaii with her bestie Kate (Victoria Wyant) and her uninvited frenemy Hannah (a wonderfully snidely Jessica Alexander) and what a home it is. Let me tell ya, Lucy’s famous deaf author pop (Troy Kotsor) got some great digs; I haven’t seen a house so impressive since 2006’s WHEN A STRANGER CALLS! Opulence granted, before the film ends we will learn both the pros and the cons of cliffside infinity pools. Lucy also has a little sister named Erin (Gia Hunter) and an adorable adopted chimpanzee brother named Ben who is super smart and communicates with all via sign language and a sorta SPEAK & SPELL tablet device. Everything seems cool except unfortunately unknown to all, Ben (much like our ol’ pal CUJO) has been bitten by a trouble making mongoose with rabies (it’s noted Hawaii is supposed to be free of Rabies so who knows where he picked that up. It certainly wasn’t from my backyard opossum Petunia cuz opossums can’t get rabies and btw are North America’s only marsupial- but I digress). Needless to say, while dad is off at a book signing so he can pay for his slobber-worthy crib, Ben goes completely insane (notice how I didn’t use the term “bananas" or “ape”?) and decides to start cracking skulls like so many coconuts.

What a damn fun movie to see in the theater with a gasping, hiding under their coats, yelling at the screen audience! And I could relate to the dilemma because I have a cat who suffers from serious “recognition aggression” who out of nowhere will not recognize one of his dear pals and goes from super timid to Tasmanian devil within seconds (much like yours truly). I did appreciate that the point is made that what they are dealing with is “not Ben anymore” which allowed me to stop feeling sad for Ben and start feeling terrified not that I didn’t suss that when Ben started to use his SPEAK & SPELL to repeat “Die, Die, Die!”. PRIMATE is a great start for horror in 2026, it’s a real crowd pleasing roller-coaster ride of a popcorn flick that wastes zero time getting to the goods. I can’t wait to see it again, if not for the thrills and jaw (literally in one case) dropping horror but to scope out even more of the spectacular house. Ben really had it made. He had it so good he made the chimp in BJ AND THE BEAR seem downtrodden. Damn that darn mongoose (not really his fault, nature is cruel)!

As far as favorite theatrical films go, it’s damn hard for me to choose between Ryan Coogler’s sensational SINNERS and Zach Cregger’s wonderful WEAPONS. Both are irrefutable instant classics. SINNERS delivered an awe inspiring old school cinematic experience while stoking enduring issues and themes and its reverence for the power of music is perfectly and memorably expressed. The performances (particularly Michael B.Jordan in a duel role) are top notch, the visuals stunning and the air of paranoia it is able to conjure is daunting and sadly all too relatable.

WEAPONS has an ace (or perhaps a joker) up its sleeve that gives it a bit of an edge in my heart and that kooky card is Aunt Gladys (phenomenal Amy Madigan). Fresh horror icons are few and far between and the road to hell is paved by a legion of failed attempts. So bizarre and out of place and yet so recognizable and familiar, boomer boogey-gal Gladys seems to represent every evil obstacle against contentment known to man and yet stands brazenly as a strangely lovable eccentric trickster. Josh Brolin and Julia Garner are exceptional as opposing forces searching for the same answers, the eerie atmosphere and haunting audio cues are exceptional throughout but clearly at the end of the day, it’s Aunt Glady’s nightmare world and we’re all just serving soup and living in it.

You’d be forgiven for thinking both the decades long running PREDATOR and FINAL DESTINATION franchises were out of steam and ready to be put out to pasture but both FINAL DESTINATION: BLOODLINES and PREDATOR: BADLANDS somehow become the most successful and critically lauded of their respective series. Instead of dusting off the usual playbook and attempting to mimic the past, both entries focused on fresh environments, deepening characterization and diligently crafting interpersonal relationships worthy of caring about. The end result was two thrilling, audience pleasing juggernauts that respected the past (Tony Todd’s final appearance in BLOODLINES was pure gold) while paving the way toward a future with limitless possibilities.

Like most horror fans I’ve long enjoyed Guillermo Del Toro’s dark aesthetic and stalwart commitment to the horror genre but I’ve kind of gotten used to him leaving me wanting a little bit more. Finally, (and with a perfect cast) he delivered on all fronts with his vision of FRANKENSTEIN, a beautiful looking and shockingly emotionally satisfying take on Mary Shelley's classic tale.

What a banner year for a dyed in the wool ‘80s slasher horror fan like myself. I was so smitten with Josh Ruben’s HEART EYES that I had to see it in the theater twice. It’s not every day you get a slash-a-thon so perfectly married to a romantic comedy and even more rare was its stars (Olivia Holt & Mason Gooding) sharp comedic timing and genuine romantic chemistry.

It doesn’t get more ‘80s than BLACK PHONE 2. Scott (SINISTER) Derrickson did us all a true solid by scrambling together working elements of his 2021 hit, THE BLACK PHONE and plunging them into an icy realm of supernatural surrealism akin to the THE NIGHTMARE ON ELM STREET series. Even better, his bleak, chillingly otherworldly canvas is occupied by some easy to root for sibling characters (Mason Thames & Madeline McGraw) and an always alarmingly freaky antagonist (Ethan Hawk).

On a lesser note, HELL OF A SUMMER was disappointingly bloodless but at least dispensed some potent ‘80s summer slasher vibes and an amusing comic performance by Fred Hechinger (The FEAR STREET trilogy). CLOWN IN A CORNFIELD’s "Friendo" mask design was a bit generic (possibly the point) and a tad too unthreatening (especially considering contemporary killer clown activity) but it delivered some genuinely surprising twists and an exceptional performance by the always reliable Kevin Durand (ABIGAIL, KINGDOM OF THE PLANET OF THE APES).

