3 Film Content Creators You Should Be Following

By: Myriam Akbar

1.) Caleb Brown, who goes by Cay, is a 25-year-old content creator from Long Island. He’s been making film-related content on social media for a little over a year, going by the name CayWatchesMovies. He remembers having loved cinema since childhood, when he became fascinated by computer animation and special effects. As he grew older, he became passionate about various aspects of filmmaking. While there was a point in his life when he was interested in it as a career, he says he is now more interested in film analysis and journalism. Brown’s  preferred genre is horror, but he also enjoys thrillers, sci-fi, fantasy, and comedy. He lists The Shining, Uncut Gems, Scream, and Sinners as some of his favorite films. As for television shows, he highlights Atlanta, The Office, and Community

As for many, Brown says the best part about making content is the community built along the way. He describes it as being welcoming, supportive, and truly a blessing. On the flip side, he finds staying consistent a challenge. He emphasizes the importance of filming and editing content even when you don’t have the motivation.“The thing I’m most proud of is the growth. I’ve gathered over 1 million views on TikTok. Seeing those numbers makes me feel like my hard work is paying off, and it’s motivation to keep on going,” he says. 

2.) J. Lovemore (also known as JLovesCinema) is an author, director, and content creator from Texas. He is currently based in Atlanta and has been making content for three years. Before his transition to film critiques, he was a contributing blogger for Hip Hop Speakz for six years. His passion comes from his love for writing and talking about the art that he loves. Lovemore recently published his first novel, Clean Sweep Vol.1, and has sold over 100 copies. Lovemore says he has always been fascinated by cinema and that filmmaking was his first aspiration. He has written over 20 screenplays and is considering pursuing a master’s degree at the Peter Stark Program at USC, to gain knowledge and professionally invest in his creativity. “Just holding the physical copy of my novel was like holding my firstborn. That accomplishment motivated me to publish more literary works and have the courage to direct a screenplay I penned,” he says.  

When asked about his passion for cinema, Lovemore says that he considers his mother and uncle to be hardcore cinephiles, recognizing that they had an influence on him. He recalls his mother exposing him to Black Cinema and sitcoms. “Martin, Fresh Prince, Moesha, The Wayans Bros. were always on our television,” he says. While he doesn’t have a favorite genre, there are elements of film that are most important to him. What grabs his attention is a strong premise, dialogue, and acting. Lovemore lists Sinners, Lawrence of Arabia, Jaws, Us, Marathon Man, Scream, and Love Jones as some of his most loved films. As for television shows, he highlights Succession, Breaking Bad, From, and Abbott Elementary.

For Lovemore, the most rewarding part of content creation is meeting like-minded individuals who have a die-hard infatuation with cinema, especially people of color. He has formed lifelong connections, both professionally and personally. Aside from community, he highlights being invited to screenings and round-tables. He says the challenging side of things is contending with consistency when life gets busy. 

3.) Meet Stu Boyd II–a photojournalist, filmmaker, and content creator from Memphis! He’s been making content for about four years, under the name StuFilmReview (however, his Instagram handle is @_boydshotimages). His passion is working on documentaries that focus on Black excellence, but he also has dreams of writing a horror script about aliens that’s set in Memphis. A fun fact about him is that he can remember every film he has seen in theaters and which theater he saw it at, including the city and country. For example, he recalls seeing The Tragedy of Macbeth in Aruba. “That just speaks to how much I love the movie-going experience and by extension, my love for films in general,” he says. Boyd shares that The Walking Dead showed him the power of television because of its impact on his family spending time together. They would gather in the garage every Sunday and watch the earlier seasons, reacting in real time. His favorite genres are horror, thriller, drama, and sci-fi. He lists Sinners, NOPE, Halloween, Prometheus, The Incredibles, Sing Sing, Do the Right Thing as his favorite films. 

When it comes to content creation, Boyd says building community is the most rewarding aspect. On the other hand, the most challenging part is staying consistent. A moment he is proud of is when he was invited to a local film premiere because of his work as a reviewer. He was even given access to the film a day before and was sent a DVD from the director.

