IN OUR BLOOD
Pedro Kos‘ festival hit IN OUR BLOOD hits theaters this Friday. The story follows a young filmmaker named Emily, who hires a cinematographer to record her reunion with her estranged mother, Sam. When Sam suddenly disappears and her friends find themselves targeted, Emily and Danny go on a wild goose chase to find out why.
Alanna Ubach plays Emily’s mother, Sam. A former addict seeking redemption, Ubach is a pro, settling into a weighty role. For me, Ubach created some of the most memorable sidekick roles of the ’90s and early 2000s, carrying a Lili Taylor vibe with her comedic timing. It is a dramatic departure that is phenomenal.
Krisha Fairchild plays Ana with grounded confidence. This compelling performance is one you will not see coming. E.J. Bonilla brings a humble and powerful presence to Danny. Kos provides the character with an intriguing background that Bonilla uses to counter Emily’s guarded aura. He is the heart of the film.
Brittany O’Grady owns this role. Emily is in almost every shot, and O’Grady powers through unresolved trauma with ferocity. This fearless portrayal of a daughter dying for answers will pull you in. There is an undeniable gravity to this performance.
The mostly handheld camerawork subconsciously forces the audience to participate in the mystery and the emotional turmoil. Beyond the genre fare, IN OUR BLOOD also acts as a viewfinder for the vibrant yet desolate aspects of Las Cruces, New Mexico. Screenwriter Mallory Westfall provides clues, if you pay attention, so I suggest you do. Even with that said, the twists are absolutely clutch. Currently boasting a rare 100% Rotten Tomatoes score, IN OUR BLOOD is a gripping mix of horror and thriller. True crime fans will eat this up for dinner. I’m demanding a franchise from Kos and Westfall, ASAP.
IN OUR BLOOD WILL BE IN THEATERS NATIONWIDE OCTOBER 24, 2025
IMDb: Here
Synopsis: Nothing is as it seems when filmmaker Emily Wyland (Brittany O’Grady) teams up with cinematographer Danny (E. J. Bonilla) to shoot an intimate documentary about reuniting with Emily’s estranged mother after a decade apart. When her mother suddenly goes missing, possibly succumbing to the addictions that first tore her family apart, Emily and Danny must piece together increasingly sinister clues to find her before it’s too late.
Directed by Oscar-nominated documentary filmmaker Pedro Kos (Rebel Hearts, Lead Me Home) in his first narrative feature, IN OUR BLOOD masterfully blends psychological mystery with chilling horror. The film weaves a twisted tale of reconciling with the ghosts of our past and confronting the complicity we share in creating a world that preys on the most vulnerable
Genre: Thriller/Horror
Runtime: 88 minutes
Language: English
Country of Origin: United States
Year: 2025
Production Company: Firefly Theater and Films, Liberty Films, Aaron Kogan Management, Revelations
Director: Pedro Kos
Writer: Mallory Westfall
Producers: Aaron Kogan, Stuart Fenegan, Gary Lucchesi, Michael McKay, Steven Klein
Distributor: Utopia
Cast: Brittany O’Grady (Star, It’s What’s Inside), E. J. Bonilla (Gemini Man), Alanna Ubach (Euphoria), Krisha Fairchild (Penelope), Leo Marks, Bianca Comparato (3%), Steven Klein
SCARED SHITLESS
Chelsea Clark (
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 (
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. 
SHE LOVED BLOSSOMS MORE
The boys flitter between trials, doing whatever drugs they can procure, speaking with utter nonchalance about their intentions. Hedgehog, clearly consumed by sadness, eagerly claws his way towards his ultimate goal. Obsession takes hold.
Cinematographer Christos Karamanis brings the viewer inside their drug trips, of which there are many, blurring the lines of reality. Fair warning: if you are sensitive to light or sound, the film can be overwhelming, but inarguably hypnotic. Performances, particularly Panos Papadopoulos, are fantastic.
Sci-fi extravagance aside, Veslemes takes audiences on a visceral and emotional ride into darkness. There is no denying SHE LOVED BLOSSOMS MORE is a WTF, jaw-dropping watch.
COYOTES
Brittany Allen plays sex worker Julie. Her ability to steal scenes is magic. 
This is essentially an ensemble survival horror. The CGI coyotes are a bit Twilight-y, but the practical FX are legit. The kills are super creative, and one is particularly gnarly and incredibly satisfying for genre fans. Scott’s occupation is a graphic novel artist. Director Colin 
Few films have been able to pull off the one-shot feat. SCURRY owns it. Here is a team that has total trust, impeccable timing, and chemistry between the cast and crew, leading to cinematic magic. The element of enveloping darkness, a small, unpredictable light source, and the blurry infrared of a camcorder create relentless dread.
Jamie Costa and Emalia (
Best Picture: CAMP, directed by Avalon Fast
FANTASTIC PITCHES 
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. 
