Universal’s Dark Universe was supposed to be a Monster MCU — and The Mummy (2017) killed it.

We break down Dracula Untold, The Mummy, Dr. Jekyll, and every reason the franchise collapsed.

Universal tried to resurrect its legendary monsters (Dracula, Frankenstein, Wolf Man, Invisible Man, The Mummy) inside one shared cinematic universe… and it cratered almost instantly.

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We’re back, for the second time. After seeing 28 Years Later: The Bone Temple on Friday, January 16, 2026, we recorded our full review… and then the audio file vanished into the void. So at 7:00 a.m. (with coffee and pure spite), we did it again, because this movie is worth it.

In this episode of Grave Tone Podcast, Meaghjan and Arthur break down why The Bone Temple is a massive step up and (for us) one of the best zombie/infected films we’ve seen. It doesn’t just rely on gore or nonstop chaos; it blends action, dread, character work, dark humor, and big thematic swings in a way that feels deliberate and shockingly well-balanced.

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In this episode of Grave Tone, Megan and Arthur record immediately after an early screening of Primate (2026)—a lean, mean creature feature where a beloved chimp named Ben turns deadly after a rabies incident, trapping a group of young friends in a remote cliffside home in Hawaii.

We start with quick first reactions and a spoiler-free verdict on what Primate delivers: hard R gore, strong tension, and surprisingly effective comedic beats that keep the ride watchable even when it’s gnarly. Then we dive into full spoilers, unpacking the movie’s setup (Lucy returning home to a grieving family), the rabies/mongoose catalyst, and how the isolation of the house + pool-cliff geography turns into a survival nightmare.

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Today we’re reviewing We Bury the Dead (2026) (written/directed by Zak Hilditch), starring Daisy Ridley as Ava—a woman who volunteers with a body retrieval unit while searching for her missing husband in a devastated Tasmania.

FULL SPOILERS AHEAD: We discuss the movie’s zombie design, the “cognitive undead” idea we wish the film explored more, what worked (shots, tension spikes, performances), what didn’t (pacing + cliché ramp), and the ending that left us arguing all the way home.

If you watched it too: Were you into the metaphor-heavy approach, or did you want more straight-up zombie survival? Drop your take in the comments.

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It’s the first Grave Tone episode of the year, and we’re kicking things off with a screener review of The Plague: a brutally realistic, deeply unsettling coming-of-age horror-thriller set at a boys’ water polo sleepaway camp. New kid Ben arrives already anxious… and immediately learns the camp’s “tradition”: the group chooses one boy to label as “the plague,” and everyone treats him as contagious. What starts as a juvenile joke curdles into full-on social exile, escalating Ben’s fear, shame, and survival instincts.

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It’s the end-of-year horror hangover episode: Megan and Arthur reveal their Top 10 Horror Movies of 2025, counting down from #10 to #1—without telling each other their lists ahead of time.

They cover buzzy sequels that actually delivered, festival discoveries that deserve wider distribution, and the movies that hit hardest emotionally (even when the blood was flowing). Expect passionate takes on modern Stephen King adaptations, dark fairy-tale/body-horror energy, the return of big-franchise swings, and why one film absolutely earned the #1 spot for both hosts.

Also included: honorable mentions—the movies that narrowly missed the cut, plus a few genre-adjacent picks that still scratched the horror itch.

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Horror comes to life with the horror author Jonathan Janz on Grave Tone.

In this episode, Jonathan breaks down how he landed in the officially authorized Stand universe — including the wild behind-the-scenes moment when Stephen King gave the green light for The End of the World as We Know It: New Tales of Stephen King’s The Stand (edited by Brian Keene and Christopher Golden) and why that “DO IT!!!” email changed everything.

We also dig into Jonathan’s newest release, Veil (sci-fi horror), his love of big swings and clear endings, and the early-life ingredients that shaped him: growing up next to a graveyard, horror-loving family TV habits, and even Poe recordings that hit way too early.

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It’s finally holiday horror season… so we did the only sensible thing: watched all seven Silent Night, Deadly Night films and ranked them from worst to best, including the bonkers detours (psychic coma connections, witchy cult chaos, killer toys) and the entries that actually work as slashers.

We also hit the theater for the new 2025 Silent Night, Deadly Night, and—spoiler alert—it’s way better than we expected. We talk about what makes it click, why it feels like a “breath of fresh air,” and which franchise DNA it smartly remixes. The 2025 film is written/directed by Mike P. Nelson, premiered at Fantastic Fest, and was released theatrically Dec 12, 2025.

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