Horror Portrait Mag

There is something different about a collected release. It asks readers to stop looking at the individual titles one by one and start seeing the shape of a writer’s work as a whole.

That is where “Books for the Broken” lands for R. Jacob Honeybrook. Now out, the book brings together six stories written during his first five years as a published author and places them under a title that fits both the material and the road behind it.

Honeybrook first began writing in 2018, then self-published “April Awakening” in 2020. Over time, more stories followed, and now they have been assembled here in a single volume. It is also his first release available in physical format, which gives the book a stronger sense of arrival.

The contents include “April Awakening,” “Devils in the Night,” “Roadkill Blues,” “New Year’s Killin’ Eve,” “When We Once Loved,” and “Thaddeus Greene’s Spooktacular House of Horrors.” Together, they move between psychological horror and bleak crime noir while circling many of the same emotional wounds.

The worlds inside the book are filled with haunted men, mysterious women, fog-choked woods, neon cities, desert highways, and collapsing memories. Some of the characters are facing supernatural entities. Others are wrestling with something more internal. Either way, the question tying the collection together is clear enough to carry some weight: what do broken people become when the world finally notices their cracks?

Honeybrook has called the book the culmination of years of hard work. He has also spoken about the rejection that marked his early career, which adds another dimension to the release.

Alongside his fiction work, he co-hosts the award-winning “Midnight Terrors Podcast” with Kevin Roche and writes the weekly “Honeycut” column for TBM Horror, making him a familiar voice in horror beyond the page.

It was supposed to be an easy payday. Now, it’s a roadtrip through a supernatural slaughter.

George and Lou are professionals. They break bones, they recover skimmed cash, and they keep their white dress shirts as clean as the Florida humidity allows. So, when a job comes in to transport a caged man named Ivan from Miami to Tampa for a "non-traceable" cash payment, they don’t ask questions—even when the employer claims the cargo is a werewolf. They don’t believe in monsters. In a world of GPS technology and drive-thru chicken sandwiches, there is no room for the supernatural. But after a pack of rabid dogs nearly shreds them at a gas station and their "cargo" sprouts six-inch talons to rip through a steel cage, the truth becomes impossible to ignore. Ivan isn’t just a lycanthrope; he’s a sadistic serial killer who thinks murdering an entire town is a "fun" way to spend a Wednesday. He’s out of the cage, he’s on a killing spree, and he’s left George and Lou to take the fall for the mounting body count. With the police closing in and a monster and a hostage on the loose, George and Lou have to ditch the hitman’s handbook and get creative. Armed with makeshift silver jewelry, a few grenades, and enough snark to fill a bowling alley, these two thugs are going on a hunt to prove that even a wolfman has his limits. Grab the first installment of this high-octane, dark-humor, horror thriller series from bestselling author Jeff Strand. Revised for this definitive edition, it's The Sopranos meets The Wolfman, and things are about to get bloody.

Black Hollow Pictures is positioning itself around a clear idea: stories shaped by the places where they happened.

Founded by filmmaker Brandon Alvis, the company is developing projects that explore historically significant locations and the human experiences connected to them. The approach combines documentary investigation with narrative storytelling.

The company operates in partnership with A&G Creative, co-founded by Alvis and Mustafa Gatollari, known for Haunted Discoveries and Haunted Discoveries: Family Spirits.

The initial slate reflects that focus.

The Fear Room places filmmaker Nathan Withers and investigator Beth Huffman inside the Olde Park Hotel as they engage directly with the unexplained.

Until They Are Found follows Billy Wilkerson’s work uncovering forgotten graves, shaped by a discovery at a Civil War hospital site.

Ghosts of the Gold Rush examines stories tied to California’s Gold Rush era through research and testimony.

“A Cursed Man” goes straight to the point. Documentary filmmaker Liam Le Guillou enters the world of witchcraft and the occult to answer one question: is magic real?

Then he asks dark magic practitioners to put a curse on him. On camera. That’s the experiment.

Believer or skeptic, the tension hits because the invitation is deliberate. The film puts you in that uncomfortable place where you’re watching someone test a boundary most people avoid.

Now streaming free on YouTube Movies and Tubi TV.

