Alam Nyo Ba?

The killer sheep are back! The first trailer has arrived for Black Sheeps, the long-awaited sequel to Jonathan King’s 2006 horror comedy Black Sheep. King returns to direct the follow-up, which once again unleashes genetically altered sheep in the New Zealand countryside. You can watch the trailer in the embed above.

The sequel takes place in the world established by the original movie while introducing a new protagonist. A young scientist becomes convinced that a dangerous new pathogen is threatening the population and traces the source of the outbreak back to her hometown. Unfortunately, that town is located in the shadow of the remote sheep station where the macabre events of Black Sheep unfolded.

The new movie stars Tabatha Killick, Lucia Davison, Joseph Witkowski, Ian Harcourt, Heather O’Carroll, Paul Waggott, and Renaye Tamati, with Nathan Meister returning as Henry from the original Black Sheep.

King wrote the screenplay with Matthew Grainger and Rosie Howells. Grainger and King are producing with James Partridge. The sequel was made in New Zealand, with the filmmakers returning to the combination of creature effects, gore, and humor that helped make Black Sheep a cult favorite. Wētā Workshop created the killer sheep for the first movie and did the same for this one.

Black Sheep was released in 2006 and followed sheep-fearing Henry as he returned to his brother’s New Zealand farm, hoping his sibling would buy out his share of the property. Instead, Henry discovered that genetically altered sheep had been unleashed on the area. The animals preyed on humans and transformed their victims into undead, woolly killers. Henry eventually joined forces with an animal-rights activist and a farmhand to try to stop the rampaging sheep. That movie surpassed Peter Jackson‘s early works to become New Zealand’s most successful horror movie ever.

The sequel is set to premiere at the 2026 Sitges Film Festival before opening in New Zealand cinemas on November 12, 2026. An international release date has not yet been announced.

Are you looking forward to Black Sheeps, and did you enjoy the original Black Sheep? Take a look at the trailer, then let us know by leaving a comment below.

The post Black Sheeps: First trailer arrives for the killer sheep sequel appeared first on JoBlo.

Paul W.S. Anderson gave me my first taste of Resident Evil back in 2002. I wasn’t one of the many who played the games, but I found the world quite entertaining. Milla Jovovich was the key that held it together. And now, we have something completely different. In fact, when news broke that Zach Cregger was taking on the franchise, my interest grew and grew. How could I not be intrigued after the bonkers Barbarians and last year’s excellent Weapons? After witnessing the first thirty minutes, this was worth the wait.

In it, Austin Abrams portrays a courier delivering a package to the middle of nowhere. Unfortunately for him, he finds himself trapped in a plague-infested town. The actor is incredible here. He brings to life the terror and a nice amount of natural humor. Add to that the creepy practical effects and the unexpected nature of Cregger’s always-twisted script. It’s a smart and satisfying way to approach the material.

Recently, I sat down with Zach and Austin to discuss Resident Evil. Cregger opened up about taking on this project and how he approached it. Mr. Abrams talked about working with the filmmaker for the second time. The two had such natural chemistry, and it only added to the project’s enthusiasm. The new feature is a refreshing take on very familiar material. It’s creepy and bloody, and it feels like a literal roller coaster the deeper this hapless courier ventures into the nightmarish world.

The post Interview: Zach Cregger and Austin Abrams Talk the Gory Splendor of Resident Evil appeared first on JoBlo.

Cody

The following was written by Jaime Vasquez:

With Zach Cregger’s new Resident Evil movie coming to theatres, it’s a good time to look back at the six-film Milla Jovovich franchise that came before it.

By the time Resident Evil: The Final Chapter arrived, Resident Evil had become the highest-grossing film series based on a video game. Critics and audiences haven’t always agreed on the quality of the films, but one thing is certain: it’s been a bumpy ride of near-deaths, supposed deaths, clone deaths, revivals, promises that never came through, and so much more. And at the center of all six films is a character who never even appeared in the games: Alice. Along the way, some familiar faces joined her, some disappeared without explanation, and some probably should’ve stayed pixelated.

So how did Alice become the face of Resident Evil on the big screen? How well have the films held up? And what’s been consistently inconsistent throughout the six films? Let’s head over to Raccoon City and learn why the Resident Evil movies are insane.