“Feel bad” horror was everywhere this year and as much as I appreciated the artistry involved I definitely felt like forwarding therapy bills to a few culprits that beat me up psychologically and dumped me on the side of the road. 25 YEARS LATER was deliciously weird and unsuspected but was no slouch in the department of agitating parental loss grief and THE LONG WALK’s bleak and hopeless examination of abuse of power and the exploitation of the vulnerable resembled my daily doom-scrolling a little to much for my comfort. Michael & Danny Philippou's excellent BRING HER BACK through brilliant and boasting (perhaps too) convincing performances (looking at you Sally Hawkins) made me pretty much want to jump off the nearest bridge & had me in a depressed chokehold for days.

I’m seeing both UNTIL DAWN and the I KNOW WHAT YOU DID LAST SUMMER revamp on many a “Worst of the Year” list which is isn’t too surprising but it’s not going to stop yours truly from defending both. UNTIL DAWN, for better or worse, ignores its video game source material and it is admittedly unfocused and over the place but it still delivers a gruesome, lively time. I personally dig its CABIN IN THE WOODS meets TOURIST TRAP set-up, its likable enough young cast and its overall slick, early 2000’s DARK CASTLE (I’m thinking of THIRTEEN GHOSTS particularly) vibes. It sometimes feels more like a collage of half baked ideas rather than an actual film but it moves along at a good pace and its got some highly memorable kills (last time I laughed so hard at people exploding I was watching SCTV’S “Farm- Film Celebrity Blow-up”).

I KNOW WHAT YOU DID LAST SUMMER may be a bloated, sometimes sloppy mess but it delivers on the slashing front, has genuine affection for the previous films in the franchise, and takes real risks with its legacy characters. It’s hard to tell how much of the campy hysterics were meant to be funny but it's hilarious just the same and if nothing else, provides not one but two of the best surprise cameos to ever grace the screen. As silly and disposable as these two films may be they’re dumb fun keepers in my book that I’ve already revisited & enjoyed again.

Aw, and why is everyone so harsh and dismissive of THE CONJURING: LAST RITES? I get that it’s not on par with the first two films but it’s better than the third and I think it’s always a privilege to hang with horror’s greatest parental units, The Warrens as portrayed by charisma tsunamis Vera Farmiga and Patrick Wilson. O.K., the spinning mirror was kinda lame but the eighties tunes (particularly Romeo Void) made it all worthwhile and copacetic.

On the other hand, I’ve seen TOGETHER listed on several best of the year lists and I’ve gotta say it really didn’t work for me at all. Maybe I was in a mood the day I saw it but it just seemed like a rather smug, sluggish, by-the-numbers codependent body horror tale that offered zero surprises and rather unlikable characters. One positive thing I can say about it though, is that at least its not as disappointing as MEGAN 2.O, or THE WOLF MAN. I had much, much, higher expectations for those two and now I just want to pretend they don’t exist. In the on the fence middle ground lies Osgood Perkin’s loose adaption of Stephen King’s THE MONKEY which starts off strong and wonderfully weird but eventually betrays its well earned creepy tone. I’m all for the blackest of humor but this particular punch drunk chimp gets a little too silly and downright Wile E. Coyote cartoonish for his own good.

As far as surprises out of nowhere go, I’ve got to hand it to Tubi Original MATCH, a great, gross, gooey monster movie throwback. I also stan Steven Sodenberg’s quiet haunter THE PRESENCE whose voyeuristic ghost-view take on a traditional haunted house tale gets under the skin. Its thoughtful surprisingly tragic final twist stayed with me long after the film was over.

How’s about some Horror Television? With the eight part series WELCOME TO DERRY, Andy Muschietti not only outdid his own theatrical interpretations of Stephen King’s classic novel IT, he may have outdid the master himself. There’s an ongoing joke that King (who has acknowledge the criticism himself) on occasion has difficulty coming up with satisfying conclusions to his work. As someone who finished a re-read of the book IT on the same day that the final episode of DERRY aired, I can confirm that IT’s finale (especially that infamously disturbing scene) pales when compared to the near-religious experience that DERRY delivers. Gotta give the horror master author infinite credit for supplying the sand box but Muschietti pretty much pulled off the impossible by supplying not only the scares and world building that was expected, but an emotional power punch of sterling rarity.

ALIEN EARTH got off to an exciting and fascinating start that culminated in a fifth episode (“In Space No One…”) so riveting that it rivaled the best of the theatrical series. Unfortunately that’s where it peaked and in what seemed like a stubborn attempt to thwart audience expectations, it limped toward a truly ho-hum climax that easily could have been outstanding if they’d only taken the more obvious and cathartic path. It’s been picked up for a second season, and I’ll definitely be tuning in again (If only for breakout star T. Ocellus), so here’s hoping in the future they don’t make the same easily avoidable mistake twice.

It’s a wrap on STRANGER THINGS and not a moment too soon. I suppose the last thing the internet needs is yet another critique of the final season so I’ll just quickly concur with all those who note that the writing was subpar, perplexing and wildly inconsistent. I will admit to enjoying spending time with (most of) the characters again and appreciating the wise advice delivered by Hopper that when faced with choosing between the roads of stalling bitterness and mobile acceptance, it’s always best to go with the latter. That’s pretty much exactly the words of wisdom I needed going into 2026! Happy New Year to all (and especially lil' T. Ocellus)!