PLOT: Bear (Michael Johnston) is a shy music store employee with a monster crush on his long-time friend and co-worker, Nikki (Inde Navarrette). Too shy to confess his feelings—and possibly aware that she only thinks of him as a friend—he innocently makes a wish upon a dime-store “one wish willow” that she’d “love him more than anyone else in the world.” His wish comes true—and the consequences are nightmarish.

REVIEW: Obsession is going to strike a chord with a lot of viewers. I think everyone, at some point in their lives, has had a crush on someone who didn’t share their feelings, making Bear’s initial predicament easy to relate to. Others may also relate to Nikki, who’s perhaps been the object of affection from someone they simply aren’t interested in. Obsession becomes a nightmare for both halves of the equation, with Nikki utterly robbed of her agency, choice, and consent in order to fulfill someone else’s fantasy, while Bear—who thinks of himself as a “nice guy”—becomes a predator, and eventually a victim himself.

It’s a lot to chew on, and it marks the arrival of a major new talent in director Curry Barker. Stylishly directed and often darkly humorous, Obsession is a slow burn that pays off with an increasingly horrific final act. It includes one of the most memorable gore scenes in recent memory—so intense that Barker reportedly had to trim it to secure an R rating, and Focus gave it a wide summer release.

It’s exceptionally well-acted by both of its stars. Inde Navarrette is a hoot as the increasingly unhinged Nikki, yet she maintains your sympathy at all times, as you’re constantly aware she’s being manipulated by a force she can’t control. It’s almost a Linda Blair–esque performance, and it should put her on the map in a big way.

Yet of the two, Michael Johnston has the trickier role, playing a character most audience members will grow to despise without losing his humanity. In many ways—especially early on—Johnston’s Bear is as much a victim as Nikki, initially guilty of nothing more than making a dumb, throwaway wish on a gag toy he never expected to work. Yet at a certain point, he decides to go along with it, with a smash cut at one pivotal moment revealing that, despite thinking he’s a good man, he utterly lacks scruples, becoming a willing participant in Nikki’s tortured existence. Of course, things start to go wrong, and he tries to undo the wish—but as anyone who’s seen a horror movie knows, that’s easier said than done.

Barker guides the film with a sure hand and doesn’t shy away from hammering home his message about the difference between real love and obsession. Many will note the movie’s gallows humor, with gore-heavy moments happening so randomly and brutally that you can’t help but laugh at how demented they are—only to realize moments later that what you’re watching is, in many ways, a classic horror tragedy.

The supporting cast is excellent, with Megan Lawless a standout as Sarah, another record shop employee who would be a much better match for Bear if he could get over his obsession with Nikki. Cooper Tomlinson plays his more effortlessly charismatic friend, Ian. Also keep your eyes peeled for Andy Richter in a small role as the owner of the music shop they all work at (which feels like a cursed version of Empire Records).

If Focus plays its cards right, it might have the next indie horror sleeper on its hands with Obsession. It played like gangbusters at both TIFF and SXSW and is a great movie to see with an audience. It’s a strong communal horror experience and one of the more creative indie horror films to emerge in recent memory.

Obsession hits theaters on May 15th!

The post Obsession Review: A Slam-Bang Indie Horror Gem appeared first on JoBlo.

The Exorcist remains my choice for the greatest horror movie ever made. Some may argue for Rosemary’s Baby, The Shining, or Night of the Living Dead, but as a good Catholic boy, nothing has ever gotten under my skin the way William Friedkin’s original did. Naturally, Hollywood tried to turn the film into a franchise, despite Friedkin having little interest in sequels. The result is one of horror’s strangest franchise legacies, filled with misguided sequels, troubled productions, and one genuinely excellent follow-up. Here are the Exorcist movies ranked from worst to best.

Rank	Movie	Year	Director	Verdict
6	Exorcist II: The Heretic	1977	John Boorman	Wildly entertaining disaster
5	The Exorcist: Believer	2023	David Gordon Green	Generic and disappointing legacy sequel
4	Dominion: Prequel to the Exorcist	2005	Paul Schrader	Interesting but ultimately dull
3	The Exorcist: The Beginning	2004	Renny Harlin	Silly but entertaining action-horror prequel
2	The Exorcist III	1990	William Peter Blatty	The franchise’s only truly great sequel
1	The Exorcist	1973	William Friedkin	The greatest horror movie ever made

6. Exorcist II: The Heretic (1977)

Director: John Boorman
Starring: Richard Burton, Linda Blair, Max von Sydow, James Earl Jones
Release Year: 1977
Subgenre: Supernatural horror
Notable For: One of the most infamous horror sequels ever made

So, worst is a degree here rather than a black-and-white fact. All of the Exorcist sequels – with that one exception I’ll get to later – are terrible. Yet, of them all, none is quite as bad as the infamous Exorcist II: The Heretic. What’s crazy is that the movie comes from a pretty fantastic director, John Boorman. Still, he’s also a guy who, in between making masterpieces like Excalibur and Deliverance, also made the odd stinker, like Zardoz.

Exorcist II: The Heretic is like the overacting Olympics. Poor Richard Burton sweats booze as Father Lamont, who’s having a crisis of faith while investigating the death of Father Merrin (Max Von Sydow was lured back for a small role). He meets with Linda Blair’s Regan MacNeil, who’s now a teenager and seems well adjusted, all things considered. There’s a batch of hokum that includes ESP, James Earl Jones dressed as a Locust, a weird Italo-disco score by Ennio Morricone, not one but two tap dancing sequences for Linda Blair, and Burton doing all of his own sweating and looking like he needs a drink – badly.

This movie was so bad that Boorman had to physically cut film prints that were already playing theatrically in order to make the movie a little shorter. Yet, as bad as it is, it’s one of the most entertainingly awful movies ever made, and the cinematography by William A. Fraker is legitimately great. Also, no one says Pazuzu like Richard Burton.

5. The Exorcist: Believer (2023)

Director: David Gordon Green
Starring: Leslie Odom Jr., Ellen Burstyn, Ann Dowd, Lidya Jewett
Release Year: 2023
Subgenre: Supernatural horror
Notable For: Ellen Burstyn’s return as Chris MacNeil

While not as poorly made as Exorcist: The Heretic, director David Gordon Green’s Believer is undoubtedly a more boring film (despite the jump scares) and about as lazy a horror movie as you’re likely to encounter. Judging by the toxic word of mouth, you can imagine Universal is kicking themselves by shelling out $400 million for the rights to the franchise, even though none of the sequels have ever been financially successful.

Fifty years after starring in the original film, Ellen Burstyn reprised the role of Chris MacNeil for this film, and of course the movie couldn’t even handle her character correctly.

