Southern Scares (2026) | Horror plus a 90s video store is basically catnip for me. Too bad the VCR accidentally chewed up the last ten minutes. #jackmeatsflix

My quick rating - 4.4/10. Southern horror, creepy folklore, and a dusty old video store? Southern Scares practically walked into my watchlist wearing a "Rent 2, Get 1 Free" sticker. As someone who spent plenty of time haunting video stores back in the West Coast Video days, I was already halfway sold before the opening credits finished rolling. Throw in VHS tapes, tube TVs, and pan-and-scan screens, and suddenly I was hit with enough nostalgia to start wondering if I still owed Blockbuster late fees.

The film opens with a grainy home video aesthetic before introducing Ellen (Sydney Gowan), a video store employee who discovers a package containing VHS tapes from her missing sister Roberta's (Emma Gaines) paranormal documentary series, Southern Scares. At first glance, it almost feels like an anthology, with Roberta introducing each segment by repeatedly asking, "Are you ready for a Southern scare?" Thankfully, it doesn't stay in full anthology mode, instead weaving the investigations into the larger mystery surrounding Roberta's disappearance.

Each tape explores a different piece of Southern folklore, from the Butcher of Sin City and the Southern Sasquatch to the Springer Opera House, a Werewolf Girl, the Shadows of Westwood, and the Haunts of Iron Train Bridge. The legends themselves are interesting enough that I kept wanting them to go just a little deeper. Every time one segment started getting intriguing, it was already time to eject the tape and move on to the next one. It's like ordering a sampler platter and discovering every appetizer is only one bite.

The movie absolutely nails the VHS presentation. If you miss tracking lines, fuzzy analog video, and televisions that weighed roughly the same as a family sedan, you're in for a nostalgic treat. The production intentionally embraces that homemade camcorder style. Unfortunately, that's also where it lost me. I'm simply not a fan of the "found garbage" style of filmmaking with endless handheld shaky camera work. I know it's a deliberate artistic choice, but after a while, I was ready to personally stabilize the cameraman.

Gowan and Gaines both do solid work carrying the emotional side of the story, while Jason Townsend brings some enjoyable moments as Ellen's grumpy grandfather and video store owner. Horror fans will also get a kick out of seeing Dee Wallace show up. Seeing a genre legend from The Howling, Cujo, and countless other horror classics pop into a low-budget indie always grabs my attention. I'll leave it to your imagination why she ended up in Columbus, Ohio, for this production...because I like Dee Wallace far too much to speculate out loud.

Then comes Tape 9.

Unfortunately, that's where Southern Scares completely loses its footing. As mystery has built up through the movie, the conclusion comes off as if director Paul Rowe realized that he had run out of time on the reel and said, “Oh well…what if the VHS tapes just started attacking people?” It seems to have been thrown together without explanation, with less mystery than I expected, and was more like I accidentally fast-forwarded into a different movie.

Southern Scares (2026)

That's the frustrating part because Southern Scares had the ingredients for something memorable. The nostalgic setting, the folklore, and the central mystery all work. They simply needed a stronger mythology and an ending that answered at least a few of the questions it spent ninety minutes asking. Instead, the credits rolled, and I was left feeling like I had rented a promising horror movie only to discover someone forgot to rewind. And maybe forgot to film the ending too.

https://jackmeat.com/southern-scares-2026/

Sight Unseen (2026) | Low budget, sure, but at least Sight Unseen never tries to convince you cardboard boxes are million-dollar special effects. #jackmeatsflix

My quick rating - 4.3/10. There's something wonderfully suspicious about a horror movie that opens with ominous sounds and a guy climbing into an attic like he's just volunteered to become the opening kill. You know the horror rulebook by now. Nothing good has ever come from investigating strange noises above your head. Sure enough, the attic door slams shut, the title card rolls, and Sight Unseen is off and running. Well, more like walking, this isn't the most action packed horror flick.

