There are plenty of horror stories about monsters, demons, slasher killers, vampires, zombies, and so many other “scary” things, and that’s what I love about horror. However, for a lot of us who are part of lesser-known groups, we sympathize with misunderstood characters. These creatures are often what Guillermo del Toro calls “patron saints of the outsiders.”

Because in this story, the scariest thing imaginable is not one of those monsters but rather another nice guy who thinks he deserves a woman’s love just because he wants it bad enough.

And to be honest? That’s far scarier than any horror movie I’ve ever seen.

The movie starts, of course, like a normal romantic comedy trope-style film. Bear is a quiet and insecure guy who is hopelessly in love with one of his best friends, Nikki. We know what happens next as he makes this wish, and normally we’d basically expect there to be a certain way this movie would go. She would be the “crazy girl” that symbolizes how women supposedly act sometimes, and then eventually we’d find out that she did in fact like him all along and he’d grow into a bold stand-up guy who gets the girl in the end after some horrifying murders and cool music scenes.

And a lesser movie may have done just that, but we don’t get that here.

After using the One Wish Willow so that Nikki would love him “more than anyone else in the world,” Bear gets a version of what he wants. The movie makes it clear almost immediately that this is a love story, but not a romantic one, as Nikki herself frames it early on. Nikki’s affection doesn’t feel natural or of her own volition because it isn’t. There are several moments in the film where she is clearly trapped inside her own body, and it’s not really Nikki who is “loving” Bear. This wish turns coercion on its head to show how truly gross and evil it is rather than treating the subject lightly.

The real horror in all of this is that Bear seems to grasp this almost right away and several times throughout the movie.

He is an effective horror protagonist in the absolute worst possible way. While the setup initially presents him as a victim of a wish gone wrong born from pure intentions, we slowly realize he is actually a monster who is willing to let Nikki suffer as long as he gets what he wants from her.

Then, in a sequence where the real Nikki speaks to him while she sleeps, begging to be freed from this life and killed, we hear the line that sums up the entirety of his character:

“What’s so bad about being with me?”

This line is so important because Bear views Nikki’s lack of consent as a personal insult against himself. Rather than asking if she actually wants this and prioritizing her well-being, he selfishly centers his own insecurity and allows her to continue being violated in a way that feels all too real. This movie understands something that a lot of us men still struggle with: entitlement combined with insecurity can become destructive and even deadly to women.

This is where we can see who the truly “obsessed” person is. It is not the person subjected to the demands imposed upon them, but rather the person willing to let someone they claim to care about suffer in service of their own feelings.

For many of us as Indigenous people, this is also why conversations around MMIP awareness are so important. Of course, this movie is not directly discussing MMIP issues, but the same underlying theme appears in both: the idea that access is more important than consent. That wanting something justifies control. That affection and what looks like “good intent” somehow overrides a human being’s autonomy.

Native women in the United States continue to face disproportionate levels of violence. According to the National Indigenous Women’s Resource Center, more than 4 in 5 Native women experience violence in their lifetime, while homicide remains one of the leading causes of death for Native women and girls in certain age groups. The U.S. Department of the Interior Missing and Murdered Unit also notes that jurisdictional gaps, underreporting, and inconsistent investigations continue to leave many Native families without answers for years.

That is why themes involving consent, autonomy, and control hit differently for many of us Indigenous viewers. These are not abstract concepts for us. These are realities that Native women, families, and communities are still actively dealing with.

In this movie, it’s important because Bear doesn’t physically chain Nikki up or lock her in a basement. It appears less sinister on the surface, but he strips away her entire self and reshapes her existence just to serve him. That is absolutely violence. His view of women is so warped that he becomes comfortable allowing this to continue even while she is clearly suffering.

In an interview with TIME, director Curry Barker stated:

“Everyone thinks the One Wish Willow is cursed, but it’s not. Like if you worded it very, very carefully and wished for something you knew couldn’t possibly be bad for anybody, you’re probably fine. But if you’re forcing someone to feel a certain way about you, it doesn’t really matter how you word it.”

So it’s not the power itself that is inherently evil, but rather the desires of Bear. This becomes even clearer when we see the owner of the store as a relatively regular guy who already used his wish and seemingly turned out fine.

So what does it look like when someone values being loved more than they value another person’s freedom?