4. Dominion: Prequel to the Exorcist (2005)

Director: Paul Schrader
Starring: Stellan Skarsgård, Gabriel Mann, Clara Bellar
Release Year: 2005
Subgenre: Psychological horror / religious drama
Notable For: The original prequel version rejected by the studio

Director Paul Schrader’s Exorcist prequel was considered such a disaster that the studio that made it, Morgan Creek, shelved and remade the entire film. While it’s hip to say Schrader’s movie is excellent, the truth is that despite some interesting moments, it’s very dull. It’s an interesting curiosity, and Schrader would eventually make a masterpiece about faith (First Reformed), but this isn’t it.

That said, I’m happy it eventually saw the light of day as I’m not in favor of shelving movies, no matter how bad they are.

3. The Exorcist: The Beginning (2004)

Director: Renny Harlin
Starring: Stellan Skarsgård, Izabella Scorupco, James D’Arcy
Release Year: 2004
Subgenre: Action horror / supernatural horror
Notable For: The studio-mandated replacement for Dominion

Like The Heretic, this alternate Exorcist prequel by Renny Harlin is of the so bad it’s good variety. Harlin turned the franchise into an action film, with Stellan Skarsgård’s Father Merrin reimagined as a badass priest who even performs a holy head-butt at the film’s conclusion. It isn’t good, but it’s kind of fun.

Skarsgård really does his best, and its interesting to compare his Liam Neeson-like action star performance in this to his quiet turn in Dominion.

2. The Exorcist III (1990)

Director: William Peter Blatty
Starring: George C. Scott, Jason Miller, Ed Flanders, Brad Dourif
Release Year: 1990
Subgenre: Psychological horror / police thriller
Notable For: Adaptation of Blatty’s novel Legion

It’s literally the only good Exorcist sequel. William Peter Blatty initially set out to make a looser kind of sequel, with it being an adaptation of his novel Legion. But, after the movie was completed, Morgan Creek got uncomfortable with his police thriller version of the film, insisting he reshoot the ending to include Jason Miller’s Father Karras and a grand guignol, eighties-horror style Exorcism.

Despite being compromised (you can see the reconstituted director’s cut on the Blu-Ray), the movie is still quite good, with George C. Scott excellent as the recast Lt. Kinderman (the original actor – Lee J. Cobb – was dead by this point). Blatty also includes some weird touches, including a cameo by Fabio as an angel.

One might also consider Blatty’s The Ninth Configuration as a quasi-sequel given that a minor character from the first film is the star, but the genres are very different. If that one were counted it would place highly on our list of Exorcist Movies Ranked.

1. The Exorcist (1973)

Director: William Friedkin
Starring: Ellen Burstyn, Linda Blair, Max von Sydow, Jason Miller
Release Year: 1973
Subgenre: Religious horror
Notable For: Widely regarded as one of the greatest horror films ever made

Simply put, the greatest horror movie ever made. If you’re making a list called Exorcist Movies Ranked, and the original film doesn’t land in first place, what are you even doing?

Friedkin was right never to try and make a sequel because it can’t possibly be beaten, or even equaled. That said, avoid 2000’s The Version You Never Saw, as that was Friedkin doing a favour for William Peter Blatty, who hated how vague the director had left the conclusion of his battle between good and evil. I much prefer the darker original. As for the Spider-Walk – who needs it?

If you want to see another quasi-horror film from Friedkin, check out the 1980 serial killer thriller Cruising, which is very disturbing and loosely based on a real killer’s exploits. The kicker – this killer was a radiologist who played himself in The Exorcist! It’s weird but true.

FAQ

What is the best Exorcist movie?

The original The Exorcist (1973) is widely considered the best film in the franchise and one of the greatest horror movies ever made.

Is The Exorcist III worth watching?

Yes. Many horror fans consider The Exorcist III the only genuinely strong sequel in the series.

Why are there two Exorcist prequels?

Morgan Creek rejected Paul Schrader’s original prequel, Dominion: Prequel to the Exorcist, and replaced it with Renny Harlin’s Exorcist: The Beginning.

Is The Exorcist: Believer connected to the original movie?

Yes. The film serves as a legacy sequel and brings back Ellen Burstyn as Chris MacNeil.

Was William Friedkin involved in the sequels?

No. Friedkin declined to direct sequels after the original 1973 film.

Despite decades of sequels, prequels, and reboots, The Exorcist remains one of the few horror films whose reputation has never faded. While the franchise itself has struggled to escape the shadow of Friedkin’s masterpiece, The Exorcist III proves there was at least one worthwhile continuation of William Peter Blatty’s world of faith, evil, and spiritual terror.

How would you rank the Exorcist movies? Let us know by leaving a comment below – and if you watched the TV series from 20th Century Fox Television, add that into the mix as well.

The post Exorcist Movies Ranked: From Worst to Best appeared first on JoBlo.

Writer Jen D’Angelo got her start working on episodes of shows Workaholics, Cougar Town, and Young Rock, and recently she was on a streak of successfully getting her feature scripts brought to the screen. She wrote the long-awaited sequel Hocus Pocus 2, the time travel slasher Totally Killer, and the comedy Quiz Lady – but a project that has been slowing her down is Hocus Pocus 3, which she has been attached to for a couple of years now. Following the success of Hocus Pocus 2, it’s been surprising to see that Hocus Pocus 3 is taking so long to make it into production, even with Bette Midler urging the studio to take action. During an appearance on Andy Cohen’s Watch What Happens Live! a few months ago, Sarah Jessica Parker simply said they’ve “been having some conversations” about the next sequel – but now it sounds like there’s been some progress, as Midler has revealed that she has read the script!

UPDATE: Several months have passed since Midler read the script, but Deadline has now been able to confirm that “Hocus Pocus 3 is officially in early development from Disney Live Action Studios, with the trio of stars, Bette Midler, Sarah Jessica Parker, and Kathy Najimy, returning to reprise their roles as the Sanderson sisters. We understand there are plans for a theatrical distribution component this time around, following the success of the straight-to-streaming Hocus Pocus 2, available exclusively on Disney+. However, the studio declined to comment as the project is still in its infancy. EVP of Production Jessica Virtue will be overseeing the project on behalf of Disney Live Action.”

The original article, first published in October 2025, follows:

Midler’s revelation came on, what do you know, another episode of Andy Cohen’s Watch What Happens Live! Andy Cohen interviews are the source for all Hocus Pocus 3 news bites, apparently. Midler told Cohen, “They sent a script, and a lot of it was brilliant. So I got very excited, and now we’re sort of, like, trying to figure out what it is and how it’s going– where it’s going to be and how much it’s going to cost and all those logistical things.“

The original cult favorite Hocus Pocus was released in 1993. Directed by Kenny Ortega from a screenplay credited to Mick Garris and Neil Cuthbert (and based on story Garris crafted with David Kirschner), that film was about a trio of witch sisters who have been cursed since 1693. The fearsome threesome is inadvertently resurrected 300 years later by a boy whose family has moved from Los Angeles to Salem. As they attempt to acclimate to the 20th century, they are horrified to discover that Halloween has become a holiday. Fans had to wait 29 years for Hocus Pocus 2. That sequel saw Bette Midler, Sarah Jessica Parker, and Kathy Najimy reprising the roles of the Sanderson Sisters. The film has the following synopsis: Picking up 29 years after a teen named Max lit the Black Flame Candle and resurrected the three 17th-century child-essence-stealing sorceresses, Winifred (Midler), Sarah (Parker), and Mary (Najimy) are now looking for revenge. With the Sanderson Sisters back to terrorize Salem, it’s up to three high school students to stop them. How do you do that? By summoning the wrath of an enchantress, of course.