The six Milla Jovovich Resident Evil movies follow Alice as she battles the Umbrella Corporation, the T-Virus and increasingly bizarre experiments. Along the way, the series brings in game characters including Jill Valentine, Carlos Oliveira, Claire Redfield, Chris Redfield, Ada Wong, Leon Kennedy, and Albert Wesker, while repeatedly complicating its continuity with clones, amnesia, revivals, and characters who mysteriously disappear.

Resident Evil (2002)

The Umbrella Corporation is Resident Evil‘s version of Skynet. An anonymous person steals the tube containing the deadly T-Virus and purposely contaminates the underground facility called the Hive, where Umbrella employees work. The Hive has its own artificial intelligence known as the Red Queen. Because she’s designed to have the appearance of a little girl, the information she communicates can sometimes be creepy. And sometimes she’s just annoying.

The Red Queen locks down the building and traps everyone inside, killing hundreds of people. There’s a bit of a gray area because, yes, she was trying to save the rest of the world, but she killed hundreds of people to do it. But I guess if there was some sort of weeding-out process, it’d probably take too much time, and we probably wouldn’t have a movie.

Enter Milla Jovovich as Alice, who wakes up in a mansion without remembering who she is or what she’s doing there after the Red Queen releases a gas that gives her a strong case of amnesia. Alice and a man named Matt are seized by a commando team and taken to the Hive, where we discover that the little AI girl is up to her old tricks. She launches a laser grid to kill the commando team. While the CGI hasn’t held up, the shocking moment has. The team’s unsuccessful attempt to survive and the silent aftermath feel coldblooded.

And then we have zombies. Or, since so many zombie movies insist on sidestepping the word, we have the infected. Either way, they appear, and it’s a gradual build toward mayhem.

Michelle Rodriguez as Rain Ocampo comes off as a hardened officer who’s not going to play by anybody’s rules but her own. While this doesn’t make her particularly likable, all that is reversed when she’s bitten by a zombie and slowly dies as a result. Her willingness to push through and her intended sacrifice prove her bravery. But the infection takes over, she mutates, and Matt kills her. And the movie also makes us care about Matt.

Matt’s sister was one of the people killed in the Hive. He also gets bitten and clawed by a Licker, basically a super-zombie with exposed muscle and a long, reptile-like tongue. The clawing begins the transformation process, and while Alice tries to inject him with the antivirus, he’s taken by scientists who turn him into an enhanced human/creature hybrid called Nemesis.

Nemesis originated in the video game and was actually influenced by the T-1000. So Matt doesn’t even get the chance to be a non-sentient zombie thirsting for human flesh. Instead, he’s a monster with vague feelings still lingering underneath, basically just another product of the Umbrella Corporation. Just another experiment.

Resident Evil: Apocalypse (2004)

In the direct sequel, Apocalypse, Alice wakes up in an abandoned hospital and walks out into evacuated Raccoon City, which is above the Hive. Scared and alone, she looks for clothes and survival supplies. Meanwhile, Jill Valentine, a popular video game character, enters the cinematic equation and steals the movie. She’s competent without coming off as arrogant, and she knows how to handle her weaponry. We also meet L.J., who is actually pretty effective and necessary comic relief.

They hide out in a church and meet Alice, who understandably has her guard up. However, her Batman-like moodiness is a little much, especially since this is only the second movie. Girl, pace yourself.

They’re joined by Terri, a news reporter who records their journey, only to get eaten by a swarm of zombies. Her camera catches the whole thing, which is brutal.

Dr. Charles Ashford is an Umbrella scientist who goes rogue from his employers and sets out to find his daughter, Angie. Wheelchair-bound and unable to search for her himself, he promises Alice and her crew a way out of Raccoon City if they find the girl and bring her back safely. The group retrieves Angie from her school, but then they run into a whole lot of mutated creatures, as you would expect. Not just zombies, but zombie Dobermans.