This heartwarming doc has some amazing personalities. Audrey is Sound. Her infectious wonder is the epitome of SILVER SCREAMERS. David is Special Effects. With his puppeteering skills, the film’s villain comes alive. Diane is in charge of Makeup. Her theatre background is key to her role. Sonny is the Camera Operator. He is reactivating the dreams of his youth.
The team takes on their jobs with a refreshing enthusiasm. Watching each one tackle their assignments is like a boot camp into the complexities of filmmaking. Editor Lee Walker delivers an incredibly engaging montage of their initial endeavors. The opening credits are integrated into the film’s storyboards. It’s a brilliant device.
SILVER SCREAMERS acts as an advocacy pitch for art therapy at every age. Wait until you hear the ADR session. It’s a riot. The horror homage final scene is the cherry on top. Fantastic Fest audiences are in for a real treat.
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.
NIGHT OF THE REAPER
Opening credits are fantastic. The production design team covers homes with classic ’80s Halloween decorations, and the repeated VHS static filter is chef’s kiss. Every single slasher trope we’ve come to love is utilized to build that creeping sense of dread. The synth score is fantastic. Homages to franchise favorites are endless. Everything from Poltergeist to Halloween, Max’s outfit looks like it’s straight out of Pet Sematery or a nod to Chucky, and the “Kimble, R” buzzer might just be a reference to Australian director Kimble Rendall. 
Casting is delicious. Ben Cockell is outstanding as Chad. Summer H. Howell (
Brandon Christensen, alongside his co-writer brother Ryan, understands how to build suspense while giving horror fans the kills they seek. As a fan of SUPERHOST, I am impressed by this narrative shift again and again. Christensen nails the element of surprise, flipping the script on their head when you least expect it. NIGHT OF THE REAPER is another solid addition to Shudder’s stacked catalog.
HAPPYEND
This predominantly young cast is incredible. Yukito Hidaka is captivating as Kou. His brooding aura and genuine wonder are the perfect foil for Hayato Kurihara‘s intense Yuta. Each actor wears their heart on their sleeve.
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.
The doc features sit-down interviews with the world’s most successful competitive eaters as well as James’ family members. The latter informs his motivation, from his love of soccer to bodybuilding. Yudin sets the audience up to root for James as we lead up to the 2023 Hot Dog Eating contest. 10 weeks out, and something diabolical occurs in middle America. We learn about the physical barriers, including his brutal two-year hospital stay after his 
Doo Soo Kim‘s tight close-ups in the opening credits alongside the rather ominous score might make you think you’re about to watch a slasher film. If you can’t stand to witness grown men stuffing food into their mouths, then you might be right. Yudin subconsciously taps into the horror of it all. 
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, 
The consequences of going down that rabbit hole, sometimes literally, are a barrage of repressed childhood memories and the instability of her mother’s treatment. Mia’s trips reveal a trauma monster, more specifically, one made of mom’s blond locks. This hair monster torments Mia throughout her jacked-up journey.
Caitlin Acken Taylor is everything. Mia Sunshine Jones is no easy role, but Taylor lives it. She even creates Mia’s paintings and sculptures. Her fourth wall break, and the precise moment at which it occurs, is jarring and genius. 
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.
DROWNING DRY
The organic meandering of unplanned vacation time reads entirely authentic. The montage of the kids’ initial shenanigans and their mothers’ choreographed childhood dance are stand-out moments. At this point in the runtime (35 minutes), the audience could easily tap out. But the request for a swim and an innocent act of horseplay trigger a tonal shift.
The film’s deliberate observational pace builds discomfort, only exacerbated by non-linear storytelling. The moment you realize what’s happening, it is like a punch to the gut. This decision will either tantalize audiences or turn them off. Performances are outstanding from our cast of only six. Bareiša’s camerawork is perfect for his stylistic choices. DROWNING DRY is a meditation on loss, examining the varying emotional reactions between the sexes. It is a film that will have you talking about it long after the screen goes dark.
![Saint Clare (2024) - [www.imdb.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Saint-Clare-2024-www.imdb_.com_.png?resize=678%2C626&ssl=1)
Visually and technically stunning, if not a touch confusing storytelling-wise. The script has a Freighteners and Civil Dead meets The Sixth Sense vibe. The camerawork suggests potential mental illness in Clare. The audience constantly questions what is real.
Ryan Phillipe makes the best of a weird situation. Rebecca De Mornay is a fantastic addition. Frank Whaley made my heart skip a beat. He deserved way more screentime!
More Dexter than Joan of Arc, Bella Thorne‘s spitfire attitude makes SAINT CLARE compelling through the confusion. I could easily see her captivating in a role similar to Jennifer Garner in ALIAS. Honesty, Thorne could easily slot into a new season of Marvel’s Jessica Jones alongside Krysten Ritter. They would kick major ass together.
The film doesn’t know what genre it wants to be. There is comedy akin to Idol Hands (which is some of the strongest), drama like Pretty Little Liars, and mystery that is as whirlwind as Memento. It feels like a YA graphic novel with panels missing. If anything, SAINT CLARE does make me want to read Don Roff‘s source material, “Clare At Sixteen,” if only for some potential clarification.
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