The story follows siblings Emma (Lauren Pisano), Dustin (Daniel Burns), and Beth (Kellie Spill), who reunite after inheriting their estranged father's secluded cabin following his mysterious death. Emma arrives looking ready for a board meeting, Dustin apparently lost a bet and showed up wearing a halter top, and Beth somehow materializes into the movie like she wandered in from another set. Their neighbour Grace (Debra Lord Cooke) casually mentions that she never knew their father had children and explains that poor old Mark supposedly died by falling down the stairs. Horror movie logic immediately kicked in for me because...yeah, I'm not buying that for a second.

One thing Sight Unseen gets right is the sibling dynamic. Instead of the typical horror cliché where everyone hates each other and spends ninety minutes screaming insults before the monster even arrives, these three actually feel like siblings. They argue, annoy each other, and carry some family issues, but it feels natural. Not clearly scripted. There's more family drama than I expected, though, which occasionally slows the pacing.

The cabin itself also deserves a mention. Early dialogue suggests it's basically a two-bedroom place, yet every exterior shot makes it look like someone accidentally inherited a rural mansion. Unless half the house exists in another dimension, the math simply isn't adding up. (See for yourself below)

Sight Unseen (2026)

The performances are a mixed bag. Whether it's the acting itself or the dialogue they're working with, some reactions come across pretty stiff. Characters occasionally respond to terrifying situations with the emotional urgency of someone reading tomorrow's weather forecast. Fortunately, the film never completely falls apart because of it.

Considering the obvious budget limitations, Sight Unseen actually does a respectable job. Instead of opting for effects it cannot possibly afford, Stephen Parkhurst wisely opts to keep the scare within the limits of the film itself. It is a pleasure to see a B-budget movie knowing its limitations rather than pretending to be something else.

No. This is not the sort of breakout flick that catapults its director into the limelight immediately. In terms of impact, this film falls far short of recent independent productions like Obsession. Nevertheless, Stephen Parkhurst is competent enough at the helm of his camera for me to look forward to watching what else he does in the future. Though not perfect, Sight Unseen is quite an engaging supernatural thriller that clearly knows exactly what kind of film it should be. And sometimes that's half the battle in indie horror.

Sight Unseen (2026)

https://jackmeat.com/sight-unseen-2026/

Beaten To Death (2023) | This is not one of those times when the title is NOT putting it mildly so check out one man's determination to survive. #jackmeatsflix

My quick rating - 5.5/10. All I saw was "Australian horror" and a "horrific assault," so I figured it would work for me. It definitely didn't take Beaten To Death very long to get the blood spewing during a violent beating, which seems to be setting up the story. Jack (Thomas Roach) and his girlfriend Rachel (Nicole Tudor) seemed to have been assaulted, which left her dead and him on the other end of that beating. But narrowly surviving and fighting his way out ends up being the least of his problems. This is our setup for torture that is pretty brutal and quite graphic, so you have been warned.

Writer/director Sam Curtain is purposely vague about what the two were doing out in the bush in the first place, but it will give you a glimpse as to what it looks like. Specifically, this was shot in Tasmania in case you are curious. The camera work has a very distinct grindhouse-type look to it. Not the grainy effects but just that sort of feel to the production with the saturated shots and lower-grade equipment. I do like the way they are telling the story in different time segments, so it doesn't just flow in order. It adds a bit of creativity to how and why things evolved the way they did. This is also why Curtain had to keep their reasons for visiting under wraps initially.

I am being vague since I don't want to give away the simple plot that it does have. It would be a shame to take that away from your enjoyment. This is an example of why spoilers would be detrimental since it is effective with the minimal narrative it has going. I feel that although the story itself is more of a thriller, the sheer amount of copious brutality and bloodshed forces this one into horror territory.

The amount of relentless abuse that one person takes is a sight to be seen, and it isn't just for the shock value. Although I assume that it was intentional to pull in additional viewers as well. I also would think it may be a cause for people to shy away from Beaten To Death entirely. Regardless of the carnage, the story itself is a well-told and suspenseful indie that will grab your attention all the way until the end.