Able to escape with the help of Umbrella soldier Carlos Oliveira, they take Angie to her father. But barrel-of-sunshine Major Timothy Cain requests that Alice fight Nemesis to determine which is the stronger and more useful experiment. When Alice refuses, Cain shoots Dr. Ashford. I guess it was inevitable that Ashford would die, but the quick and cold moment was a bit much, especially since we’ve spent the entire movie tracking down his daughter. The father and daughter reunite for about a minute before lights out. A nice twist occurs when Ashford turns into a zombie and eventually eats the hell out of Cain, but it’s bittersweet nonetheless.

Alice ends up fighting Nemesis, who still has traces of Matt underneath. While she nearly triumphs over the gigantic creature, she can’t bring herself to kill him. Then the film’s thank-you to him is that he’s killed while trying to protect Alice, who’s subsequently impaled on a metal pole and taken by Umbrella.

Carlos, Jill, L.J., and Angie rescue her, and it almost feels like the reunion of an unconventional family and the assembling of a team that’s off to do great things. Until it doesn’t.

Resident Evil: Extinction (2007)

Extinction lives up to its title. Not because the human race is extinct, but because the ideas they had to move forward with at the end of Apocalypse were totally wiped out. Instead, we get Alice in the desert with little to no explanation of what happened to the rest of the group, at least not at first. Angie, who the plot was centered around in Apocalypse, never reappears. In the novelization for Extinction, it’s written that a mind-controlled Alice shoots and kills Angie. So this franchise has a bunch of characters like Chucky’s Nica Pierce, whose fate just gets progressively worse to the point of wondering why these people even exist.

Extinction moves unnecessarily slowly. If you’re going to ease into the mayhem like the original movie, fine, but at least fill it with something interesting. Alice’s desert life feels like the B-roll accidentally made its way into the final cut. Our gal runs into a group of men and an older woman who try to kill her. In a post-apocalyptic world, do you really want to kill a presumably fertile woman?

We meet a convoy under attack by a flock of infected crows. The scene would work on its own, but thrown into the sluggish early part of the film, it really emphasizes how much nothing is going on.

One thing this sequel does have going for it is the team feeling that the ending of Apocalypse promised, although maybe less interesting. Ali Larter as Claire Redfield is a good replacement for Jill, and it continues the two-alpha-female dynamic that Alice and Jill had going in the previous film. It’s also another smooth transition of the video game characters into the films.

Kmart, who gets her name because they found her in a Kmart, is a likable character. And lucky for her they didn’t find her at a Target because that would’ve been very confusing. “Shoot, Target, now!” “Not that Target!” “Target, you got your bulletproof vest on?”

L.J. is back, still serving as comic relief but to a lesser degree since he’s dying throughout the movie. And that chemistry between Carlos and Alice in the last movie turns into one final goodbye kiss before he sacrifices himself in an exploding gas-tank truck. To be fair, he was bitten, but there could’ve been more of a tragic-love-lost angle here. The quick last kiss wasn’t it. It was like your parents forcing you to date the neighbor because they think you guys would make a cute couple.

Resident Evil: Afterlife (2010)

Afterlife gives Jovovich a very non-apocalypse makeover. In Extinction, Milla sports a very short ‘do, she’s covered in layers, and pulls off the minimal-makeup look. In Afterlife, she’s been to Sephora and the salon, and suddenly it’s Resident Evil: Extreme Makeover. I don’t blame her for wanting to look good while murdering zombies, but she looked more believable in Extinction, and it was a more respectable choice. But alas, she really does look great, so I’ll shut up now.

Afterlife follows the trend of Extinction, with a lot of downtime before the bigger payoffs. Admittedly, the payoff is bigger here.

Alice flies to Alaska in a two-seater airplane and runs into Claire, whom she fights because of a spider-like device attached to her chest. The device, featuring Umbrella’s signature colors, is removed. Suddenly Claire stops fighting Alice, but she also has amnesia. Totally unsure of what’s going on, like the audience, Alice ties Claire’s hands together and brings her aboard the plane. They arrive in Los Angeles, where they find survivors holed up in a prison.

Claire reunites with her long-lost brother Chris Redfield, played by Wentworth Miller. Luther West is a welcome presence. A natural leader, he seems more confident without being bossy or grouchy. He just acts like, “We got this. I got you.” He stays. Oh, wait. I don’t make that call.

