Month: February 2026

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

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

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

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

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

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

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

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

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

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

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

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