Film Fests
Brooklyn Horror Film Festival 2025: Home Invasion 1 Shorts Block
Short films are the cornerstone of any good film festival. Sometimes shorts are packed before and after an accompanying feature, sometimes they get their own blocks. Whatever the case is, I’ll show up. Rarely does a film festival program its shorts to be nearly as great as the feature films; Brooklyn Horror Film Festival does.
The Binding // Written and directed by Ryan Kennedy
Stephen (Mike Houston) is a grieving father. Parker (Mel House) is (basically) a demon bounty hunter for hire. Can these righteous individuals beat the ticking clock and bind the demon to a human conduit?
This was the very first film I had the opportunity to see at Brooklyn Horror Film Festival. To say this set the bar for my entire festival experience would be an understatement. Religious horror/possession horror rarely ever works for me. I find these types of stories often overjustify unbelievable story beats because, well, demon. (Said like Giorgio Tsoukalos.) The Binding was quite the surprise.
Writer/director Ryan Kennedy takes an overdone subgenre and makes it feel new and exciting. Sure, stories like this have been told in broader ways, but Kennedy’s telling of this tale adds a humanistic layer to it. Gone are the Warren and Bagans-like characters who know the answers. Kennedy’s idea to make the main characters a grieving father and a demon bounty hunter ups the stakes while grounding the overall story.
Y.M.G. // Written and directed by Alexandra Warrick
A boyfriend (Joe Gallagher) breaks the fourth wall to tell the audience all of the things he loves about his girlfriend. From there, I don’t really know how to explain what happens except that the (potentially dead) girlfriend (Meg Spectre) gives a haunting musical performance.
Throughout the first few minutes of Y.M.G., I couldn’t figure out what the angle was. Why was this guy telling us all of these “my girlfriend” statements? How is this horror? And then we arrived at his apartment. One of the best things about short films is that there is no structure they need to stick to, no real rules to abide by. If you want to put a full three (and a half?) minute-long musical break into it…you can!
Alexandra Warrick’s blood-soaked epic takes an experimental turn in a way I don’t think I’ve seen before. Something about it feels like it shouldn’t work as well as it does, but I can’t help how many times I’ve thought about this film since I’ve seen it. The unattributed quote of “When words aren’t enough, you sing,” (no, it wasn’t Stephen Sondheim) couldn’t be more accurate than with Y.M.G..
The more I sat on the underlying idea of Y.M.G., the more it became apparent. How many times have you seen a true crime documentary or TV news interview where people say, “He was so nice, I never would have suspected him of this”? The boyfriend IS supposed to come off as a nice, wholesome guy when, in reality, a sinister being lurks behind the thousand-dollar smile. It’s to highlight the fact that no matter what you think, there’s a good chance you may not know what you think you know about your partner. Y.M.G. is a chilling film that provides an incredibly deep story with beautifully haunting visuals.
Brian Won’t Wear Condoms // Written and directed by Genna Edwards
(Please note, I wasn’t able to find many names regarding the cast/crew.)
Abby is a wellness influencer whose boyfriend, Brian, refuses to wear condoms. His refusal leads to Abby trying out a new form of contraception. Abby’s best friend doesn’t quite know how to feel about it, but wants to be there for Abby. What follows is a grotesquerie of epic proportions. (Yes, I’m talking about that scene.)
After reading an interview between Odd Critic and filmmaker Genna Edwards, one thing became clear: we have the same sex-ed experience. I’m from a town in Pennsylvania where you had to travel about one mile into the forest for high school. That should explain enough.
My middle school sex-ed teacher was a macho, dark black bottle-dyed, ex-military man who regularly arrived at school with dried deer blood in the back of his pickup truck. I come from a red-leaning purple town, but sex-ed was definitely not at the front of my school board’s mind. All of that is to say, I empathize with why and how Genna feels about how many (most?) men view their pleasure in sex.
Brian Won’t Wear Condoms exemplifies the struggle (I think) many people face in heterosexual relationships. Because Brian refuses to do the bare minimum, Abby takes charge in her own way. Unfortunately for Abby, that doesn’t come without consequences. I’ve heard people say things along the lines of their birth control (mainly IUDs, but also the pill) making them suicidal. If you truly loved your partner, wouldn’t you want to do the easiest step you could take to make them a bit more comfortable?
One of my favorite things about this short is how there are two ways to view it. If you’re a normal, good person, then you can see Abby’s struggle and sympathize with the physical and mental pain she’s put through. And if you’re a Brian, Genna introduces one of the most grotesque shots in horror cinema to make you SEE and FEEL Abby’s pain. Let’s just say, it’s one of the most impactful theatrical experiences I’ve had in a long time.