But I’m sort of back and forth on the rest of the newer characters in this chapter. Some characters, like Angel, are likable enough that their deaths hit like a gut punch rather than making you think, “Who’s that again?” Bennett, the Hollywood executive, shoots Angel after the poor guy says it’s going to take a week to fix a plane engine. How about maybe dropping the gun and picking up a wrench and helping instead of jumping to murder?

Bennett then steals Alice’s plane and flies off, but since it can only seat two people, he offers his former intern, Kim, the chance to flee. Kim does the noble thing and decides to stay with the other survivors, leaving Bennett on his own. Which doesn’t matter anyway, because the Nemesis equivalent of this movie, simply credited as “Axeman,” axes Kim in half in a split second, leaving Alice and Claire to kill him in slow motion.

While trying to get everybody out safely, Luther is attacked by a zombie. Alice, Claire, and Chris are the only ones to make it out alive.

The trio finally makes it to Arcadia, where they come across Albert Wesker, who’s got Bennett in his corner. So it’s our remaining survivors versus Wesker, Bennett, and a lot of zombie attack dogs. Wesker repeatedly pulls a Neo and dodges Chris and Claire’s attacks.

After spending most of the movie absent, we see Kmart, freed from Umbrella captivity. I don’t know how much we’re supposed to care about her, but she’s still a welcome sight somehow. Another welcome sight is Luther, whose disappearance was a fake-out and who survived! Victory is theirs! Only it’s not. Wesker weasels away.

A blonde woman wearing the same Umbrella spider device that Claire had on before talks to the camera and gives exposition. I later found out it was Jill Valentine from Apocalypse. Of course, the different hair length, hair color, and head-to-toe skin-tight purple didn’t help me identify her. But the music and the fact that it comes mid-credits means it has “Important Scene” labeled on it.

Resident Evil: Retribution (2012)

While the first four films offer varying degrees of quality and insanity, Retribution feels like the first movie where it’s not worth it.

Luther returns and he’s still likable, but this time he feels more like a background player. Leon makes his first and only appearance, and I wanted to like him. But between short moments of throwaway dialogue and a nonexistent character arc, I kept feeling shafted. He feels very much inserted for fans of the video game. Ada Wong was a delightful surprise. She’s tough as nails without being a cheeky MCU-like hero. No quips, just pure kickassery. She’s always ten steps ahead of Umbrella, and she’s the best thing about Retribution.

Alice and her alternate life as Michelle Rodriguez’s friend is a weird detour. Carlos Oliveira returns and is now married to our leading lady. However, he dies pretty quickly anyway, so who cares. Oded Fehr has a good performance in him, but these movies aren’t allowing him to show it.

Alice grows attached to Becky, the daughter she’s never met before. They have a nice little connection that raises the stakes. Even though it’s established she’s only the daughter of an Alice clone, it’s still interesting to see the effects on regular, everyday people who aren’t battle-worn. Becky’s terrified reaction to the zombies walking around makes the movie feel less like a video game and more like a horror film.

Wesker has returned, and again, the previous film’s lead-in to the sequel has been abandoned. Wesker himself has abandoned the Umbrella Corporation and teamed up with Ada in an attempt to team up with Alice. Fortunately, Ada kicking ass does the trio of unwilling participants a lot of favors. Too bad she gets sidelined in the third act, leaving Leon and Luther to fight not just Rain, but Rain to the tenth power.

Alice fights Jill. Luther dies, and Ada might as well die because she basically never returns. The movie ends with Ada, Jill, Leon, Wesker, and Alice on top of the White House. Wesker explains that the Red Queen is trying to wipe out humanity. I don’t even know what the Red Queen’s motivations are at this point, as she helps Alice out in the next movie. So Resident Evil: The Final Chapter should’ve been called Resident Evil: Men in Black, because these people seem to have had their memories erased.

Jill had the Umbrella spider removed from her chest and she’s back to her old self. But again, forget about that idea because she never comes back for the rest of the series. And Ada fell off the White House from posing too long with the others? I don’t know.

The movie does end with the clear message: “THIS IS HUMANITY’S LAST HOPE.” But it is not.