Are you glad to hear that Bette Midler has read the Hocus Pocus 3 script and it sounds like progress is being made? Let us know by leaving a comment below.

The post Hocus Pocus 3 officially in development; Bette Midler has read the script appeared first on JoBlo.

PLOT: Johnny Cage (Karl Urban), a washed-up action hero from the nineties, is chosen to join the champions of Earthrealm as they try to win a tournament against the evil Shao Kahn who, if he wins, will become Earth’s new merciless ruler.

REVIEW: 2021’s Mortal Kombat was a movie I liked more in theory than execution. As someone who grew up with the games, as well as the nineties movies (for both better and worse), I liked the fact that it was being made as a large-scale feature with an R-rating, but the finished film just didn’t do much for me. While many classic characters made their way into the movie, none of them had much personality, and the film was surprisingly dull and by-the-numbers — although it was a significant box office hit despite its simultaneous HBO Max release. Ask any fan, though, and they’ll tell you exactly what the movie was missing — Johnny Cage.

Thankfully, the same creative team who made the first one, including director Simon McQuoid, has taken the opportunity to improve things, namely by introducing the character we all wanted to see the first time around, with Karl Urban well cast as Johnny Cage. Despite not being a martial artist, Urban has the personality needed for a film like this, with him bringing his chops and some much-needed attitude to a movie that — while still far from perfect — is a lot of fun. Like the first, it’s unapologetically R-rated, with lots of gore and F-bombs.

You probably don’t even need to have seen the first movie to get into the sequel, as many of the characters who were prominent previously have been sidelined. Most notably, this is true of Lewis Tan’s Cole Young, a controversial addition to the franchise, who was the lead in the last film but has a minor role this time. Other actors return, including Jessica McNamee as Sonya Blade, Mehcad Brooks as Jax, Tadanobu Asano as Raiden, and Ludi Lin as Liu Kang, and while they’re around for much of the film, they support the movie’s two leads — Johnny and Adeline Rudolph, who plays Kitana.

In this sequel, Kitana is the daughter of a fallen king who has become Shao Kahn’s adopted daughter, but she is secretly allied with Earthrealm and looking to end his reign of terror. It’s really her and Cage’s respective journeys that take up much of the running time. At some point, Josh Lawson is also brought back into the story as Kano to liven things up a bit, with him being a fan favorite from the first movie. Hiroyuki Sanada, whose profile in the West has risen significantly since Shogun, also returns as Scorpion. It takes some time for him to show up, but he plays an important part in the last act.

As for the action — because it’s a video game adaptation, it can be forgiven for relying so significantly on VFX and wire work. Mortal Kombat isn’t Bloodsport — it’s fantasy, so the fact that Karl Urban may not be a real martial artist doesn’t really matter, with a lot of the moves Johnny Cage pulls off (being right from the game) not being in the realm of human ability. You either go with the fantastical vibe or you don’t. The fights are fine, but — and this is my main gripe with the movie — none of them stand out in a huge way. Johnny has a fun fight with Baraka, and there’s a cool match between Liu Kang and Kung Lao, but none of them really impress. I suppose we’ve been spoiled by too many great fight scenes in recent years, but part of me yearns for the comparatively simple fights from the first Paul W.S. Anderson Mortal Kombat movie, whose budget probably wouldn’t pay for the catering on this one.

As is the trend these days, Mortal Kombat II is getting an IMAX release, but to me this isn’t one of the movies that really benefits from the format. It does expand to the IMAX aspect ratio quite often, but in an irregular, distracting way. During the build-up to the Johnny/Baraka fight, the aspect ratio opens up in a dramatic way, only to immediately revert back in the next shot. I also saw this fight scene in the conventional format at CinemaCon, and I found it came off better that way — so this is a rare occasion where a trip to the IMAX screen may not really be worth it.

While Mortal Kombat II isn’t quite the knockout follow-up some of us might have been hoping for, it does improve on the last film, and is night and day compared to the last time we got a Mortal Kombat II in theaters (folks of my generation can remember feeling ripped off when we saw Mortal Kombat: Annihilation). Karl Urban gets a great showcase here, and even if you can’t help but feel the action could have been a bit more memorable, I had a fun time watching it.

The post Mortal Kombat II Review: A lot better than the last movie appeared first on JoBlo.

JoBlo

It’s pretty hard for a film to truly scare me nowadays. Most of what passes for horror leans on the old “loud noise = scare” formula, and it doesn’t cut very deep. With the exception of Hereditary and maybe The Witch, there hasn’t been a film to dig deep enough to get under my skin since The Blair Witch Project. I’m always chasing that feeling again…

It wasn’t always like this.

There were plenty of sleepless nights back in the day, nights spent staring into the dark, wondering why my dad and brother thought it was a good idea to drag me to movies that would emotionally destroy me. We laugh about it now… but if I ever snap and unleash some deeply buried evil from my scarred imagination, you’ll know exactly who to blame.

Editorial Note

This list reflects real childhood horror experiences shared by the JoBlo team, based on theatrical viewings and early home video exposure from the late 1970s through the early 2000s. While the perspective is personal, the impact of these scenes is widely recognized among horror fans.

How These Moments Were Selected

These scenes were chosen based on:

• First-time childhood exposure impact
• Long-term psychological effect
• Cultural recognition within horror cinema
• Effectiveness without reliance on modern jump-scare techniques

10. The Clown – Poltergeist (1982)

Type of Fear: Childhood insecurity / supernatural
Scare Style: Slow build to sudden attack

A supernatural horror classic produced by Steven Spielberg, Poltergeist lures you in with wonder before wrecking your sense of safety.

A new movie from the guy that did Raiders of the Lost Ark and E.T.? You bet I want to see it, Dad!

Big mistake.

What happened next will stay with those of us who saw it forever. The moment Robbie (Oliver Robins) looks back at that chair and the clown is gone, I’m not afraid to admit I peed a little. Everything went blank. “Where is that clown? Don’t look under the bed, idiot. It’s behind you!” As the credits rolled and I finally had time to wipe the tears off my face, I remember seeing a kid sitting in front that was younger than me. I’m pretty sure he had swallowed his tongue and his ears were bleeding and all I could think was, “What a pussy.”