In Obsession, it looks like destruction, death, and harm inflicted not just on Nikki but on everyone around them. All because Bear could not bring himself to do the right thing, even until the very end of the film when he still chickens out of freeing her.

And honestly, by the end of the movie, the question somehow gets answered once again: yeah, everyone would be safer with an actual bear than with Bear.

If you would like to support Indigenous women and MMIP advocacy efforts, consider donating to Not Our Native Daughters, an organization dedicated to awareness, prevention, and support surrounding Missing and Murdered Indigenous Women and relatives.

The post “What’s So Bad About Being With Me?” appeared first on Grim Native.

Created by Modern Myth Television and featuring veteran paranormal investigators Christopher Honka Hill and Russell Sun Eagle, Legend Hunterz combines boots-on-the-ground investigation, cultural respect, and cinematic storytelling to explore unexplained phenomena rooted in Indigenous and regional folklore. The series blends suspense and science with a deep reverence for Native history and spiritual tradition — spotlighting legends often left untold in mainstream media.

The pilot episode can be watched for free on the Legend Hunterz YouTube Channel:

Kickstarter Launching Soon

Following the success of the premiere, the Legend Hunterz team is preparing to launch a Kickstarter campaign to fund additional episodes. “We’re honored that our first episode struck such a chord,” said Christopher Hill, “These legends aren’t just stories —they’re part of living cultures and landscapes. We’re here to listen, learn, and explore.”

“Every share, view, and pledge helps keep this mission alive,” added producer MJ Loheed. “Our goal is to create something authentic — filmed on location, grounded in community, and fueled by curiosity.”

The next episode will feature Dog Man of Ponca City where reports of a wolf-like creature is said to stalk the edge of Native land under the cover of darkness. – with a base goal of $38,000. Follow updates on Kickstarter to join the hunt.

About Legend Hunterz

Legend Hunterz is an independent docu-series that blends investigation, Indigenous storytelling, and folklore exploration. Each episode takes audiences into the field with the team as they uncover the truths, mysteries, and cultural meanings behind America’s most chilling legends.

About Modern Myth TV

Modern Myth TV creates bold, immersive, and original unscripted content. Focused on paranormal, cryptid, and adventure-based storytelling, Modern Myth TV brings new perspectives to legends and lore with high-quality production and authentic voices.

The post “Legend Hunterz” World Premiere Draws Packed House at the College of the Muscogee Nation — Over 12,000 Views Within 24 Hours appeared first on Grim Native.

Starring Diana Hellson, Rose Stiffarm, and Zoelya Hellson, A’soka’piiwa weaves an intimate tale of loss, with stunning cinematography by Rose Stiffarm and dedicated production assistance from Zoelya Hellson. Together, the team crafts a haunting exploration of grief and its eerie interplay with the festive season.

This short film reminds us that grief doesn’t take holidays—instead, it often feels like the boogeyman we just can’t escape. With its raw storytelling and cerebral atmosphere, A’soka’piiwa is a needed exploration of the resilience required to face loss and our fear of the end.

The post “Grief is a Plague Made Worse” in RGE’s Christmas Horror Short: A’soka’piiwa: appeared first on Grim Native.

Filmed on location in picturesque Kaneohe, Hawaii, The Inherited stars Kelsey Sugai, a familiar face to many thanks to her popular Zippy’s commercial. After debuting as an official selection at the Los Angeles Lift-Off Film Festival 2024, the film is now reaching wider audiences with this special screening at LA Skins Fest.

Mark your calendars for Friday, November 22, and join us for Program 3: Short Films at the iconic TCL Chinese Theater in the heart of Hollywood. The program runs from 7:30 p.m. to 10:00 p.m., showcasing The Inherited alongside a lineup of extraordinary films celebrating Native talent and storytelling.

Ticket Information:
Tickets are available for $15 at laskinsfest.com. The TCL Chinese Theater is located at 6925 Hollywood Blvd, Los Angeles, CA.

Don’t miss this chance to support The Inherited and the incredible work of Indigenous and Hawaii-based filmmakers. 

The post The Inherited to Screen at the 18th Annual LA Skins Fest appeared first on Grim Native.

Before I continue, a huge thank you to Kaniehtiio for giving me the opportunity to see the film. I was absolutely heartbroken that I would have to wait until SEEDS located distribution here in the U.S. I was also a little mad that my mom made a mad dash back to Oklahoma when she went into labor with me because I’d like to believe if she hadn’t, I’d be sitting in a theatre somewhere in Saskatoon, watching SEEDS in the theatre the way it should and deserves to be seen.