Creator Highlight: Avery Jay

By: Myriam Akbar

Avery Jay (also known as Avery’s Crypt) is a writer, journalist, and event producer from Kentucky. She’s currently based in Brooklyn and has been making content since 2022, even working as a social media manager in her day-to-day life. “I always had an excitement for content creation in various forms. I used to staple pieces of paper together for illustrated stories to add to my first-grade library,” she shares. 

Jay’s love for film and television started with an interest in acting; however, she believes losing her passion for theatre was a blessing in disguise. Instead of trying to be a film star, she went on to study the medium, and that fueled her admiration for it. “I love the grotesque, macabre, and boundary-pushing. That often falls under horror,” she says. Jay also enjoys films that blur genre boundaries, as well as heartfelt and cathartic narratives. She highlights Bones and All, Sinners, and I Saw The TV Glow as films that might spark debates on what constitutes horror. “Those are horror movies to me. Not just because they push boundaries, but because they’re focal to Queer and Black narratives,” she says. 

When asked what she feels is the best part of making content, Jay says it’s the community that comes with it, which she often feels is more fulfilling than the content itself. The horror community, specifically, now exists offline for community events that she is involved with. Comments like, “I didn’t know anyone else knew about this movie,” bring her the most joy because she knows what it feels like to be the only cinephile among her friends. In terms of the challenges that come along with working in the field, Jay emphasizes the negative impact of algorithms, something that most creators can relate to. “Social media often feels like a game that I never want to play. Algorithms are never my friend. I often lose momentum for ideas and posts when the algorithm isn’t treating my content kindly,” she admits. 

While Jay says she can’t pick one specific event in her career that feels supreme, every interview she’s had with film industry professionals is a defining moment for her. For example, her interview with Bomani J., which she says lit a fire beneath her to continue pursuing journalism. “I didn’t realize the impact of my posting about The Angry Black Girl and Her Monster until Bomani told me himself. I’m proud of the influence my content has on independent cinema and the creatives behind it,” she says. She also highlights being a panel moderator at a film festival last year as a special opportunity.

Jay is currently working on her first short, having a few other script concepts in early processes. She is writing both fiction and non-fiction to exercise the way she engages with the genre. Her long-term goal is to become an established critic and scholar of the horror genre. Through that, she plans to challenge the engagement of past, present, and future horror as a way of inspiring more diverse and transgressive media. “I hope my words can be the connective tissue to the opportunities I’m working towards,” she says. 

Faces of Death: More Than Just a Film About a Film

By: Myriam Akbar

Faces of Death is a 1978 mockumentary horror film known for its graphic depictions of death. It’s written and directed by John Alan Schwartz, who also worked on some of the sequels. The film combines real footage with fabricated scenes, resulting in it being banned in several countries. It received negative reviews from critics but was a box-office hit. Despite the gruesome nature of the content, the film gained a cult following. It was falsely marketed as being banned in 46 countries, adding to its controversial reputation. 

In April, a sort of reimagining of the Faces of Death was released, directed by Daniel Goldhaber. Prior to its announcement, I had never heard of the original. I avoid films that are rumored to be excessively graphic or disturbing, so it only took one google search for me to decide I have zero interest in watching it. However, I was willing to give this new film a chance because the premise is impressively clever. The plot follows Margot, a content moderator who comes across a series of disturbing videos depicting gruesome deaths. When she realizes the clips are recreating scenes from Faces of Death (1978), she investigates whether they’re staged or the doings of a real killer. Instead of the film being a reboot or remake, it’s a meta-slasher that strategically uses the original as a basis for its plot and themes. Although I’m a big fan of both remakes and reboots, I have to admit this concept is much more inventive and refreshing. 

