SCARED SHITLESS

Chelsea Clark (Pins and Needles) gives Patricia, the building owner’s daughter, an incredibly grounding energy. She’s the straight character of this bunch. Patricia also solidifies the plot by guilting Sonny into continuing his work and providing a safe space for Sonny’s phobias. Clark also serves as the third hero with her scientific knowledge.
Daniel Doheny plays Sonny with perfect manic energy. He is one panic attack away from implosion. Doheny handily glides through Sonny’s arch as the gross factor increases. He nails this genre. Steven Ogg (Dark Match) is such a magnetic presence in everything, and as Don is no exception. His relentless confidence makes him easy to root for. Clark, Doheny, and Ogg share phenomenal chemistry. I would love to see this trio tackle more weird shit together.
Steven Kostanski serves as both Executive Producer and FX goo god. The amount of physical ick in the film should come as no surprise to fans of Kostanski’s work. PG: Psycho Goreman is a damn joy. Writer Brandon J. Cohen seamlessly marries creature feature gore, family trauma, and laugh-out-loud funny dialogue. The kills are actually insane. I definitely yelled, “OH, SHIT,” at the scream. I gagged more than once. Troma would be proud.HERE is the Scared Shitless TRAILER.
SCARED SHITLESS, opening in US theaters and on digital October 3, 2025.
The buzzy festival creature feature stars Steven Ogg (“Grand Theft Auto,” AMC’s The Walking Dead, HBO’s Westworld), Daniel Doheny (Alex Strangelove, The Package, Syfy’s Day of the Dead), Chelsea Clark (Degrassi: Next Class, Tokens, Ginny & Georgia, The Protector, Life with Luca), and Mark McKinney (The Kids in the Hall). The film picked up several festival awards during its festival run which included over 25 official selections internationally. (full list below)
In Scared Shitless, a plumber (Ogg) and his germaphobic son (Doheny) are forced to get their hands dirty to save the residents of an apartment building when a genetically engineered, blood-thirsty, creature escapes into the plumbing system.



The Hairbrained Salon’s owner is a bawdy broad named Laverne. Martini Bear is one hell of a force, slinging f-bombs on top of the already kitschy, 60s-inspired dialogue. John Waters and Mario Bava are all over this film; think
The costumes, hair, and makeup are spectacular. The vivacious colors and sparkles pop on the 35mm film. The hyper-augmented sound editing will make you cringe. The script cleverly weaves in menstruation shame, medical gaslighting, and consent, while also playing into the adage that a period is a monthly curse. The ending is perfection. THE CRAMPS: A Period Piece has midnight madness cult classic written all over it. 

Parts Two & Three: now wandering the land, the animals in tow, Gaspar’s existential crisis continues as he meets spirits, resides in a manor, converses with religious icons, all while Ogre and his minion pursue him. The film is A LOT. Green continues his signature style with static cameras capturing 4th wall-breaking deadpan delivery. Honestly, it will either be a winner for audiences or a total miss. The complexity of satire is laugh-out-loud funny, but outside intellectual circles, it might be a tough pill to swallow.
LONDON CALLING
Rick Hoffman is a master at searing delivery. His performance as Benson is unforgettable. Jeremy Ray Taylor gives Julian a spitfire energy. He is an undeniable star. His performance from the 2017 IT remake still haunts me. In this role, Taylor has a Michael Cera innocence and comic timing. Josh Duhamel plays a Tommy with comfort that few leading men genuinely possess. His swagger is only matched by his vulnerability and sardonic wit. Taylor and Duhamel’s chemistry is something I would watch over and over.
Upon first glance, Julian seems like a lost cause, but his love of video games makes him a crack shot. Tommy continues to fumble as his eyesight fails him. The two oddly balance one another out in talent and emotional needs as they delve deeper into crime shenanigans and plenty of character-driven redemption. Omer Levin Menekse, Quinn Wolfe, and Ungar’s script is laugh-out-loud funny. The only true cringeworthy moment is the repeated use of the “R” word, which felt lazy and offensive in 2025.
The action sequences are incredibly entertaining. The final fight scene is nothing short of celebratory. LONDON CALLING has the same energy as The Other Guys or 21 Jump Street. Taylor and Duhamel’s father-son energy is an unexpected bonus, making for an entirely unexpected buddy comedy that earns your attention and melts your heart.