9. Grave Grab – Carrie (1976)

Type of Fear: Shock / false safety
Scare Style: Final jump scare

Directed by Brian De Palma, Carrie is a psychological horror film that builds tension before delivering one of the most infamous final scares ever filmed.

This has to be the closest I’ve come to dying. When that hand pops out of the grave, I swear my heart stopped for a couple of days. I was probably around five when I watched this on TV because I remember telling kids in my kindergarten class about it the next day. I wonder what my show and tell presentations were like back then.

“…. and this is my bucket of pig blood.”

8. Card Play – The Evil Dead (1981)

Type of Fear: Chaos horror / possession
Scare Style: Escalating insanity

Sam Raimi’s The Evil Dead is relentless, blending supernatural horror with pure chaos.

My tiny brain felt like it was on fire as I watched a woman who just got attacked by a tree start to float around the living room and issue random death threats. And then the pencil to the ankle. Mother of God, how do you bring a seven year old in a theatre to see something like this? I can’t believe my other personalities haven’t made an appearance here yet.

7. He Ain’t Dead – Halloween (1978)

Type of Fear: Stalker / unstoppable force
Scare Style: Subtle visual reveal

John Carpenter’s Halloween defined the slasher genre with its minimalist approach to terror.

I’m pretty sure the first time I saw this was on TV, so some of the scares were sure to be toned down. It didn’t matter for this moment, though. The single creepiest movement of all time boxed within a perfect angle and it takes place just around the time you thought it was safe to breathe again. Michael Myers is the greatest villain of all time, and this is the moment he got my vote.

6. Zelda – Pet Sematary (1989)

Type of Fear: Physical deformity / psychological trauma
Scare Style: Lingering dread

Based on Stephen King’s novel, the Mary Lambert film Pet Sematary taps into grief and fear of death, but Zelda is something else entirely.

Compared to all the other films on this list, being fifteen years old for this one seems old enough to deal. That’s what I thought, too. Until Zelda came creeping into my life. Couple her with Gage, the cutest undead child in the history of film, and I had a few issues to deal with years after. Hearing Zelda call for Rachel every night as I lay in bed was (is) just one of them.

5. Chest Pains – Alien (1979)

Type of Fear: Body horror
Scare Style: Sudden eruption

Ridley Scott’s Alien blends science fiction with horror, creating one of the most shocking scenes in cinema history.

You did not want to be at our dinner table the night after I saw this. Too young to understand that the alien was implanted, I thought it was something he ate. The very same thing my mom was serving that next night. Convinced there was an alien egg hidden somewhere on my plate, I studied each bite like it might be my last. The slightest hint of heartburn and it was over for me. By the time dessert came, I was so nervous, I think I asked my mom to kill me.

4. Living Dead Girls – The Shining (1980)

Type of Fear: Psychological / uncanny imagery
Scare Style: Visual imprint

Stanley Kubrick’s take on Stephen King’s The Shining thrives on atmosphere and deeply unsettling imagery.

I had enough problems with creepy little girls in ’80 stealing my lunch money and beating my ass at recess. What I didn’t need was these girls and their none-too-subtle images of axe-death. To cap it off, Danny (Danny Lloyd) forgets about rocking his Big Wheel and starts having a conversation with his finger. How did I make it through all this before puberty?

3. Dream On – An American Werewolf in London (1981)

Type of Fear: Dream invasion / transformation
Scare Style: False security to shock

John Landis’ horror-comedy is famous for its transformation scene, but the dream sequences hit even harder.

I remember sitting in the theatre watching this like it was yesterday. The part that did the most damage was not the famous “monster death squad” scene, but another dream sequence. As David (David Naughton) runs through the forest and stumbles upon himself in a hospital bed, I had a very bad feeling about this so, I covered my ears and closed my eyes so I might miss the impending doom. My dad, however, noticed my arms over my head and slapped them down. Worried about the people behind me, he told me to quit screwing around and watch the movie. So I did, and just as I looked back at the screen with teary eyes, the image above is what I saw…

2. Norris – The Thing (1982)

Type of Fear: Body horror / paranoia
Scare Style: Sudden grotesque transformation

John Carpenter’s The Thing is a masterclass in paranoia and practical effects.

How great is that scene where an attempt to help a heart attack victim with a defibrillator turns into a monster spectacle? Now imagine that you’re eight-years-old and have to try and sleep at night in a bedroom where every shadow looks exactly like giant spiders with human heads. Are you starting to get the point here? I wonder if I’ve ever killed a babysitter or something.

1. A Bigger Boat – Jaws (1975)

Type of Fear: Fear of the unknown / lurking danger
Scare Style: Delayed reveal

Steven Spielberg’s Jaws redefined blockbuster filmmaking and permanently altered how audiences viewed the water.

I don’t remember exactly how old I was when I actually saw this movie, but it was young enough to instill a fear of waterbeds. Seriously. It’s almost cruel how Spielberg hides the shark for the majority of the film and then slaps you in the face with him when you least expect it. I can honestly say I’ve never thrown bloody fish entrails off the side of a boat because of this scene. And God knows I’ve wanted to.

Honourable Mention: Floaty Kid – Salem’s Lot (1979)

Type of Fear: Supernatural / home invasion
Scare Style: Quiet dread

Even as a TV movie, Tobe Hooper’s adaptation of Stephen King’s Salem’s Lot delivered nightmare fuel that stuck for decades.

I usually don’t include TV movies in these articles, but this was just too unforgettable to leave off. Here’s my question though, where was my mom? If this was on TV, and I was five years old, where was my mom? It’s not like they rolled this thing out on a Saturday morning between G.I. Joe and Thundercats; this was some hardcore horror back in the day. To this day, if I ever heard someone scratching at my window at night, I’d shit my bed and force myself into a coma.

Why These Scenes Still Matter

These moments didn’t just scare audiences, they helped define how horror works. They rely on:

• Atmosphere over noise
• Unpredictability over formula
• Psychological impact over cheap thrills

And most importantly, they all share one trait: They make the familiar feel dangerous.

Frequently Asked Questions

What are the scariest movie moments for kids?

The scariest moments are the ones that invade familiar spaces and strike without warning. Scenes from Poltergeist and Alien are effective because they turn normal environments into threats.

Why do movies feel scarier as a child?

Children are more likely to see what’s happening on screen as possible. Without familiarity with horror tropes, everything feels real and unpredictable.

What makes a horror scene stick long-term?

Scenes that introduce new fears, disrupt safety, and use strong visual imagery tend to stay with viewers for years.

Are older horror movies scarier than modern ones?

Older films often rely on suspense and atmosphere rather than jump scares, which can create longer-lasting fear.

Why do certain scenes traumatize kids?

Because they combine shock, realism, and emotional vulnerability at a time when viewers aren’t prepared to process them.

