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Shelby Oaks is an ambitious and deeply personal horror film that wears its influences openly while still striving to carve out its own unsettling identity. Directed by Chris Stuckmann, the film arrives with a unique weight behind it, not only because of its genre aspirations but because it represents a critic turned filmmaker stepping directly into the medium he has analyzed for years. The result is a movie that feels both reverent toward horror history and intensely concerned with the emotional fallout of obsession, guilt, and belief. A particularly notable comparison is Roger Ebert, whose transition from criticism to filmmaking resulted in Beyond the Valley of the Dolls, written with Russ Meyer. While the film is wildly different in tone and intent from Shelby Oaks, it stands as a reminder that critics have occasionally made bold, unconventional leaps into creation. Ebert’s script was unapologetically excessive, satirical, and deeply aware of the cinematic landscape it was commenting...

Paramount Pictures’ Roofman, arriving on 4K UHD and DVD January 20, 2026, brings to the screen one of the strangest true crime stories in recent memory. Directed by Derek Cianfrance, the film stars Channing Tatum as Jeffrey Manchester, an Army veteran and struggling father whose desperate choices lead him to rob McDonald’s restaurants by cutting through their roofs. His crimes earn him the nickname “Roofman,” but it’s his audacious post-escape hideout—living undetected inside a Toys “R” Us for six months—that cements his legend. When Manchester falls for Leigh (Kirsten Dunst), a divorced mom drawn to his charm, his carefully hidden double life begins to collapse. The home release is packed with bonus features that dig deeper into both the real-life case and the filmmaking behind it. Based on Actual Events and Terrible Decisions takes viewers behind the scenes as the cast and crew unpack the unbelievable story of Manchester, while Chasing the Ghosts: The Director’s Method offers an in-d...

Frightmare from 1981, directed by Norman Thaddeus Vane, is a raw, abrasive slice of American regional horror that thrives on excess anger and outsider energy. Where many early eighties slashers leaned into formula and body count,s this film feels more like a scream of frustration blasted straight onto celluloid. It is messy mean spirited and frequently uncomfortable, but those qualities are exactly what give it its cult power. Frightmare is not interested in polish or restraint. It wants to disturb, provoke, and overwhelm. The story centers on Conrad Radzoff, a former mental patient recently released from an institution after years of confinement for violent crimes. He moves in with his sister and her husband and quickly begins to unravel under the pressures of normal life. His grip on reality is tenuous at best, and his violent urges are barely contained. As Conrad drifts from job to job and situation to situation, his resentment toward society builds, eventually exploding into a seri...

Luther the Geek is the kind of regional horror oddity that seems engineered to be discovered on a battered VHS tape in a dusty video store rather than streamed in high definition. Released in the late nineteen eighties and shot on a shoestring budget, the film sits squarely in the tradition of American backyard horror where enthusiasm outweighs polish and sincerity battles incompetence in every frame. What makes Luther the Geek memorable is not that it is good in a conventional sense but that it is relentlessly committed to its own strange identity. It is a movie that knows exactly what it wants to be even if it does not always know how to get there. The premise is deceptively simple. Luther is an escaped mental patient who roams rural farmland and attacks anyone unlucky enough to cross his path. His defining trait is his appetite for human tongues, which he collects with disturbing enthusiasm. The film wastes little time explaining the psychology behind this fixation, and that is part...

Welcome back to The Following Films Podcast, where we dive into the stories behind the films that move us, challenge us, and stay with us long after the credits roll. Today’s episode brings us a powerful new drama that explores trauma, resilience, and the complicated journey home after war. Sheepdog, written and directed by Steven Grayhm, arrives in theaters January 16, 2026, and it’s a deeply human story about what it really takes to heal. The film centers on Calvin Cole, a decorated U.S. Army combat veteran who is court-ordered into treatment under the care of a VA trauma therapist in training. Just as he begins confronting his past, his estranged father-in-lawm a retired Vietnam veteran recently released from prison, arrives at his doorstep, forcing Calvin to face everything he’s been trying to outrun. Through community, tough love, and compassion, Sheepdog becomes a story about putting yourself back together again, for your family, and for yourself. The film features an extraordina...

Alex Proyas’s Dark City (1998) is one of the most distinctive science fiction films of the 1990s, a noir infused puzzle about a man accused of murder in a city where time never reaches daylight. It blends German Expressionist visuals, detective fiction, and philosophical science fiction to ask a quietly disturbing question: if your memories can be rewritten, what does “you” even mean? Beneath its shadowed rooftops and shifting buildings, Dark City is ultimately about identity, control, and the human urge to define ourselves in a world that will not stay still. The story follows John Murdoch, played by Rufus Sewell, who wakes in a bathtub in a strange hotel room with no memory of who he is. A dead woman lies nearby. A phone rings and a voice warns him that he is in danger. Soon he learns he is being hunted both by the police, led by Inspector Bumstead, and by pale, otherworldly beings called the Strangers. As John runs through the perpetual night of the city, he encounters his supposed ...

Vanilla Sky (2001), directed by Cameron Crowe and adapted from Alejandro Amenábar’s Spanish film Open Your Eyes , is at once a love story, a science-fiction mystery, and a psychological character study. It follows a charming, privileged protagonist whose life collapses after a disfiguring accident—and then folds into a surreal puzzle that blurs dream and reality. Rather than delivering a simple twist ending, the film invites viewers to question how memory, desire, guilt, and technology shape our perception of the world and of ourselves. The story centers on David Aames (Tom Cruise), a wealthy publishing heir whose life is defined by pleasure and possibility. He floats through parties and relationships, protected by money and charisma. His casual affair with Julie Gianni (Cameron Diaz) coexists with a growing attraction to Sofia Serrano (Penélope Cruz), whose warmth and groundedness seem to offer David something deeper than his usual escapism. Julie, however, feels discarded. In a sho...

  Adrian Lyne’s Jacob’s Ladder (1990) is one of the defining psychological horror films of the late twentieth century, not because of jump scares, but because of the way it turns grief, war trauma, and the fear of dying into a vivid and fractured reality. It follows Jacob Singer, a Vietnam veteran haunted by hallucinations and fragmented memories, as he tries to make sense of what is happening to him. The movie blends supernatural imagery with psychological realism, producing a story that is at once a mystery, a horror film, and a philosophical meditation on how people confront death. At the surface level, the film tracks Jacob after his return from Vietnam. He works as a postal clerk in New York City, lives with his girlfriend Jezzie after separating from his wife, and is grieving the death of his young son. Soon, however, his world becomes unstable. He sees grotesque figures in the subway and on city streets. Faces flicker and distort. People around him seem possessed or replace...

Shane Carruth’s Primer (2004) is infamous for being one of the most complex time travel films ever made. Its budget was tiny, its cast largely nonprofessional, and its aesthetic stripped of Hollywood gloss. Yet it has become a cult classic precisely because it treats time travel not as spectacle, but as a messy, improvised engineering accident, one that corrodes friendships, multiplies ethical dilemmas, and fractures identity. Rather than pausing to explain itself in simple terms, the film drops viewers directly into the minds and conversations of engineers who discover more power than they are prepared to handle. On the surface, the plot is straightforward enough. Aaron and Abe are two engineers who spend their days at corporate jobs and their nights in a garage, building devices in hopes of launching a startup. While experimenting with reducing an object’s weight, they accidentally discover that a sealed box allows time to behave strangely inside. An object placed in the box experien...