We’re back with another killer giveaway! A few simple steps can bring Billy Zane right to your front door. Tales from the Crypt: Demon Knight was the first standalone Tales film, even though it was written long before the series came to be. Panned at the time, Demon Knight gained a cult following that has followed it far into the second decade of our 21st century.

Enter Our Demon Knight Giveaway!

HOW TO ENTER

Not too bad, huh? So how do you enter? Just follow these three simple steps, and you’re in the running!

Step 1. Make sure to FOLLOW US ON INSTAGRAM!

Step 2. LIKE the giveaway post!

Step 3. Go to your podcast app of choice and rate/review the Horror Press Podcast, screenshot your review, andemail it to contact@horrorpress.com and use the subject line: Demon Knight!

If the winner does not respond on Instagram within 24 hours, we will randomly select another winner.

It’s so easy that even the Crypt Keeper could do it.

What You’ll Win

This isn’t just a run-of-the-mill Blu-ray that can easily be yours, it’s the beautiful Scream Factory release. If you are familiar with Scream Factory, then you should be familiar with their emphasis on special features.

This copy of Demon Knight includes the following extras:

-Audio Commentary with Director Ernest Dickerson

-Audio Commentary with Special Make-up Effects Creator Todd Masters, Visual Effects Supervisor John Van Vliet, Special Effects Coordinator Thomas Bellissimo, and Demon Performer Walter Phelan

-Under Siege: The Making of “Tales From The Crypt presents Demon Knight” – Featuring interviews with Director Ernest Dickerson, Co-producer A.L. Katz, Screenwriters Ethan Reiff, Cyrus Voris, and Mark Bishop, Stars Billy Zane, William Sadler, Brenda Bakke, Charles Fleischer, John Schuck and Dick Miller, Editor Stephen Lovejoy, Special Make-Up Effects Creator Todd Masters, Special Make-Up Effects Artists Scott Coulter and Scott Wheeler, and Demon Performer Walter Phelan (40 minutes)

-Panel Discussion from the American Cinematheque featuring director Ernest Dickerson, actor Dick Miller, and Special Effects maestro Rick Baker

-Still Gallery

-Theatrical Trailer

This giveaway is open from March 12th to March 19th!

Now that’s entertainment!

I’ve heard of the Unnamed Footage Festival for quite some time but hadn’t had the opportunity to be a part of it…until now. When I requested press accreditation for this festival, I had no clue what films would be screening, but I didn’t care. If you know me, you know how much I love found footage.

Let’s just say the lineup for this festival is BONKERS.

Among other prestigious partners for UFF this year, they happily welcome new partner FoundTV. If you’re unfamiliar with FoundTV, it’s a found footage streaming service that is giving the big horror streamers a run for their money. The Found Footage Horror and In-World-Camera Film Festival returns to San Francisco March 25-30, 2025, and offers a hybrid festival experience like no other.

There will be a ton of events for in-person attendees to sink their teeth into, and I’m jealous of everyone who gets to be a part of that. But what films will they be showing?! Let’s take a look!

Tickets can be purchased HERE.

Check Out the Killer Lineup at Unnamed Footage Festival 2025

Image courtesy of Unnamed Footage Festival

TINSMAN ROAD (2025, dir. Robbie Banfitch) (WORLD PREMIERE)

A young man searches for the body of his sister years after her tragic disappearance.

Shot fully on gritty 4:3 Mini-DV, Robbie Banfitch’s sophomore feature Tinsman Road takes us on an emotionally winding voyage into the wilderness of death and sorrow.

Image courtesy of Unnamed Footage Festival

I DON’T LIKE IT HERE (2025, dir. Robbie Smith)

A recently paroled outsider returns to his desolate hometown, only to find a community plagued by a disturbing darkness. As he grapples with his own past and the town’s sinister secrets, he becomes the prime suspect in a series of gruesome murders.

After his powerful directorial debut, Grieve, Robbie Smith returns with I Don’t Like it Here, a poignant hybrid found-footage film that builds on the eerie, voyeuristic camera work of Grieve and combines it segments of faux-documentary footage in order to create something deeply haunting and highly original. I Don’t Like it Here follows a parolee who returns to his childhood home to find his family missing.

WHAT HAPPENED TO DOROTHY BELL? (2024, dir. Danny Villanueva)

After uncovering disturbing revelations from her early childhood involving her late grandmother, Dorothy Bell, Ozzie Gray sets out to video document her investigation into these past events. Desperate for answers, she attempts to communicate with Dorothy’s spirit but unwittingly awakens something malevolent.