Beaten to Death (2023)

https://jackmeat.com/beaten-to-death-2023/

Obsession (2026) | Inde Navarrette doesn't steal this movie. She kidnaps it, duct tapes it in the trunk, and somehow makes your EX a little less clingy. #jackmeatsflix

My quick rating - 7.7/10. With all the buzz surrounding Obsession (2026), I knew this horror movie was eventually making its way onto my watchlist. The massive box office numbers and constant hype had me wondering if this was the real deal or if I was about to get another Iron Lung situation, where I spent two hours questioning whether everyone else had watched a completely different movie.

Obsession opens with Bear (Michael Johnston) finally working up the courage to confess his feelings to Nikki (Inde Navarrette)…except he's actually just rehearsing with his friends. It's painfully awkward. If cringe could burn calories, Bear would have a six-pack before finishing the opening credits. Desperate to change his luck, he enters the crystal shop hoping to find something. Rather than spending money on expensive rocks which have "good vibes," he finds the peculiar One Wish Willow. As horror movies have taught us over the years, if something magical offers you exactly what you want, the hidden fees are usually murder.

Bear has absolutely zero game. Watching him talk to Nikki is like watching Windows try to install updates at 99% for three hours. You know something should be happening, but...nothing. Once his wish comes true, though, he quickly realizes that maybe the friend zone was actually the safer neighborhood.

Director Curry Barker makes a seriously impressive jump from short-form online videos to his first major feature. That's a leap a lot of creators struggle with, but Barker lands it surprisingly well. Alongside him is longtime collaborator Cooper Tomlinson as Ian, while Megan Lawless rounds out the friend group as Sarah. Their chemistry feels genuine, and the four of them actually come across like real friends instead of actors reading dialogue at each other.

Then there's Inde Navarrette.

She doesn't just steal the movie. She backs a truck up to it, loads the entire production into the trailer, and drives away laughing like a maniac. The way she acts moves from adorable, to disturbing, to obsessive, and finally to insane in a snap, yet not one single act is strained. There have always been stories of insane exes, but Nikki takes it to levels where restraining orders start looking like thoughtful birthday gifts. (Duct taping a door shut? Amateur hour. I once had an ex use spray adhesive instead. Apparently, arts and crafts can become psychological warfare.)

Honestly, a huge percentage of the scares come from simply wondering what Nikki is about to do next. Navarrette is that good. I'd be shocked if she isn't getting some serious recognition because this performance deserves it.

Michael Johnston is solid throughout, although Bear himself eventually starts making decisions so unbelievably stupid that you stop yelling "Don't do it!" and start wondering if natural selection has entered the chat. At some point, suspension of disbelief packs its bags, leaves the theater, and asks for a refund. Thankfully, the movie is entertaining enough that it doesn't completely derail everything.

And when Obsession (2026) wants its characters to spill blood, it does not hesitate. The violent scenes are intense. There are some real dark scenes, and Barker demonstrates that he knows how to build up suspense before the whole thing blows apart. Given that this is what he has produced in his first major horror film, he is definitely someone to watch out for. Here's hoping this isn't a one-hit wonder, because horror could use more directors willing to get this weird.

Obsession (2026)

https://jackmeat.com/obsession-2026/

The Flesh People (2026) | Nothing says friendship like splitting rent, removing kidneys on the kitchen floor, and serving neighbors suspicious mystery meat afterward. #jackmeatsflix

My quick rating - 4.8/10. The Flesh People reminds me of a dare that was issued to some sleepy film school kids who were asked to come up with a nasty cannibal comedy. This was their result. A grotesque nightmare flick, filled with drug-induced visions and dark humor. The film makes no effort to hide how messed up it is.

The movie follows two roommates trying to survive the meat grinder that is New York City. Ricky, played by Jorge Carrión Álvarez, starts off as this timid, awkward guy before rapidly transforming into a complete lunatic once the pills and desperation kick in. Sharing the chaos is Geraldine, played by Louise Heller, an aging theater actress who huffs paint like it is a personality trait. The second she appeared onscreen, I knew this movie was going to fully commit to insanity.

