Movie Reviews

‘Malum’: a Rookie, a Cult, and a Thrilling Last Shift

Published

3 years ago

March 28, 2023

As horror fans, we’ve seen plenty of short film adaptations. They give the director and writer the chance to expand their creative vision, building lore and pressing budget restraints to bring their full intentions to a captive audience. But it’s not often that we see this same treatment done to an existing feature film. Malum presents director Anthony DiBlasi with that very golden opportunity, and a theatrical release to match.

Released straight to video in 2014, Last Shift was a bit of a runaway hit in the indie horror circles. It’s garnered its fair share of praise. With Malum, DiBlasi sought to expand the universe created within Last Shift – almost 10 years later – by reimagining the story and the characters in a bigger and bolder way.

In Malum, rookie police officer Jessica Loren (Jessica Sula, Skins) requests to spend her first shift at the decommissioned police station where her late father had worked. She’s there to guard the facility, but as the night progresses she uncovers the mysterious connection between her father’s death and a vicious cult.

Malum shares most of its plot and some key moments with Last Shift – a line of dialogue here, a sequence of events there – but visually and tonally, you feel like you’ve entered a very different movie. The station of Last Shift is fluorescent and almost clinical, but Malum’s location feels more like a slow, dark descent into madness. It was filmed in a real decommissioned police station in Louisville Kentucky, which DiBlasi used to its full extent. The location provides ample opportunity for scares.

The color through the film becomes darker and grittier as Loren learns more about the cult that – perhaps – never really left the station. Between the color grading and the practical gore and creature effects (by RussellFX), the first comparison that came to mind was Can Evrenol’s Baskin, though Malum presents this terror in a more digestible way (Turkey doesn’t mess around). It’s like a demonic Assault on Precinct 13, fueled by cult chaos.

The music for Malum was composed by Samual LaFlamme (who also scored the music for the Outlast video games). It’s pulsating, gritty, maddening music that drives you face first. The score will be released on vinyl, CD, and digital, so if you want to experience the tension and thundering tones at home, good news!

The cult aspect of Malum is given much more screen and script time. The web is complex and pulled taut, giving more meaning to the Flock of the Low God. Horror loves a good cult, and Malum really adds to its lore to create a creepy clan of followers with purpose. The third act of the film really takes off, plunging Loren and the audience into terrifying chaos.

Creatively, Malum is everything you want it to be. It’s bigger, stronger, and drives the knife deeper. It’s the type of horror that begs to be seen on a big screen with a screaming audience. The scares are fun and the effects are delightfully gruesome; it jeers as it pushes Loren to complete madness.

Conceptually, admittedly, there are some challenges with expanding a fully-formed feature. Some moments that are mirrored from Last Shift are more deeply explored, while others (namely, the “turn around” command when Loren first enters the station) don’t really have the same follow through to provide an explanation.

Similarly, Loren’s purpose at the station seems a tad shallow. In Last Shift, she’s there to wait for a bio-collections team to come pick up materials from the evidence locker. Fair purpose, easy ask. In Malum, it’s not as clear why she would need to stay there, alone, on her first day on the force, while cult members are closing in on the new precinct. There’s nothing strictly keeping her there other than her own pride (which, to be fair, is a strong enough reason for Loren, but maybe not for every audience member yelling at the screen for her to get the hell out of there).

Enjoying a recent viewing of Last Shift may color your vision of Malum. It’s such a strong film on its own that it’s difficult to not draw comparisons. Last Shift is so contained that you’re allowed to leave with questions and fodder for imagination. Malum is a creative creature of a feature that grows to fill that space, but it’s left with some stretch marks.

You can catch Malum in theaters on March 31st. For more on Last Shift, check out our list of 5 Must-See Cosmic Horror Films.

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Movie Reviews

‘ZombieCON Vol. 1’ Gets the Con Right. The Zombies Arrive When They Want To.

Published

4 days ago

April 28, 2026

Luna Gray

ZombieCON Vol. 1 follows Rocket’s Rockets, a cosplay crew who are three-time regional anime convention champions, two of whom also wrote the film alongside their director, and it delivers a genuinely heartfelt love letter to nerd culture.

Just think Knights of Badassdom, a horror film that needs you to understand why these people care about what they care about before it can ask you to care about them. Although, I think the whole “Cosplay is lame”! Thing died out a long time ago.

The Comedy

The practical makeup effects look like the work of actual cosplayers competing, not Hollywood’s approximation of cosplayers competing, and the distinction is the difference between a film that is looking at this world from the outside and one that has been living in it.

The characters carry the specific mixture of expertise and softness that comes from living inside a somewhat shunned culture. However, ZombieCON Vol. 1 leans into that culture in a loving, non judgemental way.

The Scott Pilgrim energy in the fight staging earns its references rather than just pointing at them. The anime visual grammar is sincere, not ironic, which is the only register in which this kind of thing is actually funny. The film borrows inspiration from just about everyone but somehow manages to do it respectfully.

The Cast

Punkie Johnson came to this from Saturday Night Live, and the gap between her and the rest of the ensemble is perceptible in every scene they share. She finds the timing on lines that are still looking for their timing, lands the joke at the exact moment before the scene needs to move on, and the effect is that everything around her becomes more controlled in her presence.

Erin Áine as Claire carries the film’s stranger turns without explaining them. The character is asked to move from one kind of story into another, several times, in ways the film does not prepare you for, and Áine moves with it without telegraphing the transition or breaking register. Manny Luke’s Rocket is calibrated to produce friction from the opening scene, and Luke commits to it without softening it or winking at the audience about it.