Resident Evil: The Final Chapter (2016)

Resident Evil: The Final Chapter makes up for anything boring in Retribution, but it still mishandles the story by throwing too much in Alice’s way. The obstacles mostly work individually, but altogether it just feels like more stalling.

The Red Queen appears and tells Alice she has 48 hours to get to the Hive. Recurring villain Dr. Isaacs is now some sort of religious cult leader. Claire Redfield returns and is actually a welcome presence. She’s actually Claire Redfield. Not a clone, an evil version, or an experiment gone awry. Just Claire.

Ruby Rose and William Levy bring their star power just long enough to die. And while Levy’s Christian is sadly a waste, Ruby Rose’s Abigail is actually smart, helpful, and a breath of fresh air. Unlike Christian, her death hurts.

Commander Chu is so good at being unlikeable that I was disappointed his death wasn’t longer. Meanwhile, Dr. Isaacs takes too long to die, enduring a lengthy battle with Alice and Claire. The fight is cool until it goes on for too long. Suddenly he’s a clone, and we’re never sure what the final word is in this allegedly Final Chapter.

Three generations of Alice appear, and it’s revealed that the Alice we’ve followed for six movies isn’t even the original Alice, which explains her lack of memory regarding her own life.

Wesker’s head is spinning from being evil yet again. Old Alice implants Young Alice’s memories into Our Alice, who should’ve been taken out by the T-Virus but survives because it’s Alice. And luckily she’s not the only one left standing because that would be too depressing. Claire survives too.

Resident Evil: Welcome to Raccoon City (2021)

In 2021, Resident Evil: Welcome to Raccoon City was released to a mediocre box office and an unenthusiastic critical response. The overall critique seemed to be that while the film was a faithful adaptation of the video game, it didn’t translate well onto the big screen. So maybe, after all the criticism Alice got for being shoehorned into the franchise, that criticism wasn’t exactly justified.

Zach Cregger, director of Weapons and Barbarian, is bringing a new Resident Evil reboot to theatres soon. Like the Jovovich era, it will focus on a new character who isn’t tied to the source material.

The first six films had their share of inconsistencies and loose ends, to say the least. But there’s something to be said for their consistently strong box office numbers, totaling $1.2 billion, with The Final Chapter grossing the most of the six films worldwide. So it’s not like they were running out of steam with viewers.

Wherever you land on the series, it’s easy to see why it had such a large audience. There’s something interesting about a beautiful woman surviving the apocalypse with tons of resilience and no room, time, or patience for nonsense.

The post The Resident Evil Movies Are Insane appeared first on JoBlo.

The sharks vs. killer whales movie Alphas is finally moving toward the big screen. Deadline reports that Saban Films has acquired U.S. rights to the survival thriller, which stars Virgin River‘s Martin Henderson, Titans‘ Teagan Croft, and Wrong Turn‘s Charlotte Vega. The film is now being lined up for a theatrical release in early 2027.

That’s a major update for a project we’ve been following at JoBlo for years. Alphas was first announced back in 2018 as a “sharks vs. a whale” thriller, with Final Destination 5 director Steven Quale attached to direct. At the time, Voltage Pictures was financing the movie, and the plan was to turn the aquatic creature showdown into a “highly commercial, yet sophisticated” blockbuster.

The project appeared to get another major boost in 2020 when Sam Worthington signed on to star, with filming scheduled to begin in Puerto Rico. Worthington was set to play an environmentalist who would convince the owner of a killer whale sanctuary to unleash an orca against a growing population of great white sharks.

That version of Alphas ultimately didn’t make it into production, but the movie has now resurfaced with a new cast and a new director.

What is Alphas about?

The current version of Alphas is directed by Liam O’Donnell from a screenplay by Frank Hannah and a story by Hannah and Christopher Tuffin. The story still revolves around the basic premise that originally caught our attention: what happens when the only thing that can stop a population of great white sharks is a killer whale?

Here’s the official synopsis:

“After a string of great white attacks threatens a quiet surfing beach town, killer whales are enlisted to drive the sharks out. But when the alpha great white proves too powerful to stop, a former local surfing legend (Henderson) and a retired orca trainer (Vega) make one last, terrifying move: unleash the most dangerous killer whale ever known.”