Goldhaber told People.com that Faces of Death (2026) isn’t a remake, reboot, or even reimagining, for the most part. He says it's essentially a film about a film. I can’t deny the accuracy of this description, but it’s not at all how I would describe it because it’s truly about so much more. The original film reflects humanity’s curiosity and fascination with death, shown through media intake. It critiques society’s interest in torment and lack of consideration for real-life suffering. The new film does the same thing, highlighting how the frequent consumption of extreme content often leads to desensitization. On the other hand, it directly looks at the emotional and mental impact of exposure to that kind of media. It explores the dark side of the digital world while questioning the ethics of posting and viewing real graphic violence online. It also demonstrates how people profit from tragedy through fame and monetization. However, this new film does something the original couldn’t, by examining the new issues of our modern society. For example, deep fakes didn’t become a mainstream phenomenon until the 2010s. The original’s false marketing is an example of  misinformation in the media, but recent technological advancements have brought about a whole new discussion. The use of AI has made it difficult to distinguish between artificial media and real material, which plays a role in the film. 

With Faces of Death (2026), you can expect all the slasher essentials–an intense tone, a relentless killer, chase scenes, lots of blood, and a final girl. Barbie Ferreira, who plays Margot, gives a dynamic performance that feels relatable in some ways. She also shows range in skill, playing a character that is forced to change by the end of the film. Darce Montgomery, who plays the antagonist, delivers a performance reminiscent of a villain from the Scream franchise. The film isn’t a slow burn by any means; the pacing has a sense of urgency due to the investigation at hand. What I like about the use of horror tropes is that the ones used serve a purpose and help the story move along. This is the kind of film that is self-aware and doesn’t take itself too seriously, although it explores heavy themes relevant to society. If you’re wondering whether you need to watch the original prior, I hope that my experience is enough to convince you that you don’t. This “film about a film” is one of the most entertaining and reflective ones I’ve watched this year. 

Sources:

https://people.com/the-new-faces-of-death-is-not-really-a-remake-director-11951043

https://en.wikipedia.org/wiki/Faces_of_Death_(2026_film) 

https://en.wikipedia.org/wiki/Faces_of_Death 

Slanted: A Genre-Bending Satire That Criticizes White Supremacy and Ethnic Cleansing

By: Myriam Akbar

Slanted is a 2025 multi-genre film that comes from the mind of Amy Wang, who wrote and directed it. It blends body horror, comedy, sci-fi, and coming-of-age drama. The plot follows Joan, a Chinese-American teen who yearns to be prom queen. However, there’s a problem: the school’s previous winners don’t look like her. In an effort to secure the crown, she undergoes racial transformation surgery. The film’s reception was generally positive, receiving 5.8/10 on IMDb and 68% on Rotten Tomatoes. It explores themes of racism, identity, self-hatred, and assimilation. It’s an intentional, committed, and impactful film. It’s also shocking, humorous, and emotionally charged. There are passionate acting performances and a deliberate pace that kept me interested from start to finish. Its conceptual familiarity and tentative ending were my only negative criticisms, making this a largely successful project from Wang. It feels like a mashup of Mean Girls (2004), Get Out (2017), and Grafted (2024). I would even describe it as being similar to an episode of The Twilight Zone. On a surface level, Slanted is about the deep-rooted challenges of a teenager chasing popularity. However, underneath it’s a bold critique of the societal pressures to adhere to Western beauty standards.  

Spoilers ahead..

The film begins with Joan as a child, sitting in the car with her father, as they cruise through town. She watches buildings pass from the window, studying the names of businesses like “Freedom Beans” and “AR-15 Foods Market.” Slanted doesn’t hesitate to dive into its themes, mocking the U.S. in its first scenes. Her experience of moving there is full of isolation and sadness, due to micro-aggressions and othering from those around her. In class, a student looks at her while stretching his eyes out across his face. At lunch, she throws away her food because students sitting across from her plug their noses. These events are critical in the shaping of Joan’s identity, resulting in a desire to look White during her teen years. She watches videos of content creators while wearing a wooden clothespin clipped to her nose to make it smaller. She also dyes her hair blond, which her mother is noticeably disappointed by.  Each of these scenes is deliberately used to demonstrate how the beauty standards associated with White Supremacy can result in self-hatred and rejection of cultural heritage. Although she reminds Joan that her natural hair color is beautiful, an encounter with classmates counteracts that reassurance. Full of disgust, they point out her dark roots and walk away–yet they have more than she does. This scene not only shows the cruelty she experiences but also serves as an example of White privilege, demonstrated by the girls getting away with what she is being ridiculed for. This privilege is essentially behind the creation of the Ethnos clinic that offers the racial transformation procedure. Joan ironically receives a message from them, offering a free hair treatment that’s available for the next hour. At this point, the film pushes the satire to the max. 