YouTube Movies: https://www.youtube.com/watch?v=Zqm67kk_Nk4 Tubi TV: https://tubitv.com/movies/100051208/a-cursed-man

Sometimes the biggest selling point of an action-thriller is that it doesn’t waste your time. “Last Hit” clocks in at around 80 minutes, and it’s already positioned as a grounded, gritty story set in the Los Angeles criminal underworld.

The center of the plot is simple and brutal. Vincent (Mike Ferguson) and Maya (Twana Barnett) want out. They want a peaceful future, a real retirement, a clean break from violence. Their boss Dante (Levee Duplay) stops that plan cold by taking Maya hostage and forcing a final heist. The rest of the crew is Lana (LeeAnne Bauer), Tommy (Trent James), Jack (Cody Cowell), and Sean (Tyler James). The job spirals into a lethal survival game where trust becomes a luxury.

The official trailer drew nearly 400,000 YouTube views in the week after the streaming release, which is a strong signal that people were actively hunting for something in this lane.

If Prime is your default, here’s where it’s available.

The film is directed by David M. Parks, written by Ovsanna Yepremyan and Anthony Leone, produced by Yepremyan, Ferguson, Barnett, and Duplay, and distributed by Glass House Distribution and Studio Dome.

Trailer:

Can’t run from the past - explore the dark memories of a twisted old woman.

Face the music - let the amazing sound design immerse you in the nightmare.

Use your head - crack the complex puzzles and investigate the past of Henrietta Kedward

Handle the candle - explore beautifully frightening, dark levels, basked only in candlelight.

Dream logic - procedurally generated elements will keep you on your toes even on multiple playthroughs.

PLAY HERE

Another Dracula story has officially entered the mix. Dracula Eternal is now streaming following its January 15 release, adding a modern re-imagining of the classic horror myth to digital platforms including Apple TV.

Rather than retelling the familiar gothic story, the film places its focus on personal disruption. A woman’s life is thrown into chaos when her best friend falls ill and her fiancé vanishes, drawing her into a terrifying battle with an ancient evil tied to Dracula mythology.

Mike Ferguson headlines the cast, alongside Cody Renee Cameron, LeeAnne Bauer, and Denise Milfort. Ferguson’s background in genre projects makes his involvement a notable point for horror fans who keep an eye on contemporary releases and recurring names within the space.

Cinematography is handled by David Mitch Parks, whose previous collaborations with cast members carry over into this project, continuing creative relationships established on earlier films.

Now available to stream, Dracula Eternal stands alongside other modern horror films that revisit classic literary monsters, offering another contemporary angle on a story that never seems to disappear.

Sitting through Halloween, Halloween Kills, and Halloween Ends back to back is a strange experience, because it feels like watching one town slowly lose its mind over the same nightmare. Michael Myers is not just a guy in a mask here. He is a wound that never heals.

The first movie does a great job pulling you back into that old Haddonfield dread. It feels tight and personal, like the town is holding its breath waiting for something terrible to happen again. Laurie Strode is no longer a terrified teenager. She is someone who has been living with fear for decades, and you can feel how heavy that is on her.

Then Halloween Kills goes completely feral. The violence ramps up, the body count explodes, and the whole movie feels angry. It is messy and loud and sometimes frustrating, but it also captures how panic spreads. You watch people stop thinking clearly because fear has taken over.

Halloween Ends throws everyone off by going in a different direction. Instead of just giving you more of the same, it tries to ask what happens after the horror has soaked into a community for so long. It is quieter, sadder, and more about damage than about jump scares. That shift is not for everyone, but it makes the trilogy feel like it actually wanted to say something instead of just looping.

Taken together, these three films feel less like a traditional slasher run and more like a story about trauma that never quite goes away. Michael Myers might be the face of it, but the real horror is how deeply he has marked everyone around him.

A film set is usually where control is supposed to exist. “Blood” removes that safety.

The psychological horror project, directed by Francesco Monti, centers on two friends attempting to make a low budget slasher. The closer they get to finishing the film, the further apart they grow. Creative ambition turns competitive. Emotional boundaries disappear. The work environment becomes volatile.

For readers interested in the filmmaker’s own framing of the story, Gore Culture published a detailed article outlining the project’s themes and intent: https://www.goreculture.com/movies/blood-when-filming-a-horror-slasher-spirals-into-madness/

Instead of framing the story as a commentary on genre, the film follows the practical consequences of collaboration failing. The horror emerges through escalation, mistrust, and loss of restraint.