The Man & The Scarecrow // Written and directed by Justin Knoepfel
A man (Jacob A. Ware) struggles as he and his ex-wife (Kelly Grago) navigate a divorce. One day, while on the road, the man sees something that only he and Pearl would stop for…a scarecrow. And, like Pearl, the man forms a connection with the scarecrow.
Everyone copes differently, and Justin Knoepfel humorously navigates that topic. While Knoepfel plays into the humor of the whole situation, there’s a distinct amount of melancholy behind the whole idea. Most people have gone through a difficult breakup of sorts, and we all handle it differently. The man in this film just takes his grief a bit further than usual.
Knoepfel’s film is fairly down the middle, balancing normalcy and absurdism. On the surface, projecting your emotions onto an inanimate scarecrow is odd. And that’s really the furthest the film takes the idea. I wished it had delved a bit more into the man’s psyche to explore a wider range of emotions. But, at the end of the day, it was an enjoyable watch.
Some Dark Matter // Written and directed by Molly Fisher
A family dinner comes to a quick end after a husband/father dies of a stroke. Most are sad, except one. One daughter remains void of visible emotion. It’s not until a night alone in a hotel that she finally has to express her emotions…unless they express themselves first.
Some Dark Matter was a complete 180, lineup-wise, from the previous film. The Man & The Scarecrow had a levity to it, while Some Dark Matter is pure grief. It’s a very on-the-nose film that doesn’t have quite the bite I would hope for. Molly Fisher does a great job of slowly building the unnerving atmosphere that makes this film work as a horror property, which is obviously the most important aspect. But to me, it provides surface-level commentary on grief and loss, rather than delving deeper into the overall process.
You Have Her Eyes // Written by Lizzy Miller, Jordan Sommerlad, and Cory Stonebrook, and directed by Jordan Sommerlad and Cory Stonebrook
Elle (Lizzy Miller) and Jacob (Cory Stonebrook) are happy enough. They seem to have a wonderful relationship, a gorgeous house, and a wonderful group of friends. What more could you want?! Well, for Jacob, how about a baby? Elle is on the fence until an old, familiar face rears their head.
Oh boy, this one got me. You Have Her Eyes is a damn effective piece of psychological horror that gets right under your skin. It’s rare for a short film to pull the rug out from under you. The twist in this story by Miller, Sommerlad, and Stonebrook is a gigantic punch to the gut. And if anyone tells you they saw it coming, I can bet you a decent chunk of money that they’re lying.
Eyes takes a somber look at familial values, the human condition, and unconditional love. Elle’s slow descent into terror is done uniquely and brilliantly; it’s nearly impossible not to be chilled to your core with this film. When I tell you that the entire theater gasped at that moment, it’s no exaggeration. A film like this is a perfect example of effective storytelling in a short time.
Rebrand // Written and directed by Edoardo Ranaboldo
Leo (Adam Alpert), Alex (Xavier Clyde), Jess (Eleanor Lougee-Heimer), and Trey (Charlie McElveen) are a group of camping YouTubers. While they’ve seen great success with their channel, they’re ready to spread their wings and take on other personal tasks. But the crusade of campers isn’t alone on their final foray into the forest. A group of masked men, armed with cameras of their own, is hot on their trail.
Rebrand was clearly a crowd favorite. And, interestingly, it was the only found footage film in this entire block. Found footage is an easy go-to for short films, especially those that forgo proper permits. But Edoardo Ranaboldo didn’t pick found footage for ease or permit evasion.
Aside from Un Chien Andalou and The Big Shave, rarely does a short film define a moment in filmmaking. Rebrand has the ability not only to change found footage fundamentally but also to bring life back into a tired subgenre. Ranaboldo did everything right. His story has intrigue, stakes, emotion, [some] humor, and a HELL of a lot of blood. Moreover, the cameras and character motivations make sense, and the story is just incredibly compelling.
Rebrand is everything a short film should be. If you can’t tell, it was clearly my favorite. While it doesn’t do much on the commentary side of the conversation, that’s okay. Ranaboldo doesn’t outwardly try to make the film more than it is, and that’s okay! That’s not to say it’s a substance-less film. But, at the end of the day, Rebrand absolutely kills. And it kills incredibly well.