When she arrives, the guard at the entrance describes it as a place to help people reach their “full potential.” While receiving information on the services provided by the clinic, the founder says that before having the procedure himself, he had to suffer the “injustice of being a person of color.” Joan is shown a video featuring customer testimonies, one claiming that even animals will treat you better after treatment. The slogan, as stated by the founder, is “If you can’t beat them, be them.” At some point in the film, there’s also a music video reinforcing the idea that life is easier when you’re white. Although some of these scenes are written to be humorous, they reflect racism in the U.S. and the difference in lived reality for people of color. White privilege, which exists due to racism, is what grants White people more opportunities, allowing them to reach their “full potential.” They aren’t inherently smarter or more capable. People of color suffer many injustices for the same reason, such as police brutality and employment discrimination. While dogs cannot hold ideological beliefs to treat people differently based on race, they can mirror their owners’ anxieties and be trained to fear or show aggression towards people of specific races. This is the meaning behind the satire and it shows another example of how racism impacts the lives of people of color. 

Joan decides to go beyond hair color, receiving the full racial transformation process. Despite the happiness its success brings her, she still needs somewhere to lay her head down at night. The most emotionally charged part of the film is how her parents react when she explains what she’s done. After she proves her identity to them, they’re filled with profound dismay. Although they understand the impact of cultural assimilation, they’re devastated by Joan’s inability to see her ethnic background as special. 

The Ethnos Clinic’s services have become popular, with tons of people lining up to get it. On the other hand, like with most body horror, Joan is suffering from side effects. Typically, with these kinds of films, transformation happens both externally and internally. Not only does her skin droop and peel, but she also becomes egotistical and obsessed with maintaining popularity. Her new position in society makes her immune to the pain she inflicts on her friends and family. 

The founder’s slogan, “If you can’t beat them, be them,” is critical to understanding and analyzing the film’s themes. There is no beating a system created to benefit one group and create suffering for the others. People undergo cosmetic procedures to meet Western beauty standards, such as rhinoplasty or skin bleaching; however, there’s no procedure that completely alters a person’s race. Even if there was, it shouldn’t be a solution because it isn’t the problem. In the film, people aren’t actually getting the treatment for aesthetic purposes; they’re getting to elevate their livelihood. People want to be freed from the challenges that a racist system creates, like Joan, who just wanted to become prom queen. Or as shown with her father’s employment struggles. 

One of my issues with the ending of the film is that the thematic concerns are not fully tackled, and it becomes more about Joan’s superficial desires, specifically whether her goal to become prom queen is accomplished. When, in fact, Slanted had the potential to pack deeper meaning into the final act. Only the procedure’s physical side effects are addressed, not the blatant racism running rampant through the town. The treatment’s element of consent minimizes the real-life horror of ethnic cleansing, redefining it through desire and choice. Not only are these people being scammed, but they are being deeply insulted. Rage rather than dissatisfaction would have added depth to the film. It would have been more impactful if there had been a final transformation within Joan, a scene that shows her realizing that there was never anything that needed to be changed about who she was. That, or the clinic being boycotted and shut down. I would argue that the number of people seeking permanent change is more nonsensical than the procedure’s invention. 

