Infinite yellow rooms, humming fluorescents, no exits, no answers. Kane Parsons’ viral YouTube series finally hits theaters — and at 20, he becomes A24’s youngest feature director ever. Chiwetel Ejiofor and Renate Reinsve lead a small cast through a furniture-store basement that opens into a dimension beyond reality. The original creepypasta crowd has been waiting four years for this. Opening weekend, no question.

A van-life couple (Jacob Scipio, Lou Llobell) witnesses a fatal highway crash and quickly realizes they didn’t leave the scene alone — something demonic latched on and won’t stop following them. André Øvredal directs, the same hand that gave us The Autopsy of Jane Doe and Scary Stories to Tell in the Dark. Melissa Leo adds gravity to the supporting cast. Confined-space dread plus open-road horror — a combination that hits when it works.

A hopeless romantic music store clerk named Bear (Michael Johnston) breaks the mysterious “One Wish Willow” to win his crush Nikki (Inde Navarrette) — and gets exactly what he asked for. Writer-director Curry Barker turns a simple wish-fulfillment premise into one of the year’s nastiest studies of dependence. RT critics consensus calls it darker, creepier, and bloodier with every scene. Inde Navarrette is the breakout. Don’t sleep on this one.

Damian McCarthy, the director who delivered Oddity, returns with Adam Scott as a grieving novelist scattering his parents’ ashes at a remote Irish inn — and discovering it’s haunted by a witch in the honeymoon suite. Atmospheric folklore, perfectly-timed shocks, and Scott playing what critics are calling “the perfect detestable prick.” A classic haunted house story with serious craft underneath. McCarthy is becoming a modern master of horror.

Lee Cronin’s reimagining was supposed to be the Evil Dead Rise follow-up everyone wanted, but after a month in theaters the verdict is in: it’s not. Jack Reynor and Laia Costa play a broken family welcoming back a daughter who disappeared into the Egyptian desert eight years earlier — only she came back wrong. Cronin’s gore game is intact but the script bogs down in a 2h 13min runtime that feels like 3h. 47% on RT and dropping. Save your money for Backrooms.

Twenty-six years after the first one, the Core Four are back — Marlon Wayans (“Shorty”), Shawn Wayans (“Ray”), Anna Faris (“Cindy”), and Regina Hall (“Brenda”) — taking aim at requels, prequels, elevated horror, origin stories, every “final chapter” that wasn’t, and anything with “legacy” in the title. The Wayans family returns to torch a decade of horror tropes. Whether the formula still lands in 2026 is the real question, but the hype is real.

The sixth Evil Dead film and the third standalone after Evil Dead (2013) and Evil Dead Rise (2023). Sébastien Vaniček (Infestation) directs, Sam Raimi and Rob Tapert produce. Souheila Yacoub leads as a woman who joins her in-laws at a secluded family home after her husband’s death — and the gathering becomes a family reunion from hell as one by one they turn into Deadites. Hits theaters mid-summer with Warner Bros. backing and the producing one-two of Raimi and Tapert. Expect carnage.

Not a remake of the 1995 Clint Howard cult oddity — Eli Roth’s take is a brand new original. An idyllic summer town descends into madness when an ice cream man starts serving kids frozen treats with horrifying results. Roth described the tone as starting like Bad News Bears, turning into The Birds, then going full anarchy with killer kids. Ari Millen (Orphan Black) plays the ice cream man. Snoop Dogg on the soundtrack, Nas executive producing. First film under Roth’s The Horror Section banner and his first horror since Thanksgiving. This is the summer horror pick.

Robert Eggers (The Witch, The Lighthouse, The Northman, Nosferatu) returns with a medieval werewolf horror starring Aaron Taylor-Johnson. The streak is unbroken — every Eggers film has hit. If this lands at the level of his previous four, it’s the year-end horror anchor and a guaranteed awards-season conversation. Limited details still, but the trust level is high enough that we’re already clearing the December calendar.