So, yes, Alphas is still giving us sharks vs. whales.

The new version is produced by Christopher Tuffin for Strong Island, Renee Tab for Sentient Entertainment, Joel Chikapa Phiri and Tshepiso Chikapa Phiri for Known Associates, and XYZ Films. Timo Argillander and Andrea Scarso executive produce on behalf of IPR.VC.

Saban Films co-presidents Shanan Becker and Jonathan Saba are clearly embracing the creature feature appeal of the premise:

“Monster movies have always given us something bigger than life to be scared of. Godzilla started it. Jaws made it real, because the scariest monster isn’t the one we dream up, it’s the shark already swimming beneath us. Alphas finally gives that shark something to be scared of, too.”

Producer Christopher Tuffin added:

“We built Alphas to take the shark movie audiences know and flip the food chain. When the only thing that can save the beach may be more dangerous than sharks, every choice becomes terrifying.”

And after following this one since 2018, I’m very curious to see whether Alphas can deliver on the promise of its awesome elevator pitch: sharks vs. killer whales. Are you looking forward to this one? Let us know by leaving a comment below.

Here’s a promotional still, which doesn’t feature a single shark or whale. A very odd choice:

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The V/H/S franchise is bringing the SCP Foundation to theaters, and it now has a major new partner behind it. A24 has teamed with Spooky Pictures and Image Nation Studios to bring the SCP Foundation to the big screen for the first time in a feature-length film, V/H/S: SCP, which is targeting a 2027 theatrical release.

A24 will hold worldwide rights to the project and co-produce with Roy Lee and Steven Schneider for Spooky Pictures, alongside Josh Goldbloom and Michael Schreiber, both of whom have worked on multiple V/H/S installments.

The announcement comes several months after Image Nation Studios and Spooky Pictures revealed that they had acquired the rights to the V/H/S franchise from Studio71. V/H/S: SCP will be one of the first major projects to emerge from that new ownership.

Plot details are being kept under wraps for now, but the movie will bring the sprawling SCP Foundation mythology into the V/H/S found-footage format.

What is the SCP Foundation?

The SCP Foundation (or the Special Containment Procedures Foundation) is one of the biggest collaborative horror and science fiction projects to emerge from the internet. Originating online in 2008, the SCP Foundation has evolved into a sprawling, collaborative mythology created and expanded by thousands of contributors around the world. Its universe encompasses a library of anomalous objects, entities, phenomena, and stories, and has inspired games, short films, web series, and a global fan community.

The mythology centers on a secretive organization tasked with containing and studying supernatural or otherwise anomalous phenomena, with stories often presented as classified documents, reports and other pieces of recovered evidence. That format makes the SCP Foundation a natural fit for the V/H/S franchise, which has spent more than a decade telling horror stories through supposedly recovered footage.

Why is A24 making V/H/S: SCP?

A24’s involvement is notable because the studio has already demonstrated that internet-born horror can become major theatrical entertainment. A24’s Backrooms, directed by Kane Parsons, was a box office success, crossing $393 million worldwide. The film was based on Parsons’ viral internet shorts exploring the mysterious liminal spaces of the Backrooms, another piece of internet horror mythology that developed a massive following before making the jump to theatres.

Now A24 is attempting something similar with the SCP Foundation.

Image Nation Studios CEO Ben Ross and Spooky Pictures co-founders Roy Lee and Steven Schneider said:

“Internet lore is quickly rising as a compelling source of new stories for the horror genre, bringing with it built-in, highly devoted audiences. As fans increasingly seek out fresh scares, we’re focused on tapping into the most compelling online worlds in which talent already live, such as the vast SCP universe, and helping them make the leap to the big screen. With A24’s expertise in nurturing and elevating internet-born phenomena like Backrooms into major theatrical success, they’re the ideal partner for V/H/S: SCP and we can’t wait to expand the franchise with new, spine-chilling stories together.”