Clayface Trailer Generates Buzz by Diving into the Horror Genre

By: Myriam Akbar

Clayface is an upcoming film in the DC Universe, directed by James Watkins. The screenplay is written by Mike Flanagan and Hossein Amini, based on the eponymous character from the comics. It’s a stand-alone film serving as an origin story, but it’s still connected to the broader DCU narrative. The plot follows Matt Hagen, an actor whose face is mutilated by gangsters, resulting in an experimental procedure that transforms him into a clay-like monster. Hagen’s Clayface was first introduced in Detective Comics in 1961; however, it's not his origin story that’s being used in the film. Flanagan was inspired by the character’s portrayal in the two-part Batman: The Animated Series episode “Fear of Clay” (1992).

A week ago, the trailer for Clayface was released, and not only did it generate widespread enthusiasm, it also received high praise from fans and critics. Commenters applauded its dark tone and disturbing nature; however, some people were shocked by the body horror elements, which are uncommon for comic book films. Ironically, the original Clayface, Basil Karlo’s origin is directly tied to horror. Karlo was an actor who became a serial killer, after learning that a remake of a film he starred in was being made. He adopted the persona of the film’s villain, killing cast and crew members of the remake. 

Both Watkins and Flanagan are best known for their work with horror films, so you could say Clayface in good hands. From the beginning, Flanagan wanted it to be a combination of horror, thriller, and tragedy. Producer James Gunn describes it as being body horror and says that he hopes it works for horror fans, even ones that aren’t interested in DC. Peter Safran, another producer of the film, compares it to The Fly and says that it won’t have a campy tone. 

I decided to ask some TikTok content creators how they feel about the Clayface trailer and the film’s direction overall. MovieFiles says the trailer reminded him of Brandon Cronenger’s 2020 film, Possessor. “I’m a fan of Clayface and Mike Flanagan, so I’m excited. The teaser gave us a good idea of the tone and vibes the film is going for,” he says. 

Alexsorcist says, “I knew nothing about Clayface before watching the trailer. If people hadn’t mentioned that it was DC, I would have thought it was just a horror movie. I like that they are trying something new.” However, she has slight doubts about its delivery and whether the filmmakers can find that bridge between comic book and horror. “I say this because there will be a need to satisfy the fandom. I will watch it for sure, but I think I probably have low expectations,” she adds.

“James Gunn is keeping that promise that every project is going to feel different; you can see that with the trailer and tone of the film,” Caz Cinema says. He is feeling optimistic about Clayface and thinks the DCU is headed in the right direction. He emphasizes that comics books vary from each other all the time; for example, having different writers or artists. “Unfortunately, many people will compare it to the MCU, without admiring its bravery to do something distinctly different from their competitor,” he adds. 

Miss Deisy thinks incorporating horror into a comic book film will bring in a different crowd than with previous ones. “I love the horror elements. I found the skin melting and face distorting to be so unsettling,” she says.

Cinespidey thinks leaning towards horror is a clever move for any comic book studio to take. “You can tell by the trailer that the filmmakers want you to feel Matt Hagen’s loss of identity. Now the world can understand that horror isn’t just all about scares, there’s always something deeper,” he says. 

The film’s visual effects are what stood out to KB’sFlix, admiring the realistic and practical look. “With studios overworking VFX artists and the increasing pressures to rely on AI, I’m glad that filmmakers are returning to the roots of sci-fi and horror movie magic,” she says. 

“If the film sticks the landing, it could be one of those projects that really proves comic book movies don’t have to follow the same formula every time,” SweeneyIsOdd says. He’s really excited about Clayface, despite being mostly a fan of Marvel, and thinks it’s the perfect character for DC to tap into the darker genres. He argues that horror has always been a core part of comics, even if it doesn’t always translate on screen. 

Screen & Scored also thinks Clayface is the kind of character that fits the horror genre and feels it’s the best way to approach the story. However, he questions the financial gain due to parents not wanting to take their young children to see it, considering they’re a big demographic for comic book films. “I hope the trailer isn't being deceiving, it’s one of my most anticipated films of the year,” he says. 

Although originally scheduled for early September, the release of Clayface was pushed back to late October to benefit from Halloween time. Considering this is the horror community’s favorite time of year, I believe the turnout will be amazing. With the amount of buzz generated from the trailer, I can only imagine it tripling after people finally get to watch the film.