Do childhood horror experiences affect you later in life?

Yes. They can shape long-term fears, increase tolerance for horror, and influence what types of scares remain effective.

Updated for 2026

This list has been revisited years after it was first written, but these childhood nightmares still hold up and probably always will.

Originally written by Jim Law and revised by Cody Hamman

The post 10 Scary Movie Moments That Traumatized Us As Kids appeared first on JoBlo.

The 30th edition of the Fantasia International Film Festival is set to run from from July 16th through August 2nd at the Concordia Hall and J.A. de Sève cinemas in Montreal, with additional screenings and events at Cinéma du Musée – and the festival has announced the first wave of titles that will be screening there this year! The full line-up will be announced in July, but for here’s a sample of what attendees can expect to see there, with the information coming directly from the Fantasia press release:

SURVEILLANCE AND MURDER IN A FUTURE SOCIETY RULED BY SENTIENT AI – AGNIESZKA SMOCZYŃSKA’S HOT SPOT

In a near future society ruled by sentient A.I., a private eye investigates a murder case only to discover a rebel group capable of undermining the digital overlord. A singular, provocative and aesthetically stunning new work from celebrated Polish visionary Agnieszka Smoczyńska (THE LURE – Fantasia 2016, THE SILENT TWINS, FUGUE), starring Andrzej Konopka (THE THAW, THE LURE), Noomi Rapace (PROMETHEUS, THE GIRL WITH THE DRAGON TATTOO), and Reika Kirishima (DRIVE MY CAR, NORWEGIAN WOOD). Produced by Bogna Szewczyk-Skupień (LAMB, MR. JONES), Klaudia Śmieja-Rostworowska (THE BRUTALIST, HIGH LIFE), and Gregory Jankilevitsch (THE TESTAMENT OF ANN LEE, BETTER MAN). Cheval Noir Competition. World Premiere. 

JENN WEXLER RESURRECTS EVERYONE’S FAVORITE TROUBLEMAKER TO CRUSH THE FOURTH REICH IN THE LAST TEMPTATION OF BECKY

Fantasia’s family of returning filmmakers is large, and proudly includes director/producer powerhouse, Jenn Wexler. Her breakout debut, THE RANGER, came to Fantasia in 2018 and was followed by the World Premiere of her supernatural Christmas crime heist, THE SACRIFICE GAME, in 2023. For Fantasia’s 30th anniversary, the fest couldn’t be happier to have her back with the next chapter of the popular BECKY franchise, THE LAST TEMPTATION OF BECKY!

Becky Hooper (Lulu Wilson, THE HAUNTING OF HILL HOUSE) has annihilated Neo-Nazis and all manner of victimizers, but this time, she’s going straight to the source! Now a CIA agent, managed by genre favorite Kate Siegel (HUSH, MIDNIGHT MASS), she’s taking down a nefarious modern-day Nazi played with camp brilliance by the one and only Neil Patrick Harris (SUNNY DANCER, GONE GIRL)! Wexler shines here, highlighting the underdog heroine and going for broke with tons of gore and crazy kills. Meanwhile, Wilson reprises her beloved character with gusto, unleashing Becky’s signature rage on an army of insane baddies! World Premiere.

MAKOTO UEDA’S DEBUT FEATURE YOU ARE THE FILM TAKES A DIFFERENT PATH OF PLAYING WITH TIME

Fantasia’s go-to time-travel screenwriter, Makoto Ueda (BEYOND THE INFINITE TWO MINUTES, Fantasia 2021; RIVER, Fantasia 2023; and REWRITE, Fantasia 2025) steps behind the camera for his debut feature, YOU ARE THE FILM, once again exploring time in an inventive way, and with a surprising twist. Separated by three kilometers – a 45-minute walk – how can Madoka and Kazuma watch, interact with, and guide each other on a cinema screen in real time? Featuring familiar faces such as Marika Ito (IT’S A SUMMER FILM!), Kai Inowaki (THE FABLE), Riko Fujitani (RIVER), and Oshirō Maeda (REWRITE), YOU ARE THE FILM offers a singularly chaotic and fascinating cinematic journey. Grab some popcorn, and enjoy this winner of both the Audience Award and White Raven Award at the Brussels International Fantastic Film Festival in striking real-time! North American Premiere.

NO REST FOR THE WICKED BRINGS BOLD NEW VISIONS TO VAMPIRE LORE

A young fisherman’s first love with a stranded whaler unfolds in secrecy under the pressures of family, faith, and community in this haunting and subversive Queer vampire film with chilling folk horror flavors. Singular in scope and depth, Kasper Kalle’s NO REST FOR THE WICKED is a vivid new landmark in Danish genre cinema that brings imaginatively radical and nightmarish new elements into the vampire lore.

Adapted from Karl Heinrich Ulrichs’s iconic1884 novella “Manor”, the film is set against the harsh, unforgiving landscape of the 19th-century Faroe Islands. Its stark, yet dreamy, uncanny atmosphere recalls the work of Carl Theodor Dreyer or even Robert Eggers, while its full-blooded heart is just as much an ode to the painful longings of Gothic romance as it is to the genre’s cruelties and horrors. Anchored by a remarkable lead performance from screen newcomer Egor Venned, it co-stars Pilou Asbæk (LUCY, GAME OF THRONES, A HIJACKING, AQUAMAN AND THE LOST KINGDOM) alongside strong performances from Jóhannes Haukur Jóhannesson (CAPTAIN AMERICA: BRAVE NEW WORLD, SUCCESSION, VIKINGS: VALHALLA), and Sofia Nolsøe (LIMBO, MØRKELAND). Cheval Noir Competition. World Premiere. 

THE EYES IS A DISORIENTING SENSORY EXPERIENCE WITH A FRESH TAKE ON A CLASSIC OF THE GENRE

A year after being brutally attacked by a former boyfriend who had become obsessed with her, Seo-jin remains traumatized. Suffering from hereditary, degenerative blindness, her efforts to secure a corneal transplant are interrupted by the apparent suicide of her twin sister, just as her attacker is released from prison. Convinced it was murder, Seo-jin sets out to find the culprit before she loses her sight completely.

With his remake, or rather reinterpretation, of the Spanish thriller JULIA’S EYES, director Yeom Ji-oh (NEXT DOOR) draws on all his creativity by skillfully employing cinematography that varies perspectives and depths of field. The results are deliberately disorienting sequences with exceptional dynamism, which fully immerse the viewer. THE EYES is a thriller with horror undertones that offers a breathless sensory experience with numerous stunning twists. The fabulous Shin Min-a (A BITTERSWEET LIFE) delivers a dual performance of unprecedented intensity – one of the finest of her career – and is joined by the excellent Kim Nam-hee, of the popular TV series MR. SUNSHINE. Cheval Noir Competition. North American Premiere.