V/H/S/MIXTAPE will arrive before V/H/S: SCP

While V/H/S: SCP is positioned to be a major theatrical chapter of the franchise, fans won’t have to wait until 2027 for another V/H/S movie. Shudder has announced V/H/S/MIXTAPE for October 9, 2026, meaning the music-themed anthology will arrive before V/H/S: SCP.

V/H/S/MIXTAPE features segments directed by Ernest Dickerson, RZA, David Moreau, and Renee Zhan, with Zhan’s segment featuring original creature creations from Jim Henson’s Creature Shop. The anthology also has a strong connection to the music world, with Flying Lotus directing music video interludes and Ghost frontman Tobias Forge making his directorial debut with a music video segment. Heavy metal legends GWAR will also appear. The official synopsis describes the movie this way:

“V/H/S/MIXTAPE cranks the signature found-footage horror up to eleven with an electrifying new anthology where music and sound become the source of terror. United by a theme that explores the power of music, rhythm, and audio to haunt, possess, and destroy, the film blends cosmic horror, psychological suspense, outrageous splatter, and groundbreaking practical effects into one unforgettable mixtape of nightmares.”

So while V/H/S/MIXTAPE will continue the franchise’s annual Shudder tradition, V/H/S: SCP represents a change of direction, bringing the series into an established internet horror universe and giving it a theatrical home through A24.

Who is making V/H/S: SCP?

V/H/S: SCP will be produced by Roy Lee and Steven Schneider for Spooky Pictures, alongside Josh Goldbloom and Michael Schreiber. Ben Ross, Rami Yasin, and Jakob Pollack will executive produce for Image Nation Studios and Spooky Pictures, alongside Brad Miska.

The project currently has no announced director or cast, and plot details remain under wraps. What we do know is that V/H/S: SCP will be the first feature-length film to bring the SCP Foundation to the big screen, while continuing the found-footage format that has defined the V/H/S franchise since the original movie arrived in 2012.

Are you looking forward to seeing V/H/S: SCP in 2027? Let us know by leaving a comment below.

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PLOT: Season three continues to expose a collection of video tapes from the secret vault of the world’s deadliest and most socially uncomfortable serial killer (Duplass). Unfortunately, as the tape rolls, the killer’s questionable intentions surface with his increasingly odd behavior and the victims will learn they may have made a deadly mistake.   

REVIEW: I still remember discovering Creep on Netflix way back in 2014 and being fascinated by this character created by Mark Duplass and Patrick Brice. The idea of a man taping all of his victims and toying with them before their eventual murder is downright terrifying. Its sequel gave a slightly different flavoring, and it seemed inevitable that we’d get a third entry. Yet, I’d say that The Creep Tapes; the franchise’s foray into television, is the sandbox the character was always supposed to be playing in. Because with this episodic format, we’re able to really get a glimpse into the mind of Peachfuzz, and this third season may just be the best one yet.

Season 3 follows the same format as the prior seasons, with each episode following a new victim of Peachfuzz. The titles of the episodes are those of the victims, and they feel like little bite-sized versions of the films. I always felt that past seasons had a tough time keeping up the momentum from episode to episode. The 22-minute format makes it hard to connect with these new victims. And maybe it’s just my own reconfiguration of the series, but I’m now viewing these as layers to Duplass’ character being added through these victims versus the typical horror story where you’re rooting for the victim to escape. Because of this, I find myself even more invested in the episodes.

I’ve never been a massive fan of Found Footage, mostly because I find the gimmick difficult to stretch out for a considerable period and still keep it believable. Despite this, I can’t imagine Peachfuzz’s story being told in any other format. There’s a grittiness and a vulnerability that come into play that I can’t imagine being present otherwise. Better yet, the filmmakers never betray the concept, and we’re always seeing the world through this camera. I’m not saying I would be opposed to a traditionally filmed episode, but it’s far from a requirement. And there’s no denying that the limitations require filmmakers to get very creative, so who’s to say how much it shaped the creative vision.

“Mo” sees Duplass’ character heading to New York City and shooting on an iPhone rather than his usual camera. Obviously, this gives a very different energy, taking place in one of the most populous cities on earth. It breaks from the usual “two people in one location” setup of most episodes, and seemingly gives the victim an easy escape. So it adds to the mystique that Peachfuzz is comfortable going after someone while witnesses are all around him. It gives new tension to the scenes with no one else around, as it almost feels like an advantage for him. Plus, knowing how Brice and Duplass film, it’s fun to watch random civilians reacting to the chaos happening around them for the show.

