Established in 2020, Macabre Daily is your home for the dark side of pop culture on the internet providing news, reviews, interviews, and opinions about the world of horror, sci-fi, fantasy, and cult films! Macabre Daily serves over 11,000 visitors per month to our website and over 13,7000 followers on our social media platforms. Our team of contributors covers a wide array of media such as movies, television, and physical media. Visit macabredaily.com for more.

I'll be curious to see how long Johnny's schtick will last. In a Violent Nature 2 looks like good campy (pun intended) time, but it makes you wonder how long before the novelty wears off. Hmm. [written by Bee]

I remember seeing Kane Parsons' Backrooms YouTube video when it premiered and thought it was simple, yet incredible. When it was announced that A24 is bringing Backrooms to the big screen, I had a lot of questions as to how this story can expand into something more given that there are so many other video creators making their own Backrooms videos. Still, after watching many of the others out there, Parsons managed to create something more memorable, resulting in a deeper dive into this universe. A24 will release the film in theaters this May. [written by Brett]

It's about damn time someone made a horror film about NFTs (unless I missed others about the topic?). Jonas Odenheimer's NFT: Cursed Images has a cool premise, where a collection of limited NFTs, 666 in total, are airdropped amongst friends. One by one, each meet their fate, but is there a way to stop this madness? As someone who owns NFTs (yes, I bought into the craze back in the day), let the doom begin! The film will be available on VOD on March 6, 2026! [written by Brett]

Found footage gives filmmakers a license to experiment in ways traditional methods do not. Host, Don’t Look in the Dark, and The Fear Footage trilogy are just a few examples of genre flicks that use their limited resources and location to filter fear through a fresh eye. Brandon Christensen digs deeper, creatively, than he ever has with his new film, Bodycam. Filming in secret, the creative team used “a fake title to hide what we were actually doing,” Christensen says in a press statement, which gave them even more leeway to swing for the fences. That committed ambition results in a surprising little treat. While not everything sticks the landing, Bodycam is still a thrill ride and a half. [Read Bee's Review]

There is a long history in movies of tokenization. For longer than we’d prefer, people of color, LGBTQI+ characters, and cultural minorities have been relegated to stereotypes or minor supporting characters in the service of other people’s stories. Iconic and entertaining as some of these horror characters have been, their minority status is, at best, an amusing quirk of character. At worst, it is ignored entirely, as an empty gesture at equality.

In this age of modern horror, we are finally centering stories from creators of different backgrounds and communities. The stories don’t always have to center around the culture of marginalized groups, but their inclusion always changes how the story is told and perceived, usually for the better. With “NOSEEUMS” (2026), writers Jason-Michael Anthony and Hendreck Joseph, along with director Raven DeShay Carter, go a step further and tell a story that could only be told from the perspective of a Black person coming of age in today’s America. Read the full review on Macabre Daily.

Inherited violence, traumas, and psychology often lead to unbreakable vicious cycles. Particularly among millennials and younger generations, setting boundaries and severing those brutal ties have become a prevalent core in personal transformation. But sometimes, no matter how hard you try, you can never escape the past. Baptist Agostini-Croce’s Heritage, playing this year’s Unnamed Footage Festival, explores what happens when you return to your roots and are met with an ungodly evil. The film, falling somewhere between Kill List and The Sacrament, never pretends to be a transcendent piece of art. Rather, it emerges as an indie filmmaking experiment that marks Agostini-Croce as one to watch. [Read Bee's Review]