Finding an intriguing milieu somewhere between the recent popularity in witch related films over the past decade (think The VVitch, Hereditary, The Autopsy of Jane Doe, and Weapons) and a spooky atmosphere somewhat reminiscent of the Stephen King room related 1408, Hokum (2026), written and directed by Damian McCarthy, is another worthy entry in the horror genre. In many ways about battling your own demons, Ohm Bauman (Adam Scott) is a successful writer with a very troubled past – making him a bitter, cantankerous, and bluntly rude human being, he is currently writing the trilogy-ender to his successful Conquistador series (which serves as a bookend for this film). Suddenly haunted by his parents’ ashes sitting upon his mantle (as well as being hit with a form of writer’s block), he decides to fly to Ireland to spread them at one of the places he knows they loved – a kitschy inn called The Bilberry Woods where long ago they honeymooned.

It’s just never a good sign when you’re honeymooning in the early 20th century Bavarian countryside and your brand new automobile runs out of petrol. The opening of a rather lesser known Hammer horror film (following a little bit of early staking action), The Kiss of the Vampire (1963), directed by Don Sharp, is shockingly without stalwarts Christopher Lee or Peter Cushing. The couple: Gerald (Edward de Souza) and Marianne (Jennifer Daniel), are left with little option. With the former walking ahead hoping for some aid, the latter is soon scared by a storm, bumping into the rather inimical Professor Zimmer (Clifford Evans)... coming across more like a morose vagabond than a learned man. All the while, a man from a hilltop manor, Dr. Ravna (Noel Willman), looks on with intrigue with the use of his telescope.

A clever reworking of the Predator franchise, 2022's Prey, a prequel co-written and directed by Dan Trachtenberg (10 Cloverfield Lane), is set some 250 years prior to what we thought was the alien species first arrival opposite human beings on Earth. Set in the vast Great Plains in 1719, the story follows Naru (Amber Midthunder), a young Comanche woman who has been trained as a healer, though not so secretly yearns to be a hunter. Overshadowed by her successful bow and arrow wielding brother Taabe (Dakota Beavers), she uses whatever free time she has to continue training at the useful skill. It is worth noting that the familial relationship is nicely crafted, not simply one of brutish sibling rivalry (like we’ve seen in other motion pictures), instead holding within it a nuanced combination of direct competition, hunting mentorship, and much needed cooperation.

The second Missed the Bloody Cut horror selection of this 2024, here are some more horror movies that did not meet my strict criteria (a rating of 7.0 or higher). . . but are still entertaining films (horror fanatics may enjoy) that do not deserve to be ignored like an ever growing group of peckish birds – and that are definitely worth a watch (just maybe not several re-watches).

The first Missed the Bloody Cut horror selection of this 2024, here are some more horror movies that did not meet my strict criteria (a rating of 7.0 or higher). . . but are still entertaining films (horror fanatics may enjoy) that do not deserve to be fled from like a creature walking more slowly than a senior with a walker – and that are definitely worth a watch (just maybe not several re-watches).

Loosely based upon Edgar Allan Poe’s 1842 short story, “The Pit and the Pendulum”, the violently titled West German film The Torture Chamber of Dr. Sadism (1967), directed by Harald Reinl, is a meandering 18th century set gothic horror mood piece starring the legendary Christopher Lee. For those of you who revel in the wild extravagance of how some of these European horror pictures have a list of different titles around the world, here we go – The Blood Demon, The Snake Pit and the Pendulum (perhaps an abandoned Indiana Jones title as well), Blood of the Virgins, and lastly, Castle of the Walking Dead. Now, reading that primary title, the first question might be... just who is this Dr. Sadism? And, of course, the answer that only makes sense is that it is clearly no one.

Alfred Hitchcock: “When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between.” It is quite clear that Dario Argento took this quote from the Master of Suspense, Alfred Hitchcock, to heart when co-writing and directing his 1977 horror film Suspiria. An atmospheric mood piece, for much of its runtime, it plays as close to a silent film as you can get.