In SEEDS, Ziggy (Kaniehtiio Horn) is a budding social media influencer and food delivery worker in Toronto who’s recently secured a brand deal with Nature’s Oath, a seed company with a “purpose.” When her cousin calls and convinces her to house-sit for her Aunty, who is getting her snag on in New Zealand, she heads back reluctantly with her feline furbaby, Potato. Here, she reconnects with familiar faces and the comforting but frustrating rhythm of rez life, where wi-fi and cell service are hard to come by.

Ziggy’s homecoming turns dark when her cousin tells her she is working with the enemy as an ambassador for Nature’s Oath and that they are not as well-meaning as they portray themselves. Ziggy is not willing to believe it at first, but after doing some internet sleuthing and a violent break-in that results in one badass Potato kicking ass and claiming an ear before being taken out, she realizes Nature Oath’s intent to steal her family’s legacy, one of a kind seeds that have been passed down through generations of her family.

Once she realizes the truth, she vows to avenge Potato and protect the seeds with the help of her on-again, off-again “emotionally unavailable asshole,” Bandit. From this point on, let’s just say that John Wick could learn a thing or two from Ziggy, who proves that you should never underestimate the ability or lengths to which Native women will go to protect who and what they love, what matters most to their families and communities.

Despite a few hiccups, SEEDS masterfully weaves Indigenous horror and humor within a revenge-thriller framework. From beginning to end, it is funny, suspenseful, heartbreaking, and horrifying in all the best ways because the realism is still firmly rooted in fantasy and not tied directly to any real atrocity that haunts Indigenous communities today. It’s refreshing to see a Native movie that doesn’t dwell on atrocity but the indigenuity, humor, and toughness of Native people in how we survive and protect what matters most to us.

Horn’s performance as Ziggy is captivating and proof that she is not just a star but a LEADING star. She convincingly embodies and conveys Ziggy’s complexity as a relatable, resilient, imperfect, and terrifying Native woman when wronged. From her social media montage to her comical interactions with Potato and Bandit, Horn builds an onscreen presence that is effortlessly engaging and wickedly fun.

The supporting cast only adds to SEEDS‘ charm, particularly Dallas Goldtooth as her cousin, Wiz, because we all have a cousin or Uncle Wiz. The real-life friendship between Kaniehtiio and Dallas shines through in the interactions between Ziggy and Wiz, which brings a “certifiably organtic” authenticity to their bantering and teasing. Meegwun Fairbrother, who plays Bandit, was also perfect casting. I’m still laughing at how he portrayed the emotional whiplash between him and Ziggy as they worked out their issues. It was also good to see Graham Greene making a cameo as Ziggy’s ancestral spirit guide, warning her of the danger she was facing and even bringing his brand of humor to the show.

Despite the cast’s perfection and overall watching experience, there are a few hiccups in balancing the tone, with abrupt shifts between humor and violence, which I see more as a problem for Non-Natives who aren’t familiar with Native humor or storytelling. While I thoroughly enjoyed Ziggy’s revenge, I can see how her quips might interrupt the intensity for Non-Natives, unfamiliar with the way that Natives are just naturally funny and sarcastic in the most inappropriate times, like when we’re “de-barking” cat-killing bastards. Additionally, some plot decisions, like an out-of-sequence social media post at the beginning of the movie that was never re-visited, could have been better because it teased consequences for Nature’s Oath and didn’t deliver. While Ziggy’s final revenge and closing scenes were epic, they fell short of a satisfying ending because there was no resolution to Nature Oath’s overall agenda or relationship with Ziggy.

That being said, SEEDS shines as a refreshing horror comedy that boldly tackles the shady relationships between social media influencers, corporate exploitation, colonial oppression, and capitalism. Although unbalanced at times, SEEDS marks a promising directorial debut for Horn, anchored by her captivating performance and a unique blend of humor, horror, and revenge that leaves you anticipating what she has up her sleeves for the future.

The post Kaniehtiio Horn Delivers Cat-astrophe and Revenge in Her Feature Directorial Debut, SEEDS appeared first on Grim Native.

1. Slash/Back

If you loved 2011’s Attack the Block, you’re going to love Slash/Back. It offers the same gritty reality of marginalized youth whose experiences make them the unlikely heroes and saviors of their communities. 

