Friday the 13th Part VII: The New Blood and Wes Craven's New Nightmare

Monkey Shines and Primate

This week on Friday Night Frightfest, we’re going “ape” over a terrifyingly specific subgenre: super smart primate horror! We are looking at a classic piece of “scientific-experiment-gone-wrong” horror by comparing George A. Romero’s psychological thriller Monkey Shines (1988) with the highly anticipated, high-tech creature feature Primate (2026). Grab your bananas, but watch your back—these monkeys are smarter (and meaner) than you think! Monkey Shines (1988) Directed by the legendary George A. Romero, this film explores the terrifying bond between a man and his “helper.” After a tragic accident leaves athlete Allan Mann (Jason Beghe) paralyzed, he is given Ella, a highly intelligent capuchin monkey trained to assist him. However, Ella has been injected with experimental human brain tissue, creating a telepathic link between her and Allan. As Ella begins to act out Allan’s suppressed rage and darker impulses, the film spirals into a claustrophobic, psychological battle of wills. It’s a masterclass in building tension within a single location. Primate (2026) Directed by Johannes Roberts (47 Meters Down), this brand-new release takes the “killer monkey” trope and scales it up for a modern, terrifying cinematic experience. In Primate, a group of scientists at a remote research facility are hunted by a breakthrough species of genetically modified primates designed for “cognitive warfare.” Unlike the intimate scale of Monkey Shines, this 2026 thriller leans into high-octane survival horror, utilizing state-of-the-art practical effects and performance capture to create predators that are hauntingly human in their tactics. Join us as we dissect the evolution of simian scares! How has our fear of animal intelligence changed over the decades, and which of these primates is the true “King of the Jungle”? Spoilers start around 5:50.

Friday the 13th Part VII: The New Blood and Wes Craven's New Nightmare

This week on Friday Night Frightfest, we are hitting the “lucky number seven” of two of the greatest slasher sagas in history! We are comparing two of the most daring entries in their respective franchises: the telekinetic showdown Friday the 13th Part VII: The New Blood (1988) and the groundbreaking meta-masterpiece Wes Craven’s New Nightmare (1994). It’s a clash between a supernatural slasher and the movie that dared to break the fourth wall before “meta” was a household word. Friday the 13th Part VII: The New Blood (1988) Directed by John Carl Buechler, The New Blood is often cited by fans as the “Jason vs. Carrie” installment. This is the debut of Kane Hodder as Jason Voorhees, bringing a newfound physical intensity and rage to the role that defined the character for the next decade. The story follows Tina Shepard, a girl with telekinetic powers who accidentally resurrects Jason from the bottom of Crystal Lake while trying to bring back her deceased father. With a massive psychic showdown and some of the franchise’s most brutal practical kills—including the iconic sleeping bag moment—this entry turned Jason into a force of nature that literally required a supernatural match-up to stop. Wes Craven’s New Nightmare (1994) Directed by Wes Craven himself, New Nightmare took the franchise to an entirely new dimension. Abandoning the continuity of the previous films, this entry takes place in the “real world,” where actress Heather Langenkamp (playing herself) is stalked by a darker, more terrifying entity that has taken the form of Freddy Krueger. As Freddy begins to bleed into reality, terrorizing the cast and crew of the Nightmare films, the movie deconstructs the entire slasher genre. It’s a brilliant, psychological horror film that explores the burden of fame, the danger of archetypes, and what happens when the monster you created decides to come for its creator. Join us as we analyze how these seventh installments reinvented their monsters. We’ll discuss the visceral, heavy-metal spectacle of Kane Hodder’s first outing as Jason versus the high-concept, cerebral terror of Wes Craven’s meta-commentary. Spoilers start around 7:21.

Ready or Not - 1 and 2

This week on Friday Night Frightfest, we are celebrating the ultimate “bad in-laws” survival guide! We’re revisiting the film that turned a wedding night into a heavy-metal bloodbath and comparing it to its highly anticipated, high-stakes sequel. We’re pitting the 2019 cult hit Ready or Not against the brand-new, expanded chaos of Ready or Not 2 (2026). Hide your crossbows and lace up your sneakers—it’s time for a family reunion from hell. Ready or Not (2019) Directed by the Radio Silence team (Matt Bettinelli-Olpin and Tyler Gillett), this film introduced us to Grace (Samara Weaving), a bride whose wedding night takes a sinister turn when her eccentric, wealthy new in-laws force her to take part in a terrifying tradition. After drawing the “Hide and Seek” card from a mysterious box, Grace becomes the prey in a ritualistic hunt designed to appease a demonic entity named Mr. Le Bail. Blending razor-sharp satire with visceral gore, the film is a masterclass in survival horror, anchored by Weaving’s iconic, cigarette-smoking, blood-soaked performance in a shredded wedding dress. Ready or Not 2 (2026) Picking up years after the explosive (literally) finale of the first film, Ready or Not 2 sees Samara Weaving return as Grace, who has spent the intervening years trying to outrun the legacy of the Le Domas family. However, the curse of Mr. Le Bail isn’t so easily broken. Directed by Adam Robitel (Escape Room), the sequel scales up the carnage as Grace discovers that the “game” has gone global. A new generation of the elite has gathered for a “Tournament of Champions,” and Grace is the ultimate prize. This time, she isn’t just hiding—she’s hunting, utilizing an arsenal of traps and her hard-earned survival instincts to take down the one percent once and for all. ---------------------------------------- Join us as we discuss the evolution of Grace from a terrified bride to a seasoned warrior. We’ll break down the pitch-black comedy of the original’s mansion-setting versus the massive, “battle royale” energy of the 2026 sequel. Does the follow-up live up to the “explosive” reputation of the first, and is Samara Weaving officially our favorite modern horror icon? Tune in to find out if anyone makes it out alive! Spoilers start around 4:12.