What It Is

ZombieCON Vol. 1 has a first act that takes thirty-one minutes to produce its first zombie, a budget that shapes what the horror can do once the horror arrives, and a cast that makes both of those things survivable.

The audience for this kind of film has been burned before by entries that treat cosplay culture as the setup for a punchline. This one does not do that. It lives inside the culture rather than observing it, and the result is a horror comedy that earns the affection it is asking for even when the seams are showing.

ZombieCON Vol. 1 is free on Tubi.

Movie Reviews

‘Don’t Die’ Is a Good Friday Night Horror Film And That Is Enough.

Published

5 days ago

April 27, 2026

Luna Gray

Don’t Die hits UK digital April 27 via Miracle Media. Benjamin Stark wrote and directed it. It played Panic Fest 2024 and spent the better part of two years making the quiet festival rounds, waiting for the right audience to find it. That audience is you.

What Happens

Jenks, played by Theodus Crane, needs medication he cannot afford. He breaks into a small-town pharmacy after hours. This was supposed to be clean. Nobody was supposed to be there. The pharmacist, Julia, played by Virginia Newcomb, was working late. She gets shot. Not knowing what else to do, Jenks takes her exactly where she tells him to take her.

This turns out to be a remote cabin run by a small collective quietly distributing medication to people who cannot access it through legal channels. The Robin Hood framing is warm, and the film offers it genuinely before slowly removing the warmth.

The Turn

The group running the cabin is not irrational. They believe what they are doing matters. They believe the math is simple. People need blood and organs, medication costs money, two strangers showed up and nobody outside knows where they are. Jenks figures out what that math adds up to about two minutes before the film shows it explicitly, and Crane plays the moment of comprehension exactly right. Quiet. Still. The kind of fear that does not move.

Stark earns the horror here because the people doing terrible things are not doing them out of cruelty. They have a system. They have a purpose. No villain monologue. No sadistic speech. They are calm and businesslike about it. That calm is what makes the third act work. Horror is rarely as effective as when the threat makes a kind of sense.

The Cast

Crane carries it. He plays Jenks as a man who keeps choosing decency as the available options narrow, and that consistency is what makes the back half hit as hard as it does. The performance never reaches for sympathy. It does not need to.

Newcomb as Julia is the other weight-bearing wall. She has the harder job. Her character moves from victim to something more complicated without the script telegraphing the shift. She handles it without calling attention to the handling.

Joshua Burge rounds out the central trio as Randy, the friend who shows up when needed and clocks the situation faster than any reasonable person should. If you don’t have a Randy in your life, make sure to get one.

What It Is and Is Not

Don’t Die was marketed as horror. It earns the label by the end, but it arrives there through crime thriller territory, and the patience of the first two acts is deliberate and correct. The tension builds quietly. When the horror finally arrives it lands harder because of the time spent getting there.

The budget limitations are present and real. Small locations, a tight cast, minimal spectacle. Stark works within them rather than against them, and for the most part it does not show. The pacing stumbles in the back half, running about five minutes longer than it should in the wrong places. There are moments where the momentum stalls. Neither is fatal.

It does not have much to say about healthcare beyond using it as a mechanism for the plot. That is fine. Not every film needs a thesis. This one tells a good story, maintains tension across most of its runtime, delivers a few genuine scares, and knows exactly what it is. Most low-budget horror manages one of those things.

Don’t Die is on UK digital now. Good Friday night film.

Movie Reviews

Content Is Now on Digital. Watch It Twice.

Published

5 days ago

April 27, 2026

Luna Gray

Content, Adam Meilech’s screenlife horror satire, arrives on UK digital April 27 via GrimmVision following a strong festival run that included Grimmfest 2025. The whole film plays out across phones and laptop screens. It opens on a sham. It ends somewhere you did not expect to go.

What It Is

The opening scene drops you inside Therapals, a fake online therapy platform where the therapists are just untrained people trying to earn a paycheck. The first patient our protagonist connects with has the energy of an angry Ryan Reynolds and, with complete calm, tells her he is thinking about killing his neighbor.

From there Meilech begins stacking story on top of story in a way that will either lose you or thrill you, and which one depends entirely on your tolerance for the extremely meta. At the center is AJ, played by Meilech himself: actor, writer, director, stalker, kidnapper, psychopath.

While there is a clear line to be drawn from Content and Milk & Serial, Meilech provides a wonderful villain. His polite swagger and genuine enthusiasm make one of the most powerfuly wicked online personas I have seen in a while.

The Cast and the Method

The cast is Megan Boehmcke, Alex Mills, and Vaune Suitt alongside Meilech, operating under conditions that range from unpleasant to genuinely alarming. AJ records himself playing therapist to himself and plays the recordings back. He pays a stranger to pose as a mentor figure for his male actor, who believes he is in on a bit the whole time. He performs takes over and over in the Kubrick tradition until he gets what he wants. Eventually he just moves his lead into his apartment.

To get a real reaction during a shoot, he shows up and actually hits the actor. The poor actor, still in the scene, asks if they can reshoot. This dude is so desperate for a part, he is willing to show he can make his pain more entertaining.

Where It Sits

The several story arcs running at once can be genuinely hard to follow and Content is not interested in making things easier. That is a feature, not a flaw. The bad guy is normal looking. He lives in a shared apartment. He does not signal his intentions in any way that would help you see it coming. There is real secondhand cringe to watching private moments captured without the subjects knowing, which is the film’s most effective trick, and Meilech commits to it completely.

It lands somewhere between Milk and Serial and Creep in the first half, and ends up closer to Funny Games meets Better Watch Out by the final act. That is an unusual place to land. It is also exactly the right one. Content is available now on UK digital via GrimmVision.