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As he prepares to self-fund his hefty two-act drama with his theatre “besties,” Griffin’s theatrical passion is further fueled by a tumultuous homelife. Colia delivers a truly tangible script. Griffin’s mom seems overwhelmed with her go-getter and rather demanding son, but under the surface, something else is simmering. She hires a neighbor’s son to help with yard cleanup. What begins as an annoyance to Griffin transforms into a sexual awakening, a test of relationships, and a piece of art that mirrors his unresolved trauma.
Owen Teague plays Brad with an initial aloofness that perfectly contrasts Griffin’s overzealous nature. As Teague taps into Brad’s motivation, *no pun intended,* the performance captivates in an entirely unexpected way. Everett Blunck is a star. His portrayal of Griffin feels like a documentary rather than a performance. It is one well beyond his years. He exudes fierce confidence that is infectious. Teague and Blunck have magnetic chemistry. Colia skillfully creates a subtle doppleganger effect between the two. It is an incredibly nuanced balance of characterization and performance.
Colia cleverly speaks to art as catharsis, the plight of a tortured artist, and the meaning of authentic friendship. Existing between childhood and adulthood is wrought with emotional chaos, impossible questions, self-loathing, fear, and awkwardness. GRIFFIN IN SUMMER playfully touches on each of these with unfiltered heart and humor.

A father wishes to compliment the chef for his signature dish, only to discover that an actual shrimp is responsible for the deliciousness. In this mockumentary-style short, The Shrimp insinuates that his entire schtick was stolen by the Disney rat. The two then compete on a food competition reality show. The producers secretly chat with the man under The Shrimp, Chef Dave. Shrimp is a foul-mouthed asshole, for lack of a better word. Shenanigans ensue, confessions reveal themselves, and insults fly.
There are multiple Shrimp puppet creations. The smaller version sits on Yung’s head, and a larger-scale handheld puppet fills the screen for the sit-down interviews. The detail is award-worthy. Puppeteers Benjamin Fieschi-Rose, Kirsten Brass, and Amelia Blaine are spectacular.
For all things Fantasia, 
Don’t get ahead of yourself in viewing. ANYTHING THAT MOVES is far more than a high-concept soft porn. I mean, it is also that. The cast fearlessly embraces full frontal nudity, which is incredibly rare for male actors, but more importantly, it honors kink. Audiences will not expect the hidden trauma. Phillips also addresses the demoralization of sex workers.
Shot in Super 16mm, its gritty look completes the homage to 1970s adult films. The Joshua Rains‘s artwork is diabolically genius. The bright spotlight device that denotes an orgasm is brilliant. Casting Nina Hartley and Ginger Lynn Allen was a superior move, as the two essentially served as the film’s intimacy coordinators. By the way, can we acknowledge the importance of that role on a set? I am thrilled we’re adding a Stunt category to next year’s awards season, but Intimacy Coordination is also an art.