And commit it does.

The humor in The Flesh People comes from conversations that no functioning humans would ever have. These two casually discussing black-market kidney removal surgeries on their kitchen floor like they are planning Taco Tuesday is exactly the kind of absurd energy this movie thrives on. Their brilliant entrepreneurial idea? “Discounted surgery and dentistry.” Because apparently New York’s healthcare system was not terrifying enough already.

The operation scenes that follow are some of the funniest moments in the movie simply because of how casually horrifying they are. Every successful surgery just means more drug money, which naturally leads to worse decisions. Soon starvation kicks in, Ricky starts eyeing his roommate like a late-night snack, and before long somebody is literally cooking their own pinky finger. Viola. Cannibalism. And apparently human meat tastes fantastic.

The script throws out lines so ridiculous you cannot help but laugh. “If they’re old enough to drink, they are old enough to be eaten” sounds like something written during a 3 AM caffeine overdose, yet somehow it lands perfectly within this movie’s sleazy tone.

Director Keshav Srinivasan clearly understands practical gore effects are half the fun here. There are some genuinely entertaining bloody moments mixed with weird hallucination sequences that give the whole movie a grimy underground feel. Physics, however, does not exist in this universe. At one point a cleaver to the top of someone’s head basically results in instant decapitation, which makes absolutely no sense, but honestly, this movie crossed the realism line about fifteen human body parts ago.

Where The Flesh People struggles is pacing. What starts as a hilariously deranged concept eventually drags on much longer than it should. The central joke works best in short bursts, and the film occasionally feels like it is repeating itself while trying to stretch its feature-length runtime from material that might have worked even better as a tighter midnight movie.

Still, for horror junkies who appreciate a movie that’s cheap, sleazy, gory, practical, and so dark it may very well be criminal, The Flesh People delivers plenty of nasty fun. It is strange, dirty, bloody, and absolutely bonkers in its own unique, indie way. The movie is currently floating around the festival circuit, and it feels destined to become one of those “you HAVE to see this insane thing” recommendations among horror crowds once streaming links finally appear. You can check this out from June 29th to July 26th at the New York Lift-Off Film Festival.

The Flesh People (2026)

https://jackmeat.com/the-flesh-people-2026/

Tuner (2026) | Turns out hyper-sensitive hearing is either a terrible medical condition or an incredible resume booster for professional thieves. #jackmeatsflix

My quick rating - 6.7/10. Not sure I have watched a heist movie built around a profession that normally puts people to sleep. Up until now. Tuner takes piano tuning and somehow turns listening very, very carefully into one of the coolest criminal skills in recent memory. I figured I was in for a slow start as Niki (Leo Woodall) and Harry (the always exceptional Dustin Hoffman) made their rounds tuning pianos. Turns out, I was only a few scenes away from realizing that perfect pitch is apparently just one career change away from safecracking.

The idea is absurd in a good way. Niki has hyperacusis, making him acutely sensitive to sound, yet rather than focusing on this being solely an inconvenience, Turner makes a weapon out of it. Now all those clicks, tumblers, and metal whispers within a safe become a composition waiting to be solved. Who knew all those years spent playing and listening to pianos would end up leading him into criminal activities? Somewhere, a locksmith is questioning every music lesson they skipped growing up.

Director Daniel Roher manages to maintain a very tight pace. This movie never outstays its welcome and transitions from quiet moments with characters to scenes of robbery very fluidly. Another thing I should mention is the fantastic soundtrack, because it integrates well with what happens in the scenes and not just plays over it. When you combine this with superb editing and sound design, the safecracking scenes feel exciting without using explosions and gunfire. Perhaps the heroes of Tuner are the editors and sound department.

