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They Live is a timeless science fiction, dystopian piece of media criticism. Director John Carpenter argues the film is a documentary, and he says what we’re all thinking, using alien overlords to reveal the real-world villains of Mass Media, Big Corporations, and the Surveillance state. All of Carpenter’s nightmares have only increased since the 1988 release, with the rise of Flock cameras, media conglomerates taking over the communication world, and the advertising business infiltrating every waking minute of our lives.

Dungeon Crawler Carl is a triumphant and heartbreaking tale of human resilience. Against the backdrop of the end of the world, Carl and his fellow crawlers fight for their lives against a system hell bent on minimizing them to tools of entertainment. Turns out aliens are real and they’ve got intergalactic reality shows of Hunger Games-proportions.

Zoë Kravitz’s directorial debut, Blink Twice, cautions us against the horrors of forgiving, forgetting, and relinquishing control. A tale told before its time, watching it merely two years after its release, the film feels disturbingly prescient in a post Epstein Files ‘release’ world.

Obsession is an insidiously terrifying new horror film that follows Bear after he makes an ill-advised, harmful, and desperate wish for his crush, Nikki, to love him more than anything else in the world. Obsession is timely and unsettlingly so, confronting current-day horrors around the male loneliness epidemic and the ways young men are weaponizing their existence against women.

The Menu is a brilliant, vicious critique of celebrity chef culture. The dark comedy film confronts the absurdity around elite fine dining experiences that have taken the “love out of eating.”

Opus, the debut film of director and former music journalist, Mark Anthony Green intends to critique cultural criticism, celebrity obsession, and the hierarchy of fame.  There’s a level of anticipation with Green at the helm, an expectation of truths revealed, insider knowledge shared and no-holds-barred. However, while the film is pretty to look at and has some of the most insane moments of body gore I’ve seen in some time it leaves a lot to be desired.

They Will Kill You is a punchy, gory, and brilliant mess. It was delightfully unexpected, and while at times it certainly feels like “John Wick but with a Badass Black Woman,” that’s not a negative! It is a relentless assault of silly world-building and over-the-top body gore.

Ready or Not 2: Here I Come is a punchy, gore-filled and brutal sequel to a beloved horror classic. After surviving a night of torment at the hands of her brand-new wealthy in-laws, Grace is once again confronted by the sinister, evil antics of the elite as they hunt her down. Only this time, she’s not the only victim as her “emergency contract” and previously forgotten sister, Faith, has been chained (literally) to her.

SGJ has a knack for transforming folkloric monsters we’ve grown accustomed to, twisting them into a new, sympathetic, and terrifying creature; something entirely of his own making. He did this in Mongrels, the sometimes funny, most often dark, familial story about werewolves and ancestry (and one of my favorite SGJ novels). He’s done it again in The Buffalo Hunter Hunter, now with vampires.

Tananarive Due seamlessly weaves vivid, realistic characters with powerful historical influences. True blue horror with high body counts, pulling no punches, and yet with immense care and consideration for her readers, Due is a brilliant storyteller. gabe reviews two of her books, their blend of horror and reality, and how it leaves them wanting more, more, more! Kae shares about Due’s life, family, and long history of activism.

Kpop Demon Hunters is a magical, vibrant, and gut punching animated film with catchy, thought provoking songs, beloved pop stars, and a lot of character growth. The musical has become a cultural phenomena, taking the charts and our hearts by storm. Ghouls explore the hunters' battle to not only seal the honmoon but the wounds of their trauma and the world’s around them too.

As quirky and charming as Dandadan is on the surface, full of bright color, relatable young protagonists navigating first love and their growing bodies, wacky alien creatures and exciting fight sequences, Dandadan has a brilliant knack for knocking its viewers off their feet with unjarring and upsetting backstories. Dandadan is not always an easy watch. While there is constant, excessive stripping down of the story’s young protagonists, if you’re able to stomach the initial uneasiness to grapple with the entire picture, you’ll find that creator Tatsu shares our concerns and fears. Ghouls discuss whether this show can be labeled as fan service or social commentary, cover the horrors of puberty, the power of friendship, and the unlikely hero, Momo.

Robert Kirkman's brutal and challenging comic, now adapted into a animated series, is an emotional exploration of legacy and the power of love. Debuting a special episode of *Boos Next Door*, hosts Isaiah Luck and Mike Levitt are joined by regular ghoul, June Bethea to discuss this complex show. Is there something beneath all that blood, gore, and trauma?

Seoul Station, a prequel to the beloved South Korean zombie horror film Train to Busan, tells a harrowing story of a zombie outbreak affecting a particularly vulnerable population: the homeless who've taken refuge in Seoul Station. Ghouls dive into this animated film, which features a very overt message that effectively spells out an unexpected story.

REC is a clever zombie film that follows people trapped in an apartment building. While trying to survive and get to the bottom of this quarantine, our protagonists fight to record the horrors around them. Joined by regular guest, Wi-Moto Nyoka (Dusky Projects), Ghouls discuss the unique villain, found footage horrors, and other faves.