Released by Blood Sick Productions, this isn’t just a movie. It’s an analog artifact that feels like it was recovered from a psychic VCR in a basement that hasn’t been opened since 1992. The film follows “______” (played by director Kasper Meltedhair), a character sporting horns, bat wings and polka-dot skin. She possesses a secret capability to turn flesh, specifically babies, into glass.

The narrative (which operates on slippery, non-linear logic kicks off when she trips in the BBQ Salon. This clumsy moment causes “immortal goop” to splatter across the faces of _____ , Movie Star (Erin Caywood) and Character Name (Cody Brant).

From there, the film descends into a party-murder plot involving a green amulet, body-melting chewing gum, and a wood chipper that eventually reveals a dusty trick.

One of the most surreal elements involves a group of men in suits led by Gartan Galtar (Brewce Longo). They don’t just walk; they dance “preciously” through liminal spaces, on a mission to steal glass babies so they can shatter them over themselves and achieve immortality.

At 90 minutes, Busted Babies is a marathon of non-narrative, confrontationally strange imagery. It’s a movie that doesn’t just want you to watch it; it wants to stain your brain with its rusting, immortal goop.

Extras include a short film by Kasper Meltedhair, Behind The Scenes, Outtakes, The Donald Farmer Viewing Experience and trailers. You can buy it from MVD.

Blood Bitch Baby relocates Elizabeth Bathory from 17th-century Hungary to modern America. The story follows a specific, dark trajectory. Played by Jessa Jupiter Flux, Bathory is depicted as a servant of Satan seeking to bring his heir into the world. She ensnares Jenny (Angel Bradford), granting her demonic powers that Jenny eventually uses to get revenge on her abusive boyfriend, Kevin (Joe Casterline). The goal? Impregnate Jenny with the Blood Bitch Baby, an unholy, monstrous creature.

Along the way, there’s also a paranormal investigator, some cops who barely get anything done and the always alluring Mel Heflin as a potential love interest for Jenny. Eyeballs will be consumed, women will be assaulted by dark forces, and there will be plenty of gore and perhaps some flesh, as well.

Like many of Donald Farmer’s movies, this utilizes real-world, gritty American locations that contrast sharply with the ancient evil of the Bathory name. Plus, at 68 minutes, it moves quickly and won’t overstay its welcome.

The Bloodsick Productions Blu-ray of this movie includes extras such as a behind-the-scenes photo album, a director’s introduction by Donald Farmer with Kasper Meltedhair, and trailers. You can get it from MVD.

Sean Whalen is the guy whose face you know from everything from The People Under the Stairs to that “Aaron Burr” Got Milk? commercial. He directed, wrote and stars as Vegas Winters, a former child star whose glory days are so far in the rearview mirror they’re practically in black and white. Now, he’s scrubbing stains and living a life of quiet desperation in a failing laundromat. He’s lonely, he’s depressed, and he’s surrounded by the one thing every laundromat has in abundance: abandoned, crusty socks.

But we don’t remain in sad indie drama territory for long. Through a cocktail of Vegas’s tears, misery and probably some questionable laundry chemicals, a pile of his filth-caked socks merges into a sentient, googly-eyed creature named Crust. At first, Crust is a quirky little buddy, the kind of offbeat companion a lonely guy needs. But it turns out this sock monster is fiercely protective. And by protective, we mean he’s willing to violently dispatch anyone who makes Vegas’s life difficult.

Whalen is a character actor treasure, and seeing him take the lead in his own twisted vision is a treat. He brings a genuine, heartbreaking pathos to Vegas that makes you root for him, even when he’s talking to a pile of hosiery. And look for favorites like Felissa Rose, Daniel Roebuck and Rebekah Kennedy. 

Crust is a bizarre, blood-stained love letter to the outcasts and the forgotten. It’s dark, it’s damp, and it’s definitely not permanent press. If you’ve ever felt like a single sock lost in the dryer of life, this movie is going to speak to you. Just maybe wash and fold your laundry before you sit down to watch it.

Extras include a commentary by Sean Whalen, two short films and a Q&A. You can get it from MVD.

In a dystopian California that feels uncomfortably close to our own headlines, the State has finally seized the means of reproduction. You don’t just get to be a dad; you have to earn it. We follow four men, each desperate for the government’s golden seal of virility, as they trek into the remote mountains for a mandatory sanctioned retreat. They expect a drill sergeant or a clipboard-wielding bureaucrat. Instead, they find… nothing. Just an empty site and a collection of the most soul-shattering, creepy infantile automatons you’ve ever seen.

These aren’t your niece’s dolls. These are mechanical government tests designed to push these men to the brink. Left without instructions, the men descend into a tribal, frantic madness to prove they can provide and protect.“It’s a pressure cooker where the steam is made of repressed masculinity, and the whistle is the sound of a robotic baby crying in the dark.

Kelley and Sherman (who also star) have crafted something that is darkly hilarious one second and genuinely horrific the next. It’s a satire of the “Alpha Male” industrial complex that manages to be both a sci-fi nightmare and a timeless fable.