The project is produced through Gore Culture, with Monti handling writing, directing, producing, and executive producing responsibilities. Executive Producers include Spyder Dobrofsky, Jason Renaldy, and Torin Penwell.

Casting includes Van McInish, Marty Glynn, Chris Driver, Molly Dakota, Holly Dominique, Stephanie Knirk, Nicolas Teixeira, Kevin Hagler, Jason Barnes, and David K. Moore.

The narrative remains tightly contained, using emotional pressure rather than expansion to drive the story forward.

There is something about “The Cape Town Massacre” that feels grimy in a way a lot of modern horror does not anymore. It does not feel polished or safe. It feels like a story that was not worried about being likable, which honestly makes it more interesting.

The movie plays like a mix of slasher and survival horror, set against a backdrop that feels real instead of stylized. The violence is not there to be pretty. It is there to make you uncomfortable. People do not go out in heroic ways. They panic, they make bad decisions, and that messiness gives the whole thing a rough edge.

What stood out to me is how hopeless the situation feels once things start going wrong. There is no clear way out, no big plan that saves everyone. You just watch the characters try to survive moment by moment, which makes everything more tense than a movie that is constantly trying to outsmart you.

It is not a movie that wants to entertain you gently. It wants to sit in that ugly space where fear and desperation live. That kind of approach is not for everyone, but if you like horror that feels raw and a little cruel, this one has a way of sticking with you.

The Leprechaun Movies Are Ridiculous and That Is Exactly Why They Rule

There is something so unapologetically weird about the Leprechaun movies that you kind of have to respect them. They do not pretend to be classy. They do not pretend to be subtle. They just take a tiny, angry killer in a green suit and throw him into every ridiculous situation they can think of.

Warwick Davis is the real reason the franchise works at all. He gives that little monster so much personality that even when the movies are clearly cheap or silly, Leprechaun himself is always fun to watch. He is cruel, sarcastic, and way too amused by his own violence, which makes him feel like a twisted cartoon that somehow wandered into a slasher movie.

The first film plays things pretty straight, but once the series realizes how absurd the concept is, it just goes for it. You get Leprechaun in the hood, Leprechaun in space, Leprechaun dealing with rappers and gangsters, and none of it makes any sense, but that is part of the charm. It feels like the franchise is daring you not to enjoy it.

Some entries are genuinely rough, but even the bad ones have moments that make you laugh or stare in disbelief. The kills, the jokes, the over the top performances, it all adds up to something that feels more like a cult series than a proper horror saga.

Mirrors, empty hallways, static on a television, that creepy little voice saying they are here. Sitting down with the Poltergeist 3-Film Collection feels like stepping into a very specific kind of haunted house, one that is more about atmosphere than splatter.

The first Poltergeist is still something special. It mixes family life with something genuinely supernatural in a way that feels warm and terrifying at the same time. You get this normal suburban home, kids playing, parents arguing, and then suddenly the walls start shaking and the TV is talking back. It makes the haunting feel closer to home than a lot of ghost movies ever do.

By the time you move into the sequels, things get darker and stranger. The second one leans harder into the mythology and that terrifying preacher figure, while the third throws everything into a shiny, surreal high rise full of mirrors and reflections. It is not perfect, but it is weird in a way that sticks with you.

What I love about having all three together is seeing how the tone shifts. The heart of the first movie never really disappears, but the series keeps pushing into more unsettling, almost dreamlike territory. It stops being about just a haunted house and starts feeling like a family being chased by something that refuses to let go.

There is a sadness running through these movies too, especially when you remember the real life tragedies tied to the cast. It adds this extra layer that makes watching them feel heavier, but also more haunting.

There’s a certain kind of vampire movie horror fans keep hoping will come back. The kind that takes its time. The kind that lets dread sit in the room instead of rushing to prove how scary it is. Dracula Eternal understands that instinct.

This isn’t a loud or flashy reimagining of Dracula. It’s a slow, uneasy unraveling built around illness, disappearance, and the creeping sense that something ancient is watching and waiting. The horror comes from what’s missing, not what’s thrown in your face. That alone puts it closer to the tradition of atmospheric vampire films than most modern entries.