undertone and Broadcast Signal Intrusion

This week on Friday Night Frightfest, we are exploring the terror of “Found Audio” and hijacked airwaves. We’re looking at how a simple recording can become a gateway to obsession and ancient evil. We’re comparing A24’s latest descent into audible terror, undertone (2026), with the gritty, neo-noir mystery of Broadcast Signal Intrusion (2021). Whether it’s a podcast co-host sending you cursed files or a masked figure interrupting the nightly news, these films prove that some signals should never be decoded. undertone (2026) Written and directed by Ian Tuason in a stunning directorial debut, undertone (stylized in all lowercase) is a masterclass in claustrophobic sound design. Nina Kiri stars as Evy, a skeptical horror podcast host who has moved back into her childhood home to care for her dying, comatose mother. When her co-host Justin (Adam DiMarco) receives a series of anonymous audio recordings, Evy begins to hear hidden messages in reverse—unearthing the legend of Abyzou, a demon that targets mothers and the unborn. Filmed in Tuason’s own family home, the movie never leaves the house, trapping the audience in a sonic nightmare where the silence is just as terrifying as the screams. Broadcast Signal Intrusion (2021) Directed by Jacob Gentry, this film takes us back to the late 90s and the world of analog obsession. Harry Shum Jr. stars as James, a video archivist grieving the disappearance of his wife. While digitizing old tapes, he stumbles upon a “broadcast signal intrusion”—a terrifying pirate broadcast featuring a person in a white, uncanny-valley mask. James falls down a rabbit hole of BBS message boards and urban legends, convinced that these intrusions are linked to a string of missing women. It’s a stylish, “cold” thriller that blends the aesthetic of The Ring with the paranoid conspiracy of Zodiac, proving that the search for the truth can be a death sentence. Join us as we discuss the “New Wave” of audio-centric horror. Spoilers start around 6:30.

Scream 7 and The Final Girls

This week on Friday Night Frightfest, we are pushing the boundaries of reality and the silver screen. We’re comparing the highly anticipated, full-circle return of the Ghostface saga, Scream 7 (2026), with the ultimate “meta” love letter to 80s slashers, The Final Girls (2015). It’s an episode dedicated to the women who survive, the rules they break, and the generational impact of slasher trauma. Scream 7 (2026) Directed by the franchise’s original creator, Kevin Williamson, Scream 7 is a massive cinematic event that brings the story back to its roots. After the chaos in New York, we return to a more intimate but no less deadly focus on Sidney Prescott (Neve Campbell), who is now fighting to protect her own family—specifically her daughter, Tatum (Isabel May). The film leans heavily into the 30-year legacy of the franchise, examining the trauma of being the world’s most famous “Final Girl” while introducing a Ghostface that seems to know Sidney better than she knows herself. It’s a sophisticated, brutal, and emotional homecoming that asks: can you ever truly leave the horror behind? The Final Girls (2015) Directed by Todd Strauss-Schulson, this cult favorite is a brilliant, neon-soaked blend of horror-comedy and emotional drama. Max (Taissa Farmiga) is a teenager mourning the death of her mother, Amanda (Malin Åkerman), a former “Scream Queen.” When Max and her friends attend a tribute screening of her mother’s most famous film, Camp Bloodbath, they are mysteriously sucked into the movie itself. To survive, they must navigate 80s slasher tropes, avoid the machete-wielding Billy Murphy, and—most importantly—Max must find a way to save her mother’s character from her scripted death. It’s a rare horror film that will make you cry as much as it makes you jump. Join us as we discuss the “Final Girl” trope and generational trauma. We’ll look at how Scream 7 uses three decades of history to raise the stakes for Sidney, versus how The Final Girls uses a high-concept “movie-within-a-movie” structure to explore grief and maternal bonds. Spoilers start around 8:38.