If you’re at the intersection of video games and horror, then you know not all video game film adaptations are created equally. For every Silent Hill (2006), Werewolves Within, or Detention (2019), there is a lot of heartbreak and titles we’re still trying to forget. Which is why, when Kotake Create’s beloved Exit 8 video game was tapped to become a film, we held our collective breath. How would this quick psychological nightmare transfer to a feature-length film? Would the filmmaker chosen understand the assignment? Luckily, the movie works overall, and horror and game nerds have another title in the win column.
In Case You Missed It
Exit 8 puts gamers into the shoes of an unseen protagonist who is stuck in a subway station. Players soon realize that this location is not what it seems. They are also tasked with spotting anomalies in hopes of making it to the eighth level and (hopefully) back to the real world. Some of the anomalies are subtle, some are anxiety-inducing, and some leave you wanting to scream WTF? However, the game is a pretty quick introduction to liminal spaces and self-gaslighting.
The film, written by Kentaro Hirase and Genki Kawamura, understands what made the game effective. They even keep and elevate some of the anomalies that were my personal favorites. The duo also builds three very distinct characters to keep us from sitting for 95 minutes of vibes.
Walking Man (Yamato Kochi) is not just the creepy guy making circles in this hallway with us in the film. He gets a full arc in his chapter that informs us he was a human who panicked and made the wrong choice. He is now doomed to spend eternity here as part of others’ nightmarish quests. While all of the performances are great, Kochi brings a humanity and sadness to the role that was unexpected. He finds ways of using his character’s repetitive nature as a way to add subtle layers. This makes the shift into his chapter feel more alive, frantic, and heartbreaking. We know this journey isn’t going to end well for him, but it’s hard not to fully invest and feel that heartbreak anyway.
It’s Not All Great at Exit 8
Exit 8 plays with us in the beginning before shifting from first-person perspective to reveal our protagonist will be Lost Man (Kazunari Ninomiya). He and his girlfriend are having a moment when he ends up in this subway station on a loop. Their phone conversation reveals she’s pregnant, so Lost Man is having a bad day before getting stuck in liminal limbo. This, on its own, is fine. However, after a lot of laps, he meets The Boy (Naru Asanuma) and discovers he is not an anomaly.
The Boy ties Lost Man and Walking Man’s stories together. He tries to assist both of them on their journeys while being too afraid to speak for most of his screentime. Again, all of the performances are great, but a kid killing it with a mostly silent role is highly impressive. His relationship with these two broken and frightened men is believable and palpable. He and Lost Man specifically bond and form a lovely duo that, unfortunately, underscores the pregnant girlfriend to lead to a very pro-life message.
Exit 8’s Politics Derail the Horror
Kawamura directed the hell out of Exit 8, and it’s a good time. However, it’s hard to wash away the very heavy swerve into pro-life territory in 2026. Especially as a person with ovaries who lives in a country that doesn’t want me to have autonomy. Horror is political, and this game has so many things that could have been expanded on. The insertion of an anti-choice layer into a film centered on three male characters (at three very different stages of life) is wild. I personally hated it because, aside from that, it does capture the vibes of the game. It feels like watching someone piss in the lemonade on a hot summer day.
You would be hard-pressed to find a horror fan who doesn’t have fond memories of Tales From the Crypt. Some of you may be like me and watched episodes as a child while losing battles with insomnia. Others may have been lucky enough to get their hands on physical copies that allow constant rewatches. Quite a few people watched Tales from the Cryptkeeper and got a more age appropriate introduction. Whatever your journey, John Kassir’s Crypt Keeper is still crystal clear in your mind.
The people behind The Overlook Film Fest are very much aware of this. So, they asked Kassir to join the fest on day one to say hello to all the boils and ghouls. Kassir and the puppet that made him an icon were the main attractions of the Opening Night Second Line Parade presented by Shudder. Kassir met and posed with too many fans to count while effortlessly slipping into his Crypt Keeper voice and cackle. He seemed delighted to spark joy for so many horror fiends whose character he helped shape. Kassir, known for his sharp and quick humor, is also a surprisingly warm person. His energy is almost a cross between Robin Williams and Robert Englund. After a few seconds, you realize he’s one of us, weirdos (complementary) and is having just as much (if not more) fun as his legion of fans.
Kassir Didn’t Just Wake Up as the Crypt Keeper in One Day
After the parade, it was the after-party, or panel. Kassir sat down with Matt Donato (Daily Dead) and Perri Nemiroff (Collider) to discuss his career. Kassir was reminded that he was a theater kid and learned that he and Scott Bakula (Quantum Leap) came up together and are still friends. Kassie also shared that the two of them were approached for Full House. Bakula for the role that went to Bob Saget and Kassir for Dave Coulier’s. As a horror kid who grew up in the 90s, I would’ve lived my best life with Kassir in the basement of the Tanner House.