A big reason the film works is Mike Ferguson. If you follow indie horror at all, his face is familiar. From V/H/S/Beyond to Porterville, Ferguson has built a reputation for showing up in projects that value mood and tension over spectacle. In Dracula Eternal, he brings that same grounded presence, the kind that makes the supernatural feel more believable instead of theatrical.

The supporting cast plays it straight, which matters here. Cody Renee Cameron, LeeAnne Bauer, and Denise Milfort all keep their performances rooted in emotional realism, allowing the horror to build naturally. Nobody’s trying to out-act the story, and that restraint pays off.

Visually, cinematographer David Mitch Parks leans into shadow and stillness. Fans of slow-burn horror like The Blackcoat’s Daughter or the quieter stretches of Let Me In will recognize the confidence in this approach. The film isn’t in a hurry, and it doesn’t want you to be either.

Dracula Eternal feels made for horror fans who miss vampire stories that trust atmosphere. It doesn’t reinvent the myth. It just remembers why it worked in the first place.

Some stories don’t build slowly. They snap. These characters go from ordinary routines to running for their lives without any buildup. What makes that shift more painful is the reason behind it: their bloodline. Not a curse. Not a mistake. Just the truth no one told them.

And because they don’t know who their parents were, the reveal hits like betrayal. Monsters. Devils. Creatures that could never blend into the world their children grew up in.

One thing that stands out is how little control they had over any of it. The world they’re being pushed into doesn’t feel like an adventure. It feels like an inheritance they never signed for. The blurb emphasizes this slow, awful realization, especially in the part referencing that haunting question tucked right before the link urging readers to look into the book themselves.

At its core, Thaddeus Greene’s Spooktacular House of Horrors is not just a story about fear. It is a story about what happens when fear becomes a mirror. In his sixth work of horror, R. Jacob Honeybrook trades blood for silence, spectacle for self-examination, and leaves the reader standing alone inside the carnival of their own mind.

The plot begins with a single moment — Mr. Belgrave’s swerve to avoid an accident. What follows feels more like penance than a journey. A cat guides him to a cathedral, and a man dressed as a vampire offers him a ticket to something darker than any performance. Inside, the attractions become confessions, and every step forward feels like a reckoning.

Honeybrook said this was his most surreal story, one inspired by a dream. “I wanted everything to feel a bit off,” he explained. That creative decision extends even to the prose itself. Written in a modernized 19th-century voice, the book reads like a prayer caught between centuries — elegant, deliberate, and haunted.

Readers can find the novella available now in eBook format on Amazon, where it joins Honeybrook’s growing body of introspective horror work including Roadkill Blues and New Year’s Killin’ Eve.

Beyond his fiction, Honeybrook brings the same curiosity about fear and meaning to other projects. He co-hosts the Midnight Terrors Podcast with Kevin Roche and writes Honeycut for TBM Horror, connecting art, culture, and the psychology of fear.

“Dead Road” Unites a Fearless Creative Team for a New Kind of Survival Horror

When actor and producer Mike Ferguson first teamed up with writer Anthony Leone, they discovered a shared taste for high-stakes tension and character-driven terror. Their last project together, “Last Hit,” sparked something that wouldn’t stay buried — and now that energy has evolved into “Dead Road.” The upcoming feature, directed by Christopher Olen Ray and executive produced by John Hitt, takes place in the most desolate of settings: a lonely gas station in the middle of the desert.

The plot sounds deceptively simple — a couple makes a pit stop and encounters a deadly, unseen force that traps them with strangers inside the station — but the simplicity is part of the draw. Leone’s writing often thrives in confined, pressure-cooker environments, while Ferguson has built a reputation for roles that carry physicality and emotional intensity. With Ray behind the camera, whose filmography includes genre favorites listed on his IMDb page, “Dead Road” is shaping into something that feels both classic and brutal.

What sets the film apart isn’t just the horror—it’s the collaboration. Ferguson, whose growing portfolio can be found on IMDb, has spent years balancing roles in action and horror productions that require more than just bravado. Leone, known for Tubi’s “Dark Secret” and indie favorites like “Torment” and “The Temp,” brings a familiarity with fear’s psychology that anchors the story in reality. Together, they’re crafting something that pays homage to films like “The Thing,” “The Fog,” and “Dawn of the Dead,” while speaking to a modern audience that craves atmosphere over spectacle.