“When Maika and her ragtag friends discover an alien invasion in their tiny arctic hamlet, it’s up to them to save the day. Utilizing their makeshift weapons and horror movie knowledge, the aliens realize you don’t mess with girls from Pang.”

2. Crossers

Crossers is interesting because a lot of Native communities have found themselves in the position of deciding whether or not to watch episodes of popular ghost hunting shows that are exploring locations and topics that are considered taboo. I’m looking at you, Ghost Adventures! It’s this reality that makes Crossers such a horrific good time. 

“You’re Native American. A story from your tribe is featured on a reality ghost chasing show amid controversy. You know you shouldn’t support it, but you decide to tune in anyways.”

3. The Smudging

The Smudging is one of my favorite Native horror flicks because it is set in an actual Native Community Center that is purported to be haunted and the crew did catch an unexplained entity while shooting the film. It adds to the creepy realism of this horror mockumentary that left some audiences unsure of whether it was an actual documentary or fictional film. 

“A paranormal research group is called in to investigate the aggressive supernatural activity of a Native American cultural center.”

4.Blood Quantum

Essays could and have been written about the late Jeff Barnaby’s Blood Quantum because it is such a layered film. It is not the typical zombie flick that strictly questions how survivors stay alive while keeping their humanity in tact, but questions the complexity of Indigenous identities and Blood Quantum in a world where only Indigenous people are immune. 

“The dead are coming back to life outside the isolated Mi’kmaq reserve of Red Crow, except for its Indigenous inhabitants who are strangely immune to the zombie plague.”

5. Violet

Violet is an unsettling exploration of how medical racism, sexism, and lateral violence was leveraged against Native women to discredit them and disappear them when necessary. It is a terrifying look at how the scars of yesterday’s injustices and violence bleed into our present and future. 

“In 1984 a female patient known only as “subject 23″ escaped a mental institution. Three days later, her lifeless body was discovered under the home of her former doctor. Her death was never solved and forgotten. Thirty years later a mysterious box containing a secret recording or her last hours at the hospital resurfaces. Not the truth and perhaps something more sinister might be unleashed.”

6. Prey

Prey. I don’t even know where to begin with describing how incredibly important this film is, not just because it revitalized the Predator franchise, but in terms of the Native representation. It is an incredible showing of what can be done when Native people are allowed to represent themselves and their cultures. It’s been two years and it is still one of the movies that I find myself watching again and again. 

“Naru, a skilled warrior of the Comanche Nation, fights to protect her tribe against one of the first highly-evolved Predators to land on Earth.”

7. These Walls

These Walls is really difficult to watch because it is a reminder that the real-life horrors that exist within our histories are more terrifying the horrors we can imagine, especially when they still have a powerful impact on our present day realities. 

“Mary is catapulted into a horrific struggle to right old wrongs when she discovers the bones of the missing and murdered babies of an Indian residential school.”

8. Cornhusk

Nothing creeps me out more or has me on the verge of fearful tears than haunted dolls and creepy nuns. Cornhusk just happens to combine the two and will have you sleeping with the light on for nights to follow. 

“A Native American family moves back to the reservation and recovers a doll buried on church grounds. Soon after strange demonic things start happening as the family discovers that the doll is from the Residential School era exposing all the horrors that the voiceless Native children have experienced. “

9. Trap Door in the Sun

Trap Door in the Sun is very cerebral and doesn’t relent in its quest to make you acknowledge the violent nature of colonization and the impact that it continues to have on Native communities. There is a very poignant scene that conveys the literal erasure of Native peoples and destruction of Native lands for the benefit of settler colonialism and capitalism. 

“A Horror film about Colonization.”

10. Mirror Man

“Officer Jordan, a Native police officer, who is doubting her traditional faith, is called to a possible burglary but is met by a supernatural entity, Mirror Man, that leads her to a buried secret.”

A haunting, heart-wrenching movie from Ginew Benton that gives a glimpse into the horrors of the residential boarding school era and how recent discoveries of mass graves still impact and haunt Indigenous communities in the present. 

The post Sacred Scares: 10 Must See Indigenous Horror Films appeared first on Grim Native.

“Never Whistle at Night will be released September 19,2023. Pre-Order your copy at www.neverwhistleatnight.com

The post Never Whistle At Night with Shane Hawk appeared first on Grim Native.