Kassir told the crowd about how he was encouraged to do Star Search even though he didn’t think it was the right vehicle for him. He was in a musical at the time, but couldn’t sing well enough for a competition and was told it was a place for comedians, too. Kassir protested he wasn’t really a comedian and was told he could win $100,000 and said, “Fuck…have you seen my act?”
He went on to beat comedians like Rosie O’Donnell and Sinbad before being asked to open for Tom Jones and The Temptations. Kassir threw together a 20-minute act and did a stand-up “trial by fire.” He crafted an act where he played a guy addicted to television. It allowed him to change the channels on himself and utilize the voices he’d been doing since childhood. This led to him landing a role on one of HBO’s first shows, called 1st & Ten.
Our Pun King Was Born
Kassir told us about the audition process for the Crypt Keeper. He was a fan of the EC comics and was sad that his mom gave them to a kid down the street. That gave him a slight edge when up for the role against the likes of Michael Winslow and Charles Fleischer. While both are great comic voices, they wanted to play the character as menacing and scary. Kassir said, “They didn’t get it. This guy is funny. This is the gateway drug to horror. He lets you know this is supposed to be fun. It’s the ride up to the top of the rollercoaster.”
Kassir compared it to Alfred Hitchcock Presents regarding the use of puns. He gave the voice a texture because of the holes in his throat and the rotting teeth. He also added a cackle from his Wicked Witch bit from his abbreviated The Wizard of Oz act. While everyone seemed to love him and told him he had the job, he didn’t believe it. As an actor, he was very aware that things happen and nothing is set in stone. He wasn’t counting on anything until he got the call from his agent.
John Kassir on the Crypt Keeper’s Origins and Future Stars
As a fan and the man behind our beloved icon, Kassir has stories and trivia for days about Tales From the Crypt. The first version of the puppet was made of spare parts that included a pair of leftover Chucky eyes and a mouth that didn’t move. This resulted in the first few episodes having a more toned-down Crypt Keeper. Kassir also let us in on how he would record his voice work after the rest of the episode had been shot. He also pointed out that the show became a training ground for a lot of people who went on to become stars. Actors could not only practice their craft but could also dabble in directing. He lit up as he recounted being asked to come to set to read lines in real time for Arnold Schwarzenegger’s episode.
Tales From the Crypt is the Past and the Future
Kassir spoke about Tales From the Crypt spin-offs and how people didn’t understand how much it was going to mean to the kiddies. However, he did because he remembered discovering the comics as a kid. He pointed out that most of the audience watched it way too young, and that is why we were there. He then took a few questions from the audience and gave us a few more parting puns before posing for a few more pictures for his adoring crowd.
Tales From the Crypt fans with FOMO don’t have to be sad for too long. The entire series is hitting Shudder on May 1st. If people are smart, John Kassir and The Crypt Keeper will be very booked and busy for awhile. So, hopefully, we might all get to hear the infamous cackle live a few more times this spring.
5 Horror Movies To Watch When You’re Super Stoned
Everything You Need To Know About ‘From’
‘Cabin Fever 2: Spring Fever’ Review: A Meth Trip That Never Ends
Overlook Film Festival: ‘Exit 8’ Review
The Crypt Keeper Takes Overlook Film Festival 2026
‘Faces of Death’ (2026) Review: A Mostly Successful Mondo Revival
‘Rabisu: Curse of the Demon’ Review: Bringing Back That Grave Encounters Goodness
UFF9 ‘Heritage’ (2026) The Found Footage Film That Out-Walks Lake Mungo
‘Piranha 3D’ Review: Still Bites Nearly Two Decades Later
The Best Horror You Can Stream on Shudder in April 2026
‘The People Under the Stairs’ Review: A Brilliantly Bizarre Horror Classic
‘Five Nights at Freddy’s’ and The Story of William Afton Explained
Slappy Was the Blueprint: How the Dummy from Goosebumps Became A Horror Icon
Glen and Glenda: Don Mancini’s Reverence for Queerness in ‘Seed of Chucky’ (2004)
‘Truth or Dare’: Who Did it Best?
V/H/S Franchise Ranked, Best to Worst
Everything You Need to Know About Jason Voorhees
The 11 Most Disturbing Horror Movies Ever, According to an Actual Horror Fan
[REVIEW] ‘Cherry Falls’ (1999) Brittany Murphy Shines in This Cult Classic Slasher