Sources: Wikipedia.com & IMDB.com

Lee Cronin’s The Mummy Receives Mixed Reviews, But Successfully Grosses Viewers Out

By: Myriam Akbar

A week ago, The Mummy was released in theaters and audiences can agree on one thing—that the disgusting and gory scenes effectively made their stomachs turn. Written and directed by Lee Cronin, the film acts as a reimagining of the original Universal monster story. The plot follows a family’s reunion with their previously missing daughter, Katie, after she is mysteriously discovered in a catatonic state. Desperate for answers, her journalist father investigates her disappearance and her nurse mother attempts to heal her at home. While many viewers praised the grotesque nature of The Mummy, some felt it was all the film had to offer. There was a lot of criticism pertaining to the runtime and the lack of decision-making skills demonstrated by the characters. Audiences also compared the film to The Exorcist and Evil Dead Rise, suggesting there was an overall lack of originality.

As for myself, I will begin with the positives. The tension built in the opening scene was expertly done. The use of intense sound immediately hooked me as a viewer, starting off strong with a jump-scare. Secondly, the visceral practical effects and body horror elements make for a thrilling and unnerving watch. Although saturated with them, the film creates moments of shock that are perfect for the theater experience. While on the extreme side, the gore used to illustrate the mummification is seemingly realistic for a half-preserved human body. For example, the peeling of discolored skin and wooden-like toenails that were almost impossible to clip. Another positive is the effort to make scenes appear as if they take place in Egypt. The primary film locations were Ireland and Spain, but there’s a clear strategy used to alter the audience's perception of geography through climate and aesthetics. Lastly, Cronin offers a unique twist on the mummification aspect of the film. This approach, compared to the Universal Monsters version and the 1999 loose remake, isn’t historically accurate. However, it’s innovative and the nature of what happened to Katie is viciously brutal. I agree with critics that the family dynamic part of the plot lacks originality, as well as the film relying heavily on horror tropes. However, the choice to have a child as the mummy is clever and adds a layer of obscurity. It also tugs on the emotion of the audience because I, for example, was rooting for her recovery throughout the entire film. 

Without spoiling too much, I will say that my main negative criticism is the decision to extend Katie’s possessed behavior to other characters in the film. This took the focus off of the actual mummy and created a sense of inconsistency within the lore, as well as being unnecessary. An issue for many viewers, including myself, was the way the parents reacted to their daughter’s condition. To be specific, their actions after her return and overall sense of urgency. Their emotional response could have been an acting performance issue, but other moments were just awful script choices. For example, Katie being roughly dragged up the stairs in a wheelchair rather than having her body carried gently up to her room. This scene was confusing and unintentionally comedic—because what was that? 

Cronin has a few upcoming projects, such as a supernatural film he has been working on for some time, Box of Bones. It has also been reported that he has an untitled mystery thriller project approaching with James Wan’s Atomic Monster, Blumhouse, and New Line. One thing we can know for certain is that he’ll deliver some gag-worthy practical effects and gore.

Earth Day Watchlist

By: Myriam Akbar

Today is the 56th anniversary of the global celebration of our planet, Earth Day. First held in 1970, it has become a day to promote environmental literacy, climate action, conservation, and reduction of pollution etc. Cities organize events such as tree planting, neighborhood clean-ups, and fundraisers. The theme for this year’s Earth Day is “Our Power, Our Planet.” So, I have compiled a short list of my favorite films and television episodes where we don’t have the power–nature does. Mostly horror and sci-fi, these works explore a range of themes such as: the unpredictability of nature, transformation, humanity’s negative impact on the environment, and the dread of impending disasters. 