Beginnings and Inspiration:

Stewart Billie, Narbona’s drummer and father of Lestat and Unity, reminisced about where their musical journey began. “Being a single father of two boys, my sons went were I went. They listened to what I listened to and it only seemed natural for them to pick up the guitar and bass. I taught them all I could and they went full speed from there”. 

“For me, it started when I was 14. I would listen to music that was “otherworldly”. Music that really spoke through words, riffs and licks”, said Unity. ” Then, living on the reservation gave me an perpective of how things are and I knew that I could try to perceive the beauty we all see and do in our everyday lives through Heavy Metal Music.”

Lestat StandingBear expressed how the band’s beginning was ignited by their close-knit relationship and how their familiarity gave them the ability to understand how their musical influences and talents would come together to create their music.

“Seeing these two guys that I’ve been around my whole life want to start a band, was inspiring because we know each other enough to know what type of music we would want to play with one anothe, how it would sound, and how would could all collaborate one thing, and one thing only.”

Influence of Their Navajo Heritage on Music:

Culture plays a significant role in Narbona’s music. Stewart Billie explained the band’s name was inspired by a revered Navajo leader who tragically lost his life to the U.S. Cavalry and New Mexican Militia in 1849. The name Narbona serves as a tribute to their history and ancestors.

“Narbona was great headsman who lived in The Chuska Mountains and was murdered by The U.S Calvary And New Mexican Militia in 1849. He was also father-in-law to the Famous War Chief “Manuelito”, explained Stewart. “We named our band NARBONA, because we are proud of our history and our ancestors.”

Lestat StandingBear elaborated on the band’s purpose, emphasizing their desire to break away from the typical themes associated with heavy metal and instead use their music as a platform to empower their community.

“Usually, the music we play is always associated with Devil Stuff, gore, and brutality. But we didn’t want to be a part of that. We wanted to be a voice for who we are as a people. What are our morals? What do we stand for? What we go through mentally, knowing we’re a part of the Navajo Nation?” said Lestat.

Their lyrics delve into the struggles faced by Natives, offering a voice of resilience and unity. Unity Billie added that their music reflects the strength and perseverance exhibited by their ancestors on the reservation.

It would be how we carry ourselves in our everyday lives, on the reservation. Our ancestors, who inhabited these lands, managed to adapt through perseverance.” he said. “It took blood, sweat, and tears to create beauty or sustainability for life. It’s what influenced me to write thoughts, feelings, and what we do through music.”

Challenges and Rewards:

Challenges have been a part of Narbona’s journey, but they remain focused on professionalism and connecting with their audience. Stewart Billie acknowledged the logistical hurdles of traveling long distances for shows, while Unity Billie mentioned the resourcefulness required to overcome equipment limitations.

“Well, for one, the rez isn’t all luxury. We work hard and plan with one another to see how we can make it to these shows that are far from home”, said Lestat. “Sometimes, having no cases for your instrument is kind of a hassle, so making your own DIY case for the instruments and being resourceful with what we have equipment wise.”

However, they all agreed that the support of their fans and the opportunity to perform live make it worthwhile. The rewards of their musical endeavor are deeply fulfilling. Stewart Billie expressed immense pride in seeing the small project he initiated with his sons transform into something tangible.

“The rewards are seeing a small project that me and my sons created turn into something real. Traveling with them and playing live is such an amazing feeling.”

Unity Billie concurred and added that gratification is also derived from being able to listen to their own compositions and take pride in the music they create.

On the Future and Rise of Native Metal:

Looking ahead, Narbona has a busy schedule, with several music festivals lined up both on and off the reservation. They are particularly excited about their upcoming performance in Los Angeles on July 28th. The band aspires to record a five-song EP and eventually release a full album. They have their eyes set on leaving a positive impact on their community and continuing to refine their craft.

Narbona recognizes the burgeoning Native metal scene and appreciates the opportunity to be part of it.

“We come from a place where heavy metal is appreciated. We see local bands playing with national acts 2-3 times a month”, says Stewart. “Gallup has a booming music scene I see a lot of native people taking the helm in making things happen, especially in the southwest.”

Witnessing and being a part of the rise of Native metal is exhilarating for Narbona.

“I think the world is ready to hear us native people on a national level because we have something to offer,”

Narbona’s journey is driven by their passion for music, their pride in their heritage, and their commitment to conveying the struggles and resilience of Native individuals through heavy metal. With their upcoming performances, recording plans, and dedication to their community, the band is poised to leave a lasting impact on the music scene while proudly representing their Navajo roots.