If you like your sci-fi with a side of existential dread and your horror served in a government-mandated diaper, this is the one for you. It’s a bold, bizarre debut that marks Kelley and Sherman as filmmakers to watch—preferably with the lights on and your own kids safely in bed.

Extras include commentary with Neal Kelley and Jono Sherman, two episodes of the C.U.P.S. web series, extended and alternative scenes and an improv reel. You can get this from MVD.

You know Jeff Daniel Phillips. Whether he’s playing Uncle Gilbert or a frantic warden in Rob Zombie’s filmography, he has a face made for the flickering light of a drive-in screen. In Cursed in Baja, Phillips steps behind the camera as writer and director, casting himself as Pirelli, an ex-lawman who looks like he hasn’t slept since the mid-90s and has spent every waking hour since carrying the collective sins of Los Angeles on his back.

Pirelli is tasked with a simple job: head south of the border, find the wayward heir to a massive L.A. fortune and bring him home. It’s the kind of setup that usually leads to a standard action flick, but Phillips isn’t interested in being predictable. Once Pirelli crosses into Baja, the movie takes a hard left turn into a hallucinatory, soul-searching nightmare.

This isn’t just a hunt for a rich kid; it’s an existential dive into the dirt. After all, the last person who took the job just up and faded away. And just when you think you’ve settled into a gritty neo-noir, the film throws a curveball: a Russian cult that worships the Chupacabra. Yes, you read that right. Pirelli has to navigate double-crosses, his own crumbling psyche and goat-sucking-cryptid zealots.

Even better, Barbara Crampton has a cameo.

Extras include a commentary track by Jeff Daniel Phillips and a making of. You can get it from MVD.

Australia knows the apocalypse. Here’s another entry in their oeuvre of end of the world madness, one that feels like a collision between a Romero social commentary and a Nicholas Sparks novel that took a very wrong turn into a bio-weapon testing site.

An experimental weapon test off the coast of Tasmania goes south (literally), wiping out Hobart and turning the surviving population into The Empty. They aren’t quite zombies. They’re brain-dead husks until their motor functions kick back in and they start wandering around with a sudden case of the munchies.

Ava Newman (Daisy Ridley) is an American physiotherapist who joins the cleanup crew with a side quest of finding her missing husband, Mitch (Matt Whelan). She teams up with Clay (Brenton Thwaites), a volunteer who looks like he’s got more baggage than a Qantas flight, and they go AWOL on a motorcycle to trek across the Tasmanian wilderness. They soon meet Riley (Mark Coles Smith), a lone soldier who locks Ava in a bathroom, makes her wear his dead wife’s clothes and insists on a slow dance. 

As if that’s not weird all on its own, he’s also preserving his pregnant, undead wife in a shrine, and he’s already felt the baby kick. That’s when everyone learns that the dead — like a father digging a grave for his family — are just finishing out their earthly missions.

Ava finally finds Mitc — SPOILERS –, and we learn their marriage was a wreck of infertility and infidelity. Even worse? Mitch spent his final hours cheating on her. And then Riley’s undead wife — SPOILERS 2: THIS TIME IT’S PERSONAL — miraculously and biologically impossible gives n birth to a healthy baby.

This is as much a grief meditation as it is a horror movie. Director and writer Zak Hilditch said that it “…started as an exploration of grief, following the death of my mother, dealing with the trauma of that and finding a way to move through it. I never in a million years thought that, by the end of writing the screenplay, I would have infused it with zombies. But this notion of unfinished business wouldn’t leave me alone.“

We Bury the Dead has some good new ideas amongst the expected zombie moments, even if they’re not zombies. They’re not, totally, right? 

In this doicumentary on Gunnar Hansen, you get to hear from some real luminaries: Bruce Campbell, Danielle Harris, Barbara Crampton, Gunnar Hansen, Edwin Neal, R.A. Mihailoff, Kane Hodder, Dave Sheridan, Felissa Rose, Michelle Bauer, Tiffany Shepis, Brian O’Halloran, Debbie Rochon, Fred Olen Ray, Brett Wagner, Betsy Baker, Allen Danziger, Kim Henkel, Daniel Pearl, Joe R. Lansdale, Jeff Burr, Tony Timpone, Michael Sonye, Del Howison and Bret McCormick, all discussing how they not only worked with the actor, but got to know him.

This isn’t just a list of credits. Instead, it feels like a collection of people who genuinely loved the man. They move past the surface-level trivia to discuss what it was like to share a meal or a long conversation with Hansen, proving he was the kind of person you’d want to have dinner with rather than an unapproachable celebrity.

You also get to see clips and hear stories about the films Hansen was in beyond his role as Leatherface, including Mosquito, Repligator, Hatred of a Minute, Witchunter, Rachel’s Attic, The Business, The Deepening, Swarm of the Snakehead, Brutal Massacre: A Comedy, and Gimme Skelter.