It’s always cool to see horror royalty pop up and battle Peachfuzz, and the big standout this season is Kate Siegel. The Flanagan regular (and wife of the acclaimed filmmaker) brings her usual charisma to the part of Crystal. There’s a really interesting power dynamic on display, and she reminded me a lot of Sara from Creep 2. Duplass, who is always electric in the role, always takes it to another level when he has a talented scene partner. There’s definitely some potential to explore that further.

The worst episode is easily “Jody+Brie” which is a flashback completely weighed down by the performance of Terrifier 2‘s Elliott Fulham. Which is really too bad as Duplass’ daughter Ora is great opposite him. It’s also cool to see Mark and Ora acting across from each other as contemporaries, since he’s playing a younger version of the character. I’m usually able to get lost in these stories but Fulham brought me out of it with every line delivery. It’s too bad, as the concept of the episode is really intriguing, and it’s a great idea to show us some of the origins of the character.

This third outing of The Creep Tapes is the best one yet, giving us a little bit more insight into Duplass’ character, as well as providing stories that are always entertaining. Given the format of the show and the style episode are made in, I can’t imagine this being the end of the road as it seems like a creative geyser for Brice and Duplass. As of now, they’re riding the line between explanation and intrigue just the right amount, and I can’t wait to see how they continue to evolve the series.

THE CREEP TAPES S3 is available on Shudder and AMC+ September 15, 2026, with new episodes airing every Tuesday after.

The post The Creep Tapes S3 Review: Proof that the episodic format is perfect for this Found Footage killer appeared first on JoBlo.

DC Studios is getting ready to unleash a nightmare, and two new posters for Clayface offer another unsettling look at the upcoming horror thriller. With the film’s October 23 theatrical release getting closer, the new posters arrive as anticipation continues to build for the James Watkins-directed movie. A new trailer is also rumored to be around the corner, which would give audiences another look at star Tom Rhys Harries’ transformation from rising Hollywood star to the horrifying creature known as Clayface. You can check out the posters at the bottom of this article.

What is Clayface about?

In Clayface, Matt Hagen is a Gotham street kid who grows into a successful Hollywood actor, only to have his dreams shattered when a local crime boss leaves him horribly disfigured. With his career and appearance seemingly destroyed, Matt turns to an experimental treatment that restores what he has lost. Unfortunately, the miracle comes with a terrible price. The treatment begins affecting Matt’s mind, while his body develops the ability to change its appearance. His new powers initially seem like a second chance at the life he lost, but his deteriorating mental state eventually sends him down a path of revenge.

The movie’s official synopsis describes Matt’s transformation as a descent into an “all-consuming revenge,” while emphasizing the loss of his identity and humanity.

James Watkins directs Clayface from a screenplay by Mike Flanagan and Hossein Amini, with Flanagan also receiving story credit. Tom Rhys Harries stars as Matt Hagen/Clayface alongside Naomi Ackie, David Dencik, Max Minghella, Eddie Marsan, Nancy Carroll, and Joshua James.

Mike Flanagan’s Clayface is finally becoming a reality

Clayface has been an interesting project because it began as a passion project for horror filmmaker Mike Flanagan. Flanagan originally envisioned a horror-leaning take on the character and eventually wrote the screenplay that convinced DC Studios co-CEO James Gunn that the movie was worth making. Flanagan ultimately couldn’t direct the movie because of his commitment to his upcoming TV series adaptation of Stephen King’s Carrie, leaving Speak No Evil filmmaker James Watkins to take the director’s chair.

That combination is still pretty appealing. Flanagan’s story brings the horror pedigree, while Watkins has already demonstrated that he isn’t afraid to make audiences uncomfortable. The result could be one of the strangest movies to emerge from the new DC Universe.

Are you looking forward to seeing Clayface on October 23? Take a look at the posters, then let us know in the comments below.

The post New Clayface posters tease DC’s horror take on the Batman villain appeared first on JoBlo.