The post Narbona on Culture, Music, and Future appeared first on Grim Native.

The 1950s was an exciting era for horror, marked by a blend of sci-fi-infused terror, psychological intrigue, and the emergence of iconic classic monsters like the Creature from the Black Lagoon.

After World War II, which gave rise to the Atomic Age, societal fears, distrust, and paranoia manifested on the silver screen, immersing audiences in a world where prehistoric beasts, atomic mutations, and extraterrestrials lurked around every corner. From the ocean’s dark depths to the far reaches of outer space, these films brought larger-than-life creatures to the forefront, offering a fun and thrilling mix of horror, science fiction, and suspense, which ultimately fueled my passion for creature features. Here are my top 10 favorite creature features from the ’50s.

1. Creature From the Black Lagoon

Directed by Jack Arnold, this classic Universal monster film follows a scientific expedition that encounters a terrifying amphibious creature lurking in the Amazon River.

2. Tarantula

Directed by Jack Arnold, this film focuses on the growth of a giant spider as a result of a scientific experiment gone wrong, terrorizing a small town.

3. The Monster That Challenged the World

Directed by Arnold Laven, this film presents giant mollusks unleashed by an earthquake in the Salton Sea, threatening the nearby community.

4. The Deadly Mantis

Directed by Nathan Juran, this film follows the rampage of a giant praying mantis that is revived from the Arctic ice and poses a threat to civilization.

5. THEM!

Directed by Gordon Douglas, this film depicts the horrifying consequences of atomic radiation as giant irradiated ants wreak havoc on the population.

6. The Creature Walks Among Us

Directed by John Sherwood, this sequel to “The Creature from the Black Lagoon” follows the capture and subsequent scientific experimentation on the creature.

7. The Giant Gila Monster

Directed by Ray Kellogg, this low-budget film features a giant gila monster wreaking havoc on a small Texas town.

8. The Black Scorpion

Directed by Edward Ludwig, this creature feature showcases giant scorpions emerging from a volcano, terrorizing Mexico City.

9. It Came From Outer Space

Directed by Jack Arnold, this science fiction horror film tells the story of an alien spacecraft that crashes in the desert, leading to a series of mysterious occurrences.

10. The Beast from 20,000 Fathoms

Directed by Eugène Lourié, this film showcases a prehistoric dinosaur awakened by an atomic bomb and wreaking havoc in New York City.

The post Creepy Creatures Unleashed: my Top 10 Creature Features of the 1950s appeared first on Grim Native.

Beginning with a cabin in the woods and a violently familiar series of events that pay homage to the original franchise, the Evil Dead Rise transports us out of the woods and into a derelict apartment building in Los Angeles. Where the real story begins with the reuniting of two estranged sisters, Ellie (Alyssa Sutherland) and Beth (Lily Sullivan), who are both struggling with life changes that threaten the lives they have built. For Ellie, she is desperately trying to hold her family together after being abandoned by her husband and dealing with the prospect of losing their home. Meanwhile, Beth is reeling from the discovery that she is pregnant and trying to figure out what to do with her life. Their reunion and any hope of a heartwarming sisterly bond coming through to save the day is cut short when Ellie is possessed by a deadite after her kids discover the infamous Book of the Dead and set off a entertainingly gory and hopeless chain of events.

Evil Dead Rise delivers the ultra-violent and blood-soaked fun expected of an Evil Dead movie, but the incredible use practical effects and gore is truly spectacular. The makeup and creature design, are so terrifyingly done well that the film’s dark, visceral and terrifying atmosphere feel way too real. It strengthens the chemistry and performances of the cast and the viewing experience as you’re not distracted by the overuse of obvious and bad CGI that plagues modern horror films. From start to finish, you are wholly and hopelessly invested in the survival of all of the building’s occupants, but as they each meet a gruesome end, you find yourself cheering their demise!

The action and horror comes fast and furious, never lingering too long on any one character or scene, making it impossible to turn away from intense violent and gore. Lee Cronin has done an incredible job of staying true to the legacy of the original Evil Dead franchise. He maintains the franchise’s signature blend of horror and dark humor, while masterfully orchestrating a visceral and stomach-churning experience that will delight even the most hardcore of horror purists.

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