After a bus ride on her way out of town gets cut short by a sighting of her local crush, Cleo’s infatuation becomes a way of life that maybe isn’t what she intended. Her mother, Lady Andre, comes looking for her and mistakes a passing moment for the end of her legacy.
Jessica Paré delivers a vivacious performance as Lady Andre. She is eccentric and demanding, but is undoubtedly battling unresolved wounds. Skylar Radzion is Josephine, the hairless sibling in the bearded family. She is a spitfire and a slick foil for Cleo.
The complete nonchalance of the residents sets the tone for HOLD THE FORT. Nagley delivers over-the-top characters and laugh-out-loud one-liners from beginning to end. Creature builds are super fun, practical FX are decent, mostly throwing buckets of blood on Lucas, and one gnarly gunshot wound. Colored lights delineate each monster in a fashion similar to the 2000s Syfy network, and it is a perfect match for the film’s subgenre. The score reminds me of Ren and Stimpy, and that’s the best way to describe it.
Writer/director Addison Heinmann follows up his 2022 Fantasia hit
When a young woman faces a deadly diagnosis, she seeks dark magic from a witch in the woods… but every cure has costs. Written and directed by John and Zelda Adams and Toby Poser (The Adams Family), who also star, shot, edited, and scored, MOTHER OF FLIES is the latest creation from the filmmaking family behind such singular landmarks as
In one of 2025’s major genre breakouts, four college friends find themselves on an infinite, unending road, forcing each of them to decide how to confront their fate in an unnerving journey into the unknown. Writer/director Alex Ullom and his gifted cast work miracles and offer a compelling, constantly intriguing, and often terrifying road trip into adulthood. Official Selection: SXSW 2025, Overlook 2025.
Desperate to avenge her daughter’s murder, Irene Kelly (Michaela McManus) journeys through parallel dimensions to repeatedly track down and annihilate her killer (Jeremy Holm). A tense sci-fi vengeance thriller unlike any other, REDUX REDUX is the latest creation by Kevin and Matthew McManus, the Peabody award-winning writers and producers of AMERICAN VANDAL and COBRA KAI, and writers/directors of FUNERAL KINGS (Fantasia 2012) and THE BLOCK ISLAND SOUND (Fantasia 2020). Official Selection: SXSW 2025. Neuchâtel International Fantastic Film Festival 2025. 

After coming to Fantasia as a short film selected for the Frontierés Market Shorts to Features Lab in 2022 and Sitges Fanpitch that same year, directing duo Deanna Milligan and Ramsey Fendall expand the world of Mia Sunshine Jones in their darkly trippy feature, LUCID. Mia is a rebellious art student who struggles to create the ultimate project for a demanding professor. Desperate to find her artistic voice, she takes Lucid, a candy elixir, to access her creativity, but taps into something much darker. Starring Caitlin Acken Taylor, who reprises her role from the short, and Georgia Acken (star of the 2023 Fantasia hit THE SACRIFICE GAME), Milligan and Fendall create a surreal nightmare with a vintage look that fully embraces the 90s grunge era with a punk art aesthetic. Using live on-set music, an eclectic cast, and loads of experimental and haunting visuals, the World Premiere of LUCID will be a nightmare-come-true.
For her debut feature film, FOREIGNER, Ava Maria Safai (Zip) expertly harnesses the power of identity, social acceptance, horror, and comedy. It’s 2004, and Iranian immigrant Yasamin, or Yasi, is the new girl. Her high school experience is daunting, as she tries to improve her English by watching her favorite sitcom and befriends a trio of pastel-clad girls who feed Yasi’s need to fit in. Desperate for acceptance, she dyes her hair blonde and, in doing so, also attracts a demonic force. With a fun retro setting, great performances by Rose Dehgan as Yasi, Chloë MacLeod as the creepy high school “Queen Bee” Rachel, and a blend of our favorite teen horrors, FOREIGNER takes up space as a new entry to “bubblegum horror,” bringing a fresh narrative to the Canadian immigrant experience. The film has been referred to by some as Mean Girls meets The Exorcist and Ava is definitely a young director to watch.
A woman (Dakota Gorman) wakes in the back of a moving camper trailer. A voice (Todd Terry) from the truck towing it tells her they must reach a mysterious doctor within the hour. Thus begins HELLCAT, the feature debut of writer/editor/director Brock Bodell, who previously cut the mind-bending 
ZENITHAL
Francis believes Sonia has told the police he is responsible, causing him to flee from the authorities. In his desperation, he finds solace in a laundry client who always seems to be wooing Francis away from his station. Turns out this man is no eye-fucking mechanic but a supervillain, woman-hating, mad surgeon named Doctor Sweeper, who wants to upgrade Francis with a massive robotic, brain-implanted penis and blow up the moon to disrupt menstrual cycles. (Still with me?)
Now, Sonia, Francis’ business partner Marcus, and a few ladies from Sonia’s Sexkido class (a method of martial arts that takes advantage of men’s depravity and returns power to women. While meant to be silly, I think it’s brilliant), must find Doctor Sweeper, save Francis, and clear his name.
Performances from the entire cast are phenomenal. They land somewhere in between Austin Powers and Zoolander, with incredible one-liners and a 1000% commitment to the gag.
DON’T TELL LARRY
Dot-Marie Jones and Ed Begley Jr. serve up pro performances that most certainly elevate DON’T TELL LARRY. Kiel Kennedy has a genuine Will Ferrell energy. His portrayal of Larry is cringe, uncomfortable, and entirely unhinged. It’s wild and wonderful. I won’t say more because seeing is believing. Kennedy gives Larry a larger-than-life persona, mastering the comedy and terror.
Kenneth Mosley is Patrick, Susan’s work bestie and equally fabulous sidekick. Do yourself a favor. Watch Mosley’s reel on IMDB. You will wonder why he isn’t on every screen in your home. His performance as Patrick immediately catches you off guard in the best way. He’s magnetic. Patty Guggenheim is unforgettable as the hyper-ambitious Susan. Guggenheim is a star. She has a similar energy to Julia Louis-Dreyfus. Her comic timing and charisma pull you in. Her chemistry with Mosely makes me want a sequel/spin-off/whatever!

