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This Week in Horror History | A Quiet Place, Oculus, Critters & The Void (Apr 6–12)
This Week in Horror History is your weekly horror release-date roundup, with where to watch or stream (U. S.), a deep-cut spotlight, and a weekly recommendation for fans of monster movies, supernatural horror, survival horror, cosmic horror, Stephen King, and cult favorites. This week brings A Quiet Place, Oculus, Critters, Scary Movie 5, and The Void—a lineup packed with silence-driven terror, cursed mirrors, hungry little monsters, horror parody, and blood-slick cosmic nightmare fuel.
Inside this episode
✅ Horror releases from Apr 6–12
Apr 6, 2018 — A Quiet Place
A modern monster-movie hit that turned silence, family tension, and every tiny sound into pure box-office terror.
Where to watch: Paramount+; rent or buy on Prime Video, Apple TV, and Fandango at Home.
Apr 12, 2013 — Scary Movie 5
A chaotic horror parody sequel that works as a weirdly useful snapshot of the possession, found-footage, and cursed-house boom of the early 2010s.
Where to watch: Rent or buy on Prime Video and Apple TV.
Apr 11, 2014 — Oculus
One of the meanest haunted-object movies of the last twenty years, built around a cursed mirror that shreds memory, reality, and self-control.
Where to watch: Amazon Prime with subscription; also rent or buy via Prime Video and Apple TV.
Apr 11, 1986 — Critters
A scrappy, nasty 1980s creature feature where tiny alien furballs turn a farmhouse siege into gleeful B-movie chaos.
Where to watch: Tubi, Pluto TV, