Famous people are no longer suing Celebrity Skin or upset about sex tapes leaking. Now, thanks to OnlyFans, they’re doing it themselves. But is this a good thing for them or bad? Is the money worth it?

Of course and yes.

This TMZ documentary features some folks you may know — Sopranos star Drea de Matteo, Danity Kane singer Aubrey O’Day and Bella Thorne — with other you may not, like former UFC fighter Paige VanZant, creator of INSANITY Shaun T, Wizards of Waverly Place actor Dan Benson, Ultimate Queer Love reality star Lexi Goldberg, model Carlotta Champagne, former national champion amateur wrestler Georgio Poullas, tall woman Marie Temara, “Cash me outside” Bhad Bhabie and model Belle Delphine.

You’ll discover their reasons for doing this, the good and bad, and why they keep doing it. It’s refreshing that this doc is so sex positive and doesn’t shame anyone involved.

You can watch this on Tubi.

What makes a man? Is it physical strength? Success? Money? This VICE special tries to get to the bottom of that, from seminars that are meant to help men harness their true nature to infamous cases where masculinity goes too far.

One of them is Andrew Tate, former professional kickboxer and social media personality. The king of toxic masculinity has nearly 10 million followers on Twitter and is well-known for his misogynistic views. He’s made his money with webcam models and online courses. Things fell to pieces at the end of 2022, as Tate and his brother were arrested in Romania as part of an investigation that started with rape, human trafficking and sexually exploiting women and has expanded to charges of trafficking minors, sex with a minor, money laundering and attempting to influence witnesses.

This is a strange trip into the manosphere, a place of alpha masculinity, misogyny and anti-feminism. From incels and Men Going Their Own Way (MGTOW) to pick-up artists (PUA) and fathers’ rights groups, these groups are all about pushing back against what they see as feminists and their hatred of men.

According to journalist Caitlin Dewey, you can reduce the complexities of the manosphere to these two simple truths: They believe that “the corruption of modern society by feminism, in violation of inherent sex differences between men and women and the ability of men to save society or achieve sexual prowess by adopting a hyper-masculine role and forcing women to submit to them.”

This is, at times, a rough watch. To me, there is no strength in this type of mindset. Watch it and make up your mind yourself.

You can watch this on Tubi.

Joseph (Adam David Thompson) and Sidney (Riley Dandy, Christmas Bloody Christmas) are brother and sister who have barely escaped a robbery. To escape arrest, they head to an abandoned farm that just so happens to be a place where multiple timelines all intersect and end up being part of an experiment. They are told that unless they follow a set of instructions, they can never leave.

Directed and written by Michael Felker, who edited Synchronic and Something In the Dirt, Joseph thinks that he has it all figured out, as they can hide in another dimension for a few weeks, unable to be found until the cops forget all about the robbery. This was produced by Justin Benson and Aaron Moorhead, who made the aforementioned Something In the Dirt, and like many of their movies, this has many twists and turns, becoming almost unpredictable.

Joseph and Sidney are told that to escape, they have to kill someone who is also in this time. They have no idea who it is, when they are coming and what they have to do. Sidney has a daughter that she never wants to abandon and Joseph has already cost her two weeks.

This is not a simple movie to understand at points but it all comes together. It feels like the leads could have been in several films as these characters, as they are so well lived.

I watched Things Will Be Different at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.

The Lonely Man With the Ghost Machine is directed and written by Graham Skipper (Sequence Break), who also stars as Wozzek, who may be the last man on Earth. At one point, before he slipped into depression and started drinking the days away, he lived with his wife Nellie (Christina Bennett Lind) in a cabin. They were safe and should have been happy, but they grew apart and one day, she died.

Skipper spends most of the film on his own, in a cabin, having flashbacks, getting wasted and speaking to the voice of The Deleterian (Paul Guyet), who knows more than he tells Wozzek, who is trying to build a machine to bring his wife back to life when he isn’t giving himself therapy through questions he’s recorded earlier.

It’s also a Christmas movie and a puppet film, as when The Deleterian is revealed, it’s learned that he is also the last of his species, having eaten everything else on Earth that is alive other than Wozzek and that he needs someone to talk to. He tries to make this film’s protagonist more introspective, but that’s impossible by this point. And when he finally does succeed in saving his wife, she reminds him that it’s for him and not for her. That’s probably the nicest thing she says or does to him,

This is an auteur film in the best of ways, a one-man showcase for ideas, acting and story. It held my attention throughout and I can’t wait for more people to see it.

I watched The Lonely Man With the Ghost Machine at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.

Alter Monrepos (Amélie Daure and Anne-Sophie Charron) has an IV dripping blue liquid into her body, lying on a medical table. Or maybe she’s throwing up. Or is she in hypnotherapy with the cave-dwelling Léandro Lecreulx (Stefano Cassetti)? She could also be hooking up with gas station attendant Chris (director and writer Aurélia Mengin) or El Gringo (Emmanuel Bonami). At least she’s taking photos of everything that happens to her, so that she can show them in therapy and determine what makes her anxious — red — or safe — blue — and then learn what is real. And oh yeah — deal with her mother Rosy (Patricia Barzyk) and get past self-harm and embrace living.

This movie’s PR describes it as “Mario Bava meets David Lynch” but this goes further and better and deeper than that. It’s a world of neon that it stalks through, of desire and despair, of long-buried secrets, of the meanings of colors and a place where it can just all come to a stop so two metallic flaked lovers can grind together while loud mechanical shrill shouts pierce the soundtrack. To compare Mengin’s work to any other creative is a disservice. Here, she announces herself as a bold new voice that will only grow in power and command with each new work. This is not a movie that makes sense and therefore, it makes complete and utter sense. Magical and the note to her father at the end, referring to him as her partner in surrealism, made me wistful.

I watched Scarlet Blue at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.

This film comes direct from Justin and Dominic Hardy, two of the eight children of the director of The Wicker Man, Robin Hardy. For years, they’ve said that this movie destroyed their family, but now, they have decided to follow the path of the film and how it was made along with director Chris Nunn and a crew. More than trying to understand how their father made a classic movie, suffered as it was unseen and took it through America where it became a cult film that finally spread back to the UK, only to see writer Anthony Schaffer take most of the credit, this is also about how Hardy had eight children to six women and how the many children have grown together and know one another better than they ever did their father. Now, they try to discover why he could so casually abandon them, obsessed with a film that seemed to go nowhere for so long.

At one point, Hardy believed that he was going to die, so he wrote all of his family letters to be read in the future. Those letters were found in his papers and went unopened until this film. It’s both a funny and sad moment when they are revealed. The true joy is seeing as how Justin and Dominic support one another through this draining experience.

This is less about the behind the scenes experience of the making of the film, which isn’t the story it should tell. That story, of the lives behind its creation, is told quite admirably.

I watched Children of the Wicker Man at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.

Last year, Hadley Briggs (Emma Reinagel) barely survived Halloween when her ex-boyfriend went on a killing spree. He’s been in a mental ward since then, but as her hometown prepares for both the holiday and its 300th birthday, the killings have started all over again, just days after she attempts to return to school.

This is the kind of town that doesn’t just create urban legends and brutal crimes, but also gives birth to characters that each seem like they could be the killer, even Hadley, as she has some secrets that she’s kept since she was stabbed one year ago. When a body shows up with “Happy Halloween” carved in his chest — and photos are sent to Hadley and all of her friends, like best friend Peyton (Aline O’Neill) and quarterback love interest Kagan (Graham Weldin) — this gets tense almost immediately.

Director and writer Brittney Greer recognizes the debt that all slashers owe to Halloween and that all slashers made after 1996 owe to Scream. As the killer continues to decorate the town with the body parts of his or her victims, the one thing that comes to the fore is that Greer is able to authentically translate the very human voices and feelings of her teen characters.

I watched Happy Halloween at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.

Directed by Alice Maio Mackay (T-Blockers, Bad Girl Boogey, So Vam), who co-wrote the story with Benjamin Pahl Robinson, this film follows Lola (Jeremy Moineau), who returns home of Purdan for the holidays. It’s the first time she’s been back since she transitioned and the town may seem like it’s changed, but it’s also filled with secrets, like a killer known as the Toy Maker.

Lola is also an investigator and true crime podcaster, so when the murders hit a bit close to home, she’s on the case. Like all of Mackay’s movies, this has more LGBTQ+ representation than pretty much every mainstream movie this year put together. Also: who knew that Australian Christmas was in the summer?

I love that her town has changed to the point that her sister Danielle (Dominique Booth) is proud to take her out, that a former teacher is now a drag queen who runs a queer bar, that Lola is so capable and that this has a neon look that’s helped by taunt editing by Vera Drew (The People’s Joker’s). It’s just 70 minutes long and in that time, it tells a complete story, has a fair bit of red herrings and ends with a killer that makes sense.

Mackay is barely out of the teens and has made six movies already. Each has improved and grown more confident, making each film festival where I encounter one a joy. We can always use more seasonal slashers, sure, but we definitely need more filmmakers doing the work and expanding consciousness like Mackay.

I watched Carnage for Christmas at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.

Directed by Louisa Warren and written by Harry Boxley, Cinderella’s Curse starts with a woman named Phil (Sarah T. Cohen) asking her husband Jacob (Sam Byrne) not to kill her. He opens a book that he has taken from her, as the pages animate into existence, and Terrortures show up to serve him. This leads us to Cinderella (Kelly Rian Sanson), who serves as a slave to her stepmother Lady Dyer (Danielle Scott) and stepsisters Ingrid (Lauren Budd) and Hannah (Natasha Tosini).

This stepfamily is somehow worse than the fairy tales that inspired this movie, as they torture and kill another maid, Anja (Helen Fullerton), and force Cinderella to bury the body. She soon finds the magic book and uses it to bring her fairy godmother (Chrissie Wunna) to her, but again, unlike what Disney or any other storyteller would do with this tale, she has no flesh and her offer of help comes with a price.

The creators of this movie have told fairy tales before — Tooth Fairy, Return of Punch and Judy, Jack and Jill 3 — and that may be because they’re shocking in the way the same company’s Winnie the Pooh slashers are — Warren acted in one of those — and also material you don’t need to pay to film.

The biggest difference in this story is that the stepsisters have been in a throuple with Prince Levin (Sam Barrett) and they are luring Cinderella to the dance to torture and kill her. But this movie decides to rip off Carrie along the way and those glass slippers get used as weapons.

This is trash but you know, sometimes that can be enjoyable. I’m sure the filmmakers want you to know that these fairy tales started off quite bloody, but then again, they didn’t have wanna-be cenobites in them.

I watched Cinderella’s Curse at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.