A DARKLY PRESCIENT FABLE OF AUTONOMY AND CONTROL: HOME BODIES

It’s been over a decade since director Casey Walker last visited Fantasia’s hallowed halls. In 2012, his horror/comedy A LITTLE BIT ZOMBIE lit up Montreal – and in the years since, he’s produced Canadian landmarks THE VOID and IN A VIOLENT NATURE. Now, for Fantasia’s 30th anniversary, Walker returns with HOME BODIES, a surreal sci-fi thriller built to rattle audiences. Twins Red and Blue (Emma and Ian Ho, THE EXPANSE) exist in isolation, governed by Papa, a voice behind a door dispensing food, shelter, and law. When the androgynous Pal (Ess Hödlmoser, THE BOYS, STATION ELEVEN) arrives, their world fractures.

Echoing PIN and CUBE, HOME BODIES is a darkly prescient fable of autonomy and control. Produced by the powerhouse team of Walker and Karen Harnisch (INFINITY POOL, FIRESTARTER), and featuring executive producers Todd Brown (MANDY, IN FLAMES) and Chad Archibald (whose UNDERTONE became a smash Canadian horror hit), HOME BODIES is a dire warning dressed as a bedtime story. Septentrion Shadows Section. World Premiere.

SOUR MINNOWS IS COMING TO WARP YOUR SENSES

Harrison Atkins’ hotly anticipated second feature following his 2015 classic LACE CRATER is upon us, and it was well worth the wait. After unknowingly peeking through the veil, Ricky (David Brown, THE RAINBOW BRIDGE, JURY DUTY) and his roommate Tepper (Chase Williamson, THE GUEST, JOHN DIES AT THE END) witness six men sensually licking the pavement on an empty LA street. As time stretches and bends in the aftermath of this encounter, Ricky’s relations, including his situationship with fellow cinephile Aura (Suzanna Son, RED ROCKET, FEAR STREET: PROM QUEEN), begin to take on surprising new dimensions. Memories morph into lies, reality becomes malleable, and Ricky finds himself at the mercy of “The Yellow Thing,” an entity that wears people like costumes. Although dealing with complex and heavy concepts, SOUR MINNOWS’ experimental reworking of the hangout film brings a levity to the end of times, allowing for a special kind of humor to shine through the darkness, weaving through claustrophobic camerawork, paranoid editing, and a huge rip of supernatural conspiracy. Cheval Noir Competition. World Premiere.

TAIWAN’S FIRST MARTIAL-ARTS FANTASY IN OVER IN 40 YEARS: GIDDENS KO’S KUNG FU

An invincible, aging martial arts master transforms two young losers into powerful disciples who uphold justice. However, unfinished business from a previous life 500 years prior may soon shatter their bond and unleash new havoc. Award winner Giddens Ko (YOU ARE THE APPLE OF MY EYE, MON MON MON MONSTERS), who helped rejuvenate Taiwan cinema, strikes with subversive originality in the martial-arts genre with KUNG FU, a big-screen adaptation of his own popular novel. Taiwan’s first martial-arts fantasy in over in 40 years stars local icons Kai Ko (MISS SHAMPOO), Berant Zhu (THE SADNESS), and Gingle Wang (DEAD TALENTS SOCIETY). Its amazing action scenes are overseen by the award-winning Korean stunt team Triple A (NEW NORMAL). North American Premiere.

PREPARE FOR EMOTIONAL WHIPLASH WITH TIGHT LETTUCE

How much of yourself can you give to support the ones you love? Like most young adults, Joel (Dakota Daulby, of LONGLEGS and Apple’s SMOKE) hopes to build a good life for himself and his partner. Holding him back has always been his father, Bodo (Emmanuel Bilodeau, UN CRABE DANS LA TÊTE, CURLING), an eccentric man stuck in the throes of a decades-long addition to heroin and fentanyl. In an effort to bond with him and steer him towards the road to recovery, his son begins documenting their time spent together. As their fates become ever more intertwined, and Joel’s own life begins to slowly unravel, he realizes that unless he can face up to his father, his own future hangs in the balance. With his first feature inspired by a true story, director Harrison Houde portraits the ravages of addiction, deftly tipping the scales between darkness and humor. Emmanuel Bilodeau shines with what may be the best performance of his career, playing alongside a stunning ensemble cast of illustrious Quebec talent, including France Castel (LE VENT DU WYOMING, KARMINA), Maxim Roy (SHADOWHUNTERS, 19-2), Guy Jodoin (DANS UNE GALAXIE PRÈS DE CHEZ VOUS, DÉSOLÉ PARDON JE M’EXCUSE), and Didier Lucien (RAVENOUS, DANS UNE GALAXIE PRÈS DE CHEZ VOUS). TIGHT LETTUCE is funny, horrifying, touching, and – above all – deeply human. Les Fantastiques Week-Ends du Cinéma Québécois Section. World Premiere.

WELCOME TO ANYMART, WHERE YOU’LL FIND ANYTHING YOU COULD WISH FOR – FOR BETTER OR (MORE LIKELY) WORSE

A young man (Shota Sometani, BAKUDAN) works on autopilot in his disillusioned father’s convenience store, where he’s constantly having to put up with visits from the AnyMart chain’s sales representative. Amidst a clientele frustrated by their economic and social circumstances and colleagues at the end of their tethers, a sassy new employee (Erika Karata, DESERT OF NAMIBIA) arrives in this toxic environment, ready to explode at any moment.  With ANYMART, director and screenwriter Yusuke Iwasaki delivers a masterful debut feature that is at once satirical, relevant, and mature, exploring the microcosm of a convenience store populated by people in distress: a scenario that could apply to any hyper-capitalist society run by soulless corporations. This horror film, steeped in dark humor and tension that builds slowly but surely, establishes Iwasaki as one of Japan’s most promising young filmmakers. Official Selection: Berlinale 2026.Cheval Noir Competition. North American Premiere. 

FROM THE PRODUCER OF SKINAMARINK, ANCESTRAL BEASTS CASTS A DEMONIC LENS ON INTERGENERATIONAL TRAUMA. 

Red River Métis director Tim Riedel celebrates the Fantasia World Premiere of his psychological horror, ANCESTRAL BEASTS, which first appeared as a 2025 Frontieres Platform project at Cannes, and is backed by executive producer Edmon Rotea of SKINAMARINK fame. Family is complicated, even in the best of times, but when you have skeletons in the closet and grief as an unwanted houseguest, it becomes something that consumes you – and that’s what Elyse (Morgan Holmstrom, OUTLANDER, SHADOW OF THE ROUGAROU) finds out the hard way. Dealing with her mother’s death, a snarky sister, and a distant aunt, Elyse leaves the city for her aunt’s rural home to work on her mental health. But she’s not alone and will soon find that intergenerational trauma comes in many forms… and here, it’s demonic. Riedel draws on his talent for storytelling, personal experience, and genre to weave a tale of Indigenous mothers, sisters, and mental suffering. Look out for Canadian legend Gail Maurice (ROSIE, NIGHT RAIDERS) as Elyse’s Aunt Adele in this fresh new take on the haunted house film. Septentrion Shadows Section. World Premiere.

