Bloody Good Horror

The Evil Dead franchise returns with Evil Dead Burn, and we have plenty to say.

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Nearly 45 years after its release, Sam Raimi's The Evil Dead remains one of horror's most influential films. We revisit the original with fresh eyes, exploring why it still feels punk and transgressive, why it remains one of the greatest examples of low-budget horror filmmaking ever put on screen, and why it's unexpectedly relevant during a summer where filmmakers like Kane Parsons and Curry Barker are once again redefining independent horror.

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Most filmmakers spend years trying to land their first feature.

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John Harrison has worn many hats throughout his career—director, composer, writer, and one of George A. Romero's closest creative collaborators during one of the most influential periods in horror history.

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The Bloody Good Horror crew reviews “Leviticus”, one of the year's most talked-about indie horror films—sparking one of our deepest (and most divided) discussions in recent memory.

While the panel agrees that “Leviticus” has powerful things to say about identity, faith, and the queer experience, opinions split on a key question: "Does the horror itself work as well as the metaphor?"

We also discuss how horror can build empathy, why ”Leviticus” stands out as a powerful allegory for conversion therapy, and whether emotional resonance can outweigh traditional scares. Rachel shares her perspective on why stories like this matter, while the panel explores where the film succeeds, where it falls short, and why it has become such a significant entry in modern queer horror.

We also recommend other standout queer horror films, catch up on the week's horror news, and wrap things up with a round of Jaws trivia in celebration of one of the genre's all-time 4th of July horror classics.

Leviticus is a 2026 Australian supernatural horror film written and directed by Adrian Chiarella and starring Joe Bird, Stacy Clausen, Mia Wasikowska, Nicholas Hope, and Ewen Leslie. The film follows two gay teenagers whose relationship is haunted by a supernatural force born from their religious community's intolerance.

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This week the BGH crew emerges from the theater to review Steven Spielberg’s “Disclosure Day”,  and along the way asks the question; What happens when an 80 year old tries to say something profound and completely misses the mark? We also talk about tall greys, our own feelings on aliens and whether or not the world would even blink twice if someone actually attempted full disclosure.  

Disclosure Day is a 2026 American science fiction thriller film directed and produced by Steven Spielberg from a screenplay by David Koepp, based on a story by Spielberg. The film stars an ensemble cast, including Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, and Colman Domingo. As the world stands poised on the brink of World War III, cybersecurity specialist Dr. Daniel Kellner steals from the Wardex Corporation, a secret arm of the U.S. government, a piece of extraterrestrial technology and related files, detailing various events of human–alien contact dating back to the Roswell incident. Wardex CEO Noah Scanlon discovers the theft and has Daniel branded a foreign spy, making him the target of federal authorities. Daniel goes into hiding at a convent with his girlfriend, Jane Blankenship.

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This week we’re reviewing the return of the Scary Movie franchise. We discuss the endless list of dated references, significant time spent on non-horror movies, the Wayans penchant for punching down, and whether or not Gen X are the new Boomers.

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BGH enters the liminal this week as we review 20-year-old Kane Parson’s “Backrooms”, the film that’s been slaughtering the competition at the box office this summer. We discuss the liminal horror movement and its ties to Gen Z anxieties, the movie versus the web series, found footage, cameos, trivia and more.  

Plus, Eli Roth (and Jon’s) project Ice Cream Man has a disgusting red band trailer full of murderous children, and Scary Movie has the dumbest (or best?) popcorn bucket you’ve ever seen. 

Backrooms is an american science fiction horror film directed by Kane Parsons in his feature-length directorial debut and written by Will Soodik. It is based on Parsons' web series and inspired by the "Backrooms" creepypasta. The film stars Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, and Lukita Maxwell.

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This week the BGH crew hits the open road with the aggressively mediocre horror film “Passenger”. We discuss the hobo code, jump scares, the logic leaps, the "van life" cliches, and the very Buhguul-like demon. Plus, Obsession has a record breaking week two at the box office, and we dip our toes into the online mythos behind “Backrooms”, ahead of next week’s release. 

A few weeks into their van life adventure, a young couple witnesses a horrific accident that leaves the driver dead. Soon they're being pursued by a demonic stalker who's impossible to outrun and follows them wherever they go.

Passenger is an upcoming American supernatural horror film directed by André Øvredal and written by T.W. Burgess and Zachary Donohue. The film stars Jacob Scipio, Lou Llobell, and Melissa Leo. Walter Hamada and Gary Dauberman serve as producers.

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Is Obsession the scariest horror film of the year? We dive into the new release from Youtuber turned horror dynamo Curry Barker, including his exploration of Gen Z social and dating struggles, the film’s ties to “Incel Horror”, and why Obsession’s original ending was MUCH darker.   

One programming note, we are trying to keep the initial “round table” section spoiler free for those who want a quick view of the film without spoilers.  Keep in mind that after that, we open up the discussion to the entirety of the film. 

Obsession is a 2025 American supernatural horror film written, directed, and edited by Curry Barker. The film follows Bear (played by Michael Johnston), a music store employee who buys a supernatural toy and wishes for his childhood friend Nikki (Inde Navarrette) to fall in love with him. Cooper Tomlinson, Megan Lawless, and Andy Richter also appear in supporting roles.

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