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FIRE AT WILL looks fantastic. Jared Levy‘s camerawork is most immersed and intimate. Kyle Moriarty‘s quick-take editing is perfect. The fast-paced dialogue filled with self-absorbed personalities is every kitchen table conversation featuring adult children and their parents. As the firstborn of four loud children in an Irish Italian household, I can attest to the authenticity in the chaos of Gruer’s script, right down to the mother storming out in emotionally exhausted dramatics and the unspoken connection between father and artistic daughter. The cast nails each ping-pong match beat. FIRE AT WILL is a spectacular treatment for a feature. I need to know what happens next.


José Condessa creates a vibrant and charming character. He is sensitive and caring, everything a woman desires in a man. Condessa is dazzling. Ayden Mayeri gives June a true egocentric millennial with an unresolved emotional trauma vibe, which is precisely what Lilian T. Mehrel intended. Mayeri effortlessly glides into June’s arc. Amira Casar takes on Lela with a lived-in authenticity and passion. She holds each frame with her powerful presence. These two women share gorgeous chemistry. 



Roy hates his life. He brings some serious childhood baggage, and his job as a radio interviewer sucks the life out of him. As he attempts suicide in a motel room, he catches a glimpse of a life-sized Monkey through his window. As he comes to, Roy finds said Monkey driving his airstream down the empty roads. The audience quickly comes to realize this is not a hallucination but a woman dressed in a costume and putting on a voice.
The woman in the suit is Jane. She uses Monkey as a coping mechanism to flee her stepfather, and the root of all her sadness. Both Roy and Jane have specific plans that are so outrageous that they agree to accompany one another on their journeys. Roy plans to dig up his abusive cop father and steal the watch he thought he had inherited. Jane wants to find a way to buy a pontoon boat and run banana boat rides as Monkey.
Shenoah Allen gives Roy a lived-in exhaustion. There is a gentleness that pulls you into his sphere. Conti is phenomenal as she navigates comedy through the suit, but also manages to rip your heart out. She uses humor to convey the hurt. It is a love story between two deeply wounded adults. Allen and Conti do not hold back in the dialogue. They take risks in every beat.
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