The Ruins

The Ruins is a 2008 horror film written by Scott B. Smith and directed by Carter Smith, based on the novel of the same name. The plot follows two couples who travel to Mexico and meet two other tourists, joining them on a trip to find a Mayan temple. What begins with adventure and curiosity, ends with a fight for survival. Upon arrival, they’re met with indigenous villagers armed with weapons and all hell breaks loose. They seek shelter in the temple, now unable to leave it. However, those weren’t the only threats–to their shock, the vines are violent and seemingly intelligent. The Ruins is a unique, unnerving, and intense film that makes you think twice about entering unknown locations. It’s currently available to watch on Paramount+.

Creepshow, “The Lonely Death of Jordy Verrill”

Creepshow is a 1982 horror anthology film written by Stephen King, in his screenwriting debut and directed by George A. Romero. One of the segments, “The Lonely Death of Jordy Verrill” is based on King’s short story "Weeds.” It follows a man who watches a meteorite crash on his farm and after he touches it, things get ugly. This segment is gross and despairing, visually making you itchy all over. It’s currently available to rent on Amazon Prime and Fandango. 

Die Alone 

Die Alone is a 2024 post-apocalyptic horror film written and directed by Lowell Dean. The plot involves the outbreak of a virus that turns humans into plant-zombie-like hybrids. A man suffering from memory loss searches for his missing girlfriend, running into a violent encounter and being rescued by a woman also fighting for survival. Die Alone has layers of revelations throughout the film, as well as eye-catching practical effects used to create the plant-zombie hybrids. It has fluid pacing, convincing acting performances, and a plot twist that creates an unexpected ending. It’s currently available to watch on Tubi.

47 Meters Down

47 Meters Down is a 2017 survivor horror film directed by Johannes Roberts. The plot follows two sisters who while cage diving in Mexico, sink to the bottom of the ocean and are hunted by sharks. In my opinion, what sets this film apart from others tackling a similar concept is the story between the sisters. Kate is more adventurous and confident than Lisa, so she urges her to try something new by cage diving. Their dynamic is demonstrated during their fight for survival, playing a significant role later in the film. 47 Meters Down is cramped, nerve-racking, and surreal. It’s currently available to watch on Tubi.

Stay Out of the Basement (Goosebumps: Season 1, Episode 12 & 13)

“Stay Out of the Basement” is one of my favorite episodes of the television show Goosebumps, directed by William Fruet. The plot follows siblings Margaret and Casey who begin investigating their father’s behavior, after he starts spending too much time locked away in the basement. He’s a botanist who is experimenting with plants and like any mad scientist, takes things too far. For a child-friendly show, this episode is pretty creepy. It’s mysterious, paranoia-filled, and a little bit nasty. It’s currently available to watch on Tubi, marked as episode 9 and 10. 

Frozen

Frozen is a 2010 survival horror film written and directed by Adam Green. The plot follows three friends stuck on a ski chairlift after the operator neglects them and turns it off. Throughout the film they attempt to find a way down, challenged by unexpected guests that roam underneath them. Frozen is anxiety-inducing, dreadful, and will have you second-guessing your next trip to a snowy landscape. It’s currently available to watch for free on a handful of platforms, such as Tubi and Amazon Prime. 

Knowing 

Knowing is a 2009 sci-fi thriller film directed by Alex Proyas, with a story by Ryne Douglas Pearson. The plot follows a scientist who discovers that a note left in a time capsule is actually a record of predictions concerning massive disasters. While investigating the truth behind the note, he attempts to prevent future catastrophes. The film explores a range of themes such as: science versus faith, religious allegory, the inevitability of death, predestination, cosmic intervention, dealing with grief, and the cycle of life. Knowing is esoteric, lively, and has some stunning CGI scenes. It’s currently available to rent on Fandango and Apple TV.

The Midnight Sun (Twilight Zone: Season 3, Episode 10)

“The Midnight Sun” is an episode of The Twilight Zone involving the Earth becoming dangerously close to the sun. A woman and her landlady struggle against the extreme heat, relying on a radio for updates. Due to police officers fleeing the city, citizens are faced with an increase in looting and things get chaotic. The episode is panicky, claustrophobic, and twisty. It’s currently available to watch on Tubi.

Source for Images: IMDB.com