BEWARE WHAT YOU CAN CATCH IN A HAUNTED BUILDING FOR SOCIAL MEDIA FAME IN CAPTURED!

A middle school student who fears she’ll have to drop out of school and enter the workforce early to help her single mother make ends meet decides to start a vlog with the help of her best friend. In an effort to boost her popularity, they go to an abandoned building and film some fake scary footage, but end up actually haunted by an evil specter and a benevolent deity. Famous Japanese YouTuber Koichi (WON’T DISAPPEAR), whose videos have frequently garnered up to 2.8 million views, joins the trend of content creators successfully transitioning from the small screen to the big with CAPTURED!. Here, he blends horror, comedy, and a coming-of-age story through a brilliant screenplay that isn’t afraid to play with the conventions of the genre. The excellent cast includes rising star Runa Nakashima (6 LYING STUDENTS), influencer, model, and musician Maikichi, and veteran Megumi Okina, star of Takashi Shimizu’s classic JU-ON: THE GRUDGE. International Premiere. 

UNHOLY NIGHT GIFTS DELIRIOUS HOLIDAY HORRORS

Michael Gabriele graced Fantasia screens in 2023 with his short films GET AWAY, which won the Gold Audience Award for Best International Short, and the darkly hilarious ROOM TONE, which also garnered several wins and nominations in 2024. It was only a matter of time until he unleashed his quick-witted violence in a feature-length film, so get ready for Christmas in July with the holiday horror UNHOLY NIGHT!

Family, food and a nonna who won’t die make Christmas Eve a bloody mess for Gino and his family. This tight-knit Italian unit soon finds out that Gino and his ex-girlfriend aren’t the most scandalous things in the family when his dead grandmother comes back to “help” with the festivities. With an ensemble cast that strikes a great balance of horror, heart, and hilarity, its cast includes Marc Bendavid (DARK MATTER, REACHER), Shailene Garnett (FIRE COUNTRY, DIGGSTOWN) and veteran actor Ron Lea of the Canadian classic, CLEARCUT! Gabriele’s debut feature perfectly captures the chaos of the holidays – as Gino and his family battle an onslaught of undead relatives and lost love – all on Christmas Eve. Septentrion Shadows Section. World Premiere.

A YAKUZA ENFORCER BUSTS SOME MEAN MOVES IN THE HILARIOUS BREAK FREE

With new restrictive laws and increasingly aggressive rivals, the Mikami yakuza clan is on the brink of collapse. While searching for new sources of income with his colleagues, the tough but tenderhearted Kunio is filmed during an altercation with an arrogant passer-by, but the ban on attacking civilians forces him to intimidate the man with a surreal dance that goes viral on TikTok. He then decides to take dance lessons to capitalize on this popularity and bring in some cash for his gang. Director and screenwriter Yu Nakamoto (THE SLIT-MOUTHED WOMAN RISES) makes the most of this premise and delivers one of the funniest comedies of the year. Thanks to a mind-blowing performance by Akito Fujii (BABY ASSASSINS: 2BABIES), BREAK FREE is packed with unforgettable, ridiculous scenes in which a yakuza, used to kicking ass, must hide his real job and intimidating demeanor to conquer the web. North American Premiere.

FERINE IS A CAPTIVATING ARIA OF HORROR AND EMOTION

FERINE, written and directed by Andrea Corsini and loosely based on the award-winning 2020 short that launched at Venice Critics Week, follows Irene (Carolyn Bracken, ODDITY, YOU ARE NOT MY MOTHER), a wealthy and influential art collector whose life is shattered by a sudden, shocking tragedy. In the wake of her grief, a primal instinct awakens, pulling her beyond reason and transforming her from within. She encounters Dama (Caroline Goodall, HOOK, SCHINDLER’S LIST), an enigmatic trafficker of exotic predator cats, who realizes that Irene herself has become an unpredictable, dangerous predator. Soon, a dark bond forms.

In important ways, FERINE marks a return to a provocative and stylish form of classic Italian horror cinema that has been absent from the screen for years. It features sumptuous visual design, volcanic emotion, and transgressive flashpoints of violence, and comes complete with a lush orchestral score from the legendary Pino Donaggio (DON’T LOOK NOW, THE HOWLING, DRESSED TO KILL, TWO EVIL EYES). FERINE is a breathtaking genre achievement, anchored by extraordinary performances from Bracken and Goodall, and demands to be experienced on a big screen. Also featuring Elisabetta Caccamo and Paola Lavini. Cheval Noir Competition. International Premiere.

A NIGHTMARISH FACTORY FEEDS ON ITS EMPLOYEES IN THE BLOOD-SOAKED SLEEP NO MORE

Sisters Putri and Ida decide to visit the wig factory where their debt-ridden mother apparently took her own life in the middle of a shift, in order to understand what might have happened. Upon arrival, they meet the boss, Mrs. Maryati, who watches over a tight-knit community of employees. Horrific workplace accidents caused by overwork are on the rise, and the two young women come to a grim conclusion: the factory is haunted by a demon. With the unsettling SLEEP NO MORE, selected for the latest Berlinale, director and co-screenwriter Edwin (winner of an award at Locarno 2021 for VENGEANCE IS MINE, ALL OTHERS PAY CASH) makes his first foray into pure, unadulterated body horror, delivering a barrage of shocking practical effects that, at times, recalls Carpenter’s THE THING. Beneath this oppressive, blood-soaked atmosphere lies a powerful critique of the horrific working conditions and pitiful wages endured to feed the insatiable monster that is capitalist industry. Official Selection: Berlinale 2026. Cheval Noir Competition. North American Premiere.

GO BEHIND THE MASK OF HORROR’S GREATEST FX WITH RUBBERHEAD: THE LIFE & MONSTERS OF STEVE JOHNSON

Known for his intense work ethic, perfectionism, and obsession with breaking new ground, Steve Johnson has created iconic creatures and effects for some of the most beloved genre films in cinema history, working with everyone from John Carpenter, David Cronenberg, and Sam Raimi to James Cameron, Steven Spielberg, and Guillermo del Toro. His drive and ambition also led to heartbreaking acts of self-sabotage, divorce, and a serious drug addiction. Over seven years in the making and stacked with incredible, never-before-seen archival footage, RUBBERHEAD: THE LIFE & MONSTERS OF STEVE JOHNSON is a revealing portrait of an immense talent who could also be his own worst enemy. Director Nick Taylor lets the artist – an enormously engaging raconteur – do much of the showing and telling (though the likes of Linnea Quigley, John Landis, Tom Holland, and Oscar-winner Bill Corso also contribute). RUBBERHEAD is at once a captivating reflection on the game-changing practical FX glory days when everything was unexplored ground primed for radical invention and a fascinating, moving story of an FX master whose greatest monster may have been himself. Documentaries from the Edge Section. World Premiere. 