Featuring a star studded cast including Lisa Wilcox (A Nightmare on Elm Street 4 & 5) and Michael Hargrove (Candyman (2021), The Express (2008)) and a breakthrough lead performance from newcomer Asya Meadows, Dorothy Bell is found-footage gem, with intense scares and unexpected twists as it examines generational trauma through the lens of demonic possession.

Image courtesy of Unnamed Footage Festival

SOLVENT (2024, dir. Johannes Grenzfurthner)

While searching for Nazi documents in an Austrian farmhouse, a team of experts uncovers a hidden secret buried in its bowels. American expatriate Gunner S. Holbrook becomes obsessed with solving the mystery, and as his sanity wanes, he must confront an insatiable evil.

After screening Masking Threshold at UFF 6 and its divisive follow up Razzenest at UFF 7, we’re proud to share Solvent, the final film in Johannes Grenzfurthner’s loose trilogy of unconventional horror films. While Solvent is, perhaps, the most conventional of the three films, it retains Grenzfurthner’s signature touch of absolute insanity.

LEECH (2024, dir. David Dawson)

The trials, tribulations, and trolls of a Youtuber who calls himself The Dark Lord of Loves Park.

The Dark Lord of Loves Park live streams regularly in hopes of receiving donations from his viewers who are only watching to see him self-destruct. Inspired by King Cobra JFS, David Dawson (Flesh Games, The Long Weekend) returns with a mumblegore, screenlife film that explores the internet phenomenon of LOLCOWS.

It Doesn’t Get Any Better Than This (2023, USA, dir. Rachel Kempf, Nick Toti)

When a married couple (filmmakers Rachel Kempf, Nick Toti as themselves) purchase a rundown duplex in rural Missouri to be the set of their next horror film, they are delighted by the layers of graffiti and debris. Nick’s production of a documentary about their project and the entertaining dynamic between himself, Rachel, and her longtime bestie Christian gets sidetracked when strangers begin standing completely still outside their new home, silently staring at the house.

Hunting Matthew Nichols (2024, Canada, dir. Markian Tarasiuk)

Two decades after her brother’s disappearance, documentarian Tara Nichols (Miranda MacDougall) sets out to find answers. When she uncovers a disturbing piece of evidence: a horrific tape that the police covered up, she learns that there’s more to his disappearance than she’s been told, and that her brother could still be alive. 

Dream Eater (2024, Canada, dir. Alex Lee Williams, Jay Drakulic, Mallory Drumm)

During a holiday at a remote cabin in the mountains, filmmaker Mallory Drumm decides to capture her boyfriend’s (Alex Lee Williams) strange parasomnia on camera. Despite their efforts, his episodes worsen, becoming violent and dangerous. As the couple seek a cure, they begin to expect that something more sinister is at play and begin to wonder if Alex’s malady is supernatural in origin.

Image courtesy of Unnamed Footage Festival

The Lost Episode (2024, Canada, dir. Nick Wernham)

The Lost Episode follows police officers Paul Massaro and Terrence Williams (Anthony Grant and Benjamin Sutherland) as they patrol the town of Franklin on Halloween night. As the night progresses, the officers respond to a series of increasingly disturbing calls and begin to suspect a diabolical conspiracy lurking in the heart of their small town.

Nightfall: A Paranormal Investigation (2024, Australia, dir. Myles McEwen, Ripley Stevens)

Two young paranormal detectives investigate a haunting. One wields a video camera and can record the spirits of the dead while the other brandishes headphones and a microphone that can capture their voices. Together they delve into a haunting that pushes their skills to the limit. This simple setup serves as a springboard for some of the best cinematography and sound design found footage horror has to offer.

The Rebrand (2024, Canada, dir. Kaye Adelaide)

Nicole, a pregnant videographer takes a gig helping a pair of lesbian lifestyle influencers who’ve seen their brand and their reputation destroyed after being cancelled for an unknown transgression. As she films their lives, she finds that the pair have far more quirks in person than their online personas reveal.

McCurdy Point (2025, USA, dir. Jeremy Brothers, Nick Paonessa)

McCurdy Point follows five friends who travel to an old cabin in the woods to celebrate, but instead find themselves targeted by a malicious force that defies explanation. Starring an ensemble cast of improv comedians, instead of scoring laughs, they build intense tension and massive scares as the force picks them off one-by-one.