The cast certainly does their part as well. Leo Woodall makes Niki an easy protagonist to root for, balancing awkward charm with growing confidence as his unusual talents pull him further into dangerous territory. Dustin Hoffman brings his experience to Harry, while Jean Reno feels perfectly cast as the intimidating Maestro, Marius Maissner. Havana Rose Liu also shares terrific chemistry with Woodall as Ruthie, giving the film enough heart to keep the criminal antics balanced.

The ending lands with a funny payoff that had me legit smile. And the movie never takes itself so seriously that it forgets to have fun. This allows it to stand out as something other than yet another dark crime thriller.

Baby Driver came to mind, and yes, there are similarities. Both movies have a young protagonist who succeeds in the crime world thanks to his special musical talent. Past that, though, they couldn't feel more different. Baby Driver relies on stylish action and high-speed car chases, while Tuner builds its thrills through meticulous editing, sound, and pacing.

As much as I enjoyed Tuner, I do have one nagging criticism. I cannot help feeling that it is not something that will stick with me for long. It is a fun, clever movie with very strong performances and a brilliant twist at the core of it, but once it was over, it seemed like one of those movies that you will be happy to recommend. As you will most likely tell someone that it is the one with the piano tuner, that will help you to remember the title. Fortunately, I was entertained while I was watching it, and sometimes that's all a good heist movie really needs.

Tuner (2026)

https://jackmeat.com/tuner-2026/

Sanctus House (2026) | The behind-the-scenes photos during the credits looked like they had way more fun making it than I had watching it. #jackmeatsflix

My quick rating - 2.3/10. I went into Sanctus House completely blind. No trailer. No reviews. Just a 64-minute runtime, Richard Grieco's name on the poster, and a plot about a haunted house. Sometimes, that's enough for a buried treasure to be found. Other times, it feels like you're in the haunted house, but every actor called in sick.

It is a promising start to a movie with two people running around the forest until one of them yells off-screen, and the other falls off a cliff. All the while, the camera fixates itself on what appears to be the most aggressively mundane house ever. A news report informs us that the infamous Sanctus House has claimed two more victims, only for a police officer to shrug and basically blame hiking accidents instead. If the haunted house isn't involved, someone owes that poor building an apology.

Enter four college students researching urban legends. Naturally, they end up recording YouTube videos instead, because that's how all serious academic research begins. Richard Grieco plays the caretaker, looking like he's seen far scarier things than this script. He explains his father built the house, starts dropping bits of family tragedy, and before long, the movie starts steering toward something far more religious than supernatural.

The biggest problem is that every character feels like they were assembled from the "Generic Horror Cast Starter Kit." Skeptic, worrier, curiosity seeker, and one whose only character quality is existing until the next scary moment happens. There is not much that happens beyond functional in the dialogue with acting ranging from stiff to melodramatic. I knew something was brewing when Cam (Aden Pettet) suddenly quoted a Bible verse out of nowhere. That's usually not a subtle storytelling cue.

To its credit, Sanctus House squeezes some decent production value out of its budget. The drone shots of the surrounding landscape actually look quite nice and occasionally give the film a bigger scope than it deserves. Unfortunately, the special effects budget appears to have been allocated to "invisible attackers," leaving much of the horror to your imagination. Sometimes less is more. Here, less is...well...less.

The film loses all subtlety in the end. It repeatedly hammers home its Christian message with all the finesse of someone trying to assemble IKEA furniture using a sledgehammer. Regardless of whether you believe the same things that the filmmakers do, it is such an awkward delivery of the message that it just dominates everything else. The ending alone is as much of a punch to the face as a cotton ball hitting carpet. Followed by more religious text and behind-the-scenes stills that looked considerably more entertaining than the preceding hour.

Sanctus House (2026)

I don't mind horror films with faith-based themes when they're woven naturally into the story. Sanctus House doesn't weave. It swings. From the two-dimensional characters, lackluster dialogue, minimal scare factor, and fizzled ending, this house of horrors never justifies the hour spent. The only urban legend here is that someone might find this genuinely frightening.

https://jackmeat.com/sanctus-house-2026/