NON-STOP TENSION AND TWISTS IN THE ENTHRALLING SUZUKI=BAKUDAN

Katsuhiro Go’s novel comes to life not only as an enthralling crime thriller, but as a riveting game of cat-and-mouse. While being interrogated at a police station, a mysterious drunk man named Tagosaku Suzuki (Japan Academy Film Prize winner Jiro Sato) claims that he has psychic powers by predicting bombs that will soon explode, each one being activated every hour. It’s up to detective Ruike (Yuki Yamada) to put an end to this madness and figure out how and why Suzuki can foresee these deadly situations. Who is this man? Why does he have this ability? What’s the motivation behind the explosions? Directed by Akira Nagai (CHARACTER) and produced by Shota Okada (TOKYO REVENGERS), SUZUKI=BAKUDAN features non-stop tension and twists, as well as a remarkable screenplay filled with great dialogue and suspense. This winner of the Director’s Week Best Actor Award for Jiro Sato at the 2026 Fantasporto Film Festival is guaranteed to blow your mind! North American Premiere.

The 30th edition of the Fantasia International Film Festival is presented by MELS in collaboration with Concordia University and made possible by the financial support of Telefilm Canada, the Société́ de développement des entreprises culturelles (SODEC), the Ministère du Tourisme, the Ministère des Affaires municipales et de l’Habitation, the city of Montréal, the Conseil des arts de Montréal, and Tourisme Montréal.

Will you be attending the 30th edition of the Fantasia International Film Festival? What do you think of the first wave of titles? Let us know by leaving a comment below.

The post Fantasia International Film Festival announces first wave of titles for 30th edition! appeared first on JoBlo.

Production is underway on Dexter: Resurrection season 2, and executive producer Scott Reynolds has taken to social media to announce a new addition to the cast: legendary actor/stuntman Kane Hodder, who is best known for playing hockey-masked slasher Jason Voorhees in Friday the 13th Part VII: The New Blood, Friday the 13th Part VIII: Jason Takes Manhattan, Jason Goes to Hell: The Final Friday, Jason X, and Friday the 13th: The Game! Details on the character Hodder will be playing haven’t been revealed, but Reynolds did share a picture of the actor on set, wearing gloves and looking intimidating.

13 days in. We couldn’t fight it. We cast KANE HODDER and let fate do the rest. #DexterResurrrection #kaneHodderTakesManhattan @kanehodder1 pic.twitter.com/aiJjr1eq2A

— Scott Reynolds (@jscottamy) April 29, 2026

What we know about Dexter: Resurrection Season 2:

• New cast: Dan Stevens, Brian Cox, Bokeem Woodbine, Nona Parker Johnson, Kane Hodder
• Returning: Michael C. Hall, Jack Alcott, James Remar, Uma Thurman, Desmond Harrington
• Filming: Began April 2026
• Expected release: Late 2026
• Setting: Continues post–New York storyline

What is Dexter?

For eight seasons and 96 episodes, from 2006 to 2013, the series Dexter ran on Showtime, telling the story of Dexter Morgan, a blood spatter analyst for the Miami Metro Police Department who is also a vigilante serial killer. Clyde Phillips was showrunner on Dexter for the first four seasons, and in 2021 he and Showtime brought us the revival series Dexter: New Blood… which, for a time, also seemed to be the end of it all. But that’s not the case.

Showtime has tasked Phillips with continue to build up the Dexter franchise, first with a season of the prequel series Dexter: Original Sin and then with the New Blood follow-up called Dexter: Resurrection, which premiered last July. (You can read our review HERE.) Now, Dexter: Resurrection season 2 is moving forward.

Phillips had also been expecting to put together another season of Dexter: Original Sin, but Showtime decided to reverse their decision to renew the show and cancelled it.

During an appearance on The Dark Passengers: A Dexter Podcast four months ago, Phillips said that the Dexter: Resurrection season 2 writers’ room opened on October 6th and that it would take around five months to write all of the scripts. Filming will then begin on Monday, April 13, 2026. Like the first season, the new season will be set and shot in New York City.

A Showtime Studios and Counterpart Studios production, Dexter: Resurrection is being executive produced by Clyde Phillips, Michael C. Hall, Scott Reynolds, Tony Hernandez, and Lilly Burns. Marcos Siega is the producing director. The series is distributed by Paramount Global Content Distribution. 

Who is in the Dexter: Resurrection season 2 cast?

Michael C. Hall, who played Dexter Morgan in the original series and Dexter: New Blood, and also provided the in-character narration for Dexter: Original Sin, is back in the lead for Dexter: Resurrection. Hall is joined in the cast by fellow series regulars Jack Alcott and James Remar, with Alcott reprising his Dexter: New Blood role of Dexter’s son Harrison, and Remar returning as Dexter’s adoptive father Harry Morgan. We’ll probably be seeing the return of some of the new supporting characters that were introduced in the first season as well.

Uma Thurman’s character is Charlotte “Charley” Brown, a former Special Ops operator who worked as Head of Security for serial killer enthusiast billionaire Leon Prater. Charley left New York City with her mother at the end of the first season, going home to Amherst, Pennsylvania… but it looks like she’s still going to be part of Dexter’s life in some way.

We recently learned that Brian Cox (Manhunter) has joined the cast of Dexter: Resurrection season 2 as the New York Ripper, “a serial killer who terrorized the City years ago. Though no longer active as a killer, he’s found a new way to live into his infamy by continuing to taunt the survivors of his long-ago murder spree.“

It was also announced that Dan Stevens (The Guest) will be playing Owen Stark, “the Five Borough Killer, and the second big bad of Season 2. Owen is a serial killer who, much like Zodiac, taunts the police with phone calls threatening the murder of innocent citizens. When he follows through with the awful deeds…the City and the Police are terrorized.“

Bookem Woodbine (Fargo) and Nona Parker Johnson (Mayor of Kingstown) are also in the mix. Johnson will be playing Fiona Mixon, “a training officer in the Homicide unit, a nepo-baby in the police world, and Harrison’s (Jack Alcott) new love interest.” Woodbine takes on the role of Captain Mixon, “a bulldog of a homicide captain and Fiona’s father.” These are both series regular roles.

Desmond Harrington, who played Joey Quinn on the original series and for two episodes of Resurrection season 1, has been promoted to series regular for season 2.

Are you a Dexter fan, and are you looking forward to Dexter: Resurrection season 2? Let us know what you think of Kane Hodder joining the show by leaving a comment below.

The post Dexter: Resurrection season 2 adds Friday the 13th legend Kane Hodder to the cast appeared first on JoBlo.