Image courtesy of Unnamed Footage Festival

DOOBA DOOBA (2024, USA, dir. Ehrland Hollingsworth)

When aspiring singer Amna (Amna Vegha) is hired to babysit, she’s surprised to learn her ward is the 16-year-old Monroe (Betsy Sligh), a troubled shut-in who hasn’t left her home since watching her brother murdered. What ensues is a cat-and-mouse game with the tension of Creep and an absurdist sensibility of Too Many Cooks.

The Unsolved Love Hotel Murder Case Incident (2024, Japan, dir. Dave Jackson, Guy)

Dave Jackson and Guy, a pair of horror filmmakers and Australian expats living in Japan, decide to investigate their friend’s story of a murder and haunting at an abandoned love hotel. What starts off as a fun weekend trip becomes a nightmare when their friend vanishes and the love hotel turns out to actually be haunted.

Japandemonium (日本-悪魔) (2024, Japan, dir Sean Kurosawa / Kyosuke Koizumi, Nozomi Tomaki)

A double feature of Sean Kurosawa’s Girls Just Wanna Have Kill and Kyosuke Koizumi & Nozomi Tomaki’s Killmageddon, this midnight block is like seppuku for your senses. With minimal plot and maximal violence, Killmageddon is a blood-drenched fever dream. Girls Just Wanna Have Kill keeps up the insanity from its opening dedication to Cyndi Lauper to its splatter-pop idol heroine Momoko (Tenma Aida) and her gooey time-traveling hijinks.

What I Remember (2025, USA, dir. Alex Hera)

Based on Hera’s short film of the same title, What I Remember follows Ryan and Sam, a pair bound together by loneliness and by their deep desire to escape the bigotry and isolation of their rural hometown. Jumping between past and present, we watch Ryan and Sam’s relationship tenderly grow, all-the-while knowing that in the present Ryan has gone missing, may be dead, and that Sam is dead-set on finding the truth.

Distort (2025, Ireland, dir. Richard Waters)

A musician recording an album in the woods finds mysterious cassette tapes being left for him. On them, a woman researching an urban legend is being terrorised by a man and his vicious dog. A mix between Justin Benson / Aaron Moorhead’s Resolution and Turner Clay’s The Blackwell Ghost, Distort is a beautiful and welcomed return to the woods.

Image courtesy of Unnamed Footage Festival

Baleful (2024, Canada, dir. Denman Hatch)

Eddie has a serious problem. He doesn’t know what’s real. He doesn’t know who he is. He doesn’t know why he wakes up covered in blood. Baleful is a hybrid anthology film that brings the Unnamed Footage Festival 8 theme—“Video Never Lies”—to chilling fruition. As reality unravels for a small community, its members turn to their cameras for the truth… only to discover that some images can’t be unseen. From the creator of Canada’s #1 horror YouTube channel, Deformed Lunchbox, Baleful also marks the long-awaited return of Kenny vs Spenny’s Spencer Rice to the big screen.

Fat Tuesday (2018, USA, dir. Jorge Torres-Torres)

Cinema-in-Public is a term we’ve come up with to refer to narrative films shot guerilla-style in public places. The actors know they’re making a movie, but the public is none-the wiser. Examples are rare, and include oddities like Randy Moore’s Disney World-filmed Escaped from Tomorrow and Jason Banker’s Toad Road.

UFF is proud to present its first Cinema-In-Public screening, Fat Tuesday. Filmed in New Orleans on-location during Mardi Gras, a group of friends is preyed upon by a mysterious killer (Hannah Gross). Shot and edited by the criminally overlooked Jorge Torres-Torres (Toad Road, Sisters of the Plague) Fat Tuesday transcends traditional slashers by adding an element of verisimilitude previously unknown to the subgenre.

Reality Killers (2005, Italy, dir. Alessandro Capone, Pablo Dammicco, Volfango De Biasi, Francesco Maria Dominedò)

Reality Killers is a horror film in which a man obsessed with violent ‘snuff’ videos, featuring people being abused, tortured and killed, goes on to commit his own similar crimes. – Banned in the UK and lost for 20 years, Reality Killers is a surprisingly cinematic 90s style In-World-Camera film, which will find its theatrical debut as our Saturday, midnight screening.

I don’t know about you, but this sounds like it will be a BLAST! Keep an eye out for our reviews, and if you plan on attending, you can purchase tickets HERE.