While many horror retrospectives feel like dry, insular vanity projects, this documentary breaks the mold by focusing on the man, not just the mask. It paints a portrait of Gunnar Hansen not as a scream king icon, but as a poet, author, and deeply kind soul who just happened to wield one of cinema’s most terrifying weapons.

In so many of these docs, it feels so insular and even pretentious. This film isn’t. It presents a man that you would like to meet and have dinner with, not an unapproachable actor who would look down on you. That means it’s a winner.

Extras include an audio commentary with director and writer Michael Kallio and editor John Wagner; extended interviews with Jeff Burr and Michael Feisener; a chat with Danielle Harris; a trailer and a featurette on more stories of the actor that didn’t make it into the final edit. You can get it from MVD on Blu-ray or DVD.

There are three things you need to know: A coven of witches is aiding and abetting wives as they murder their husbands. A slacker has transformed a pizzeria into a video rental shop, years after it would have been a good business decision. A lonely soul ends up in a doomed romance with a serial killer. You have 97 minutes to figure all that out, but along the way, there will be metal shows, tons of dudes rocking Samhain shirts, Iron City beer, women who will kill you in your sleep and no shortage of noise, both musically and all over the picture.

Sure, this looks like 90s SOV, but unlike so many people who steal that style, this feels earned and lived in. 

In this blackened world, we meet Vi (Morrigan Milam), who is in a doomed relationship but has also fallen hard for Clover (Zoe Angeli), who works in an occult store and may be part of the coven. Vi is desperate to save her connection to her lover, but Clover gives her a potion that addresses that problem in a grimy, vomit-inducing way. Soon, she’s swept in, taken Vi off her feet and brought her into her world. Vi and Clover feel like people you’d actually see at a mid-week metal show, not caricatures.

I really think that this was made for me. Did I get so high one night that those rituals I do in my basement really worked out and I got a film with an Acid Witch cameo and Tina Krause walking into the frame? Why is her hair so perfect forever? How can a movie straddle being exploitation yet have lesbians in it that feel like anything but a fake exploitation male gaze BS disaster? Throw in some dick mutilation, gloomy girls in Misfits leather jackets haunting cemeteries, and people who don’t just know what W.A.V.E. Productions is but bought the t-shirt, and you have something beyond.

I would 200% make mixtapes for everyone in the cast and crew, but I think we have all the same albums.

Movies like this give me hope. This wasn’t made. It was summoned.

The Blu-ray release of Coven of the Black Cube includes behind-the-scenes clips, outtakes, and a commentary track with writers Brewce Longo, Zoe Angeli, Josh Schafer, and DP Michael DiFrancesc. You can get it from MVD.

TMZ is always there, ready for celebrities to screw up and then have the video for their site and TV show. In this special, they’re taking that content all over again to re-embarass people and make even more money.

Starting with Michael Richards at The Laugh Factory, this goes through the what and why of some of Hollywood’s wildest moments that were captured on video. Remember Jay-Z, Beyonce and her sister Solange fighting in an elevator? Or a German Shepherd in distress while filming a scene for A Dog’s Purpose? 

Then we have Justin Bieber pissing in a bucket, getting upset about not getting a model helicopter and all the things he did when he was being a teenager. Reese Witherspoon is getting busted for a DUI. Britney Spears getting bumped by a basketball player.

This, like all the Tubi TMZ specials, is just people sitting on a couch and talking down on the very people who they get paid to be the parasites of. 

You can watch this on Tubi.

Justin Bieber was in a talent contest and posted a series of clips from a local competition in Stratford, Ontario. Scooter Braun actually clicked on one by accident while looking for a different singer. The viral aspect worked because it felt intimate, like you were discovering a talented younger brother before the industry polished him up.

Viral videos have changed the world of celebrities, and hey, here’s TMZ to tell us more.

This TMZ show goes into Danielle Bregoli (Bad Babie), who was on The Dr. Phil Show, as well as Doja Cat, who dressed as a cow and danced to a novelty song called “Mooo!,” which was the definition of a calculated viral moment. She made it in a day as a joke, but the absurdist humor of stuffing fries in her nose while dressed as a cow proved she understood internet culture better than most PR firms. It turned her from an underground rapper into a household name.

Kate Upton doing the dougie at a Clippers game took her from a model to a big name. Like Bieber, The Weeknd is a Canadian music star who rose to prominence online and went on to have the biggest-selling single ever. To be fair, he took a much darker, more mysterious route. In 2010, he uploaded tracks to YouTube under the name The Weeknd, without any photos of himself. The anonymity created a massive underground buzz that forced the mainstream to pay attention. and Rebecca Black, who sang “Friday,” in which I learned the words “partying, partying.”

In the Classic Hollywood era, studios like MGM or Warner Bros. literally owned their stars. They picked their clothes, their dates, and their names. Today, the audience acts as the studio. We vote for stars with likes and shares. The watercooler moment is dead because everyone has a different watercooler, whether that’s TikTok, YouTube or Twitch. We no longer wait for a scout to find talent. We wait for the algorithm to serve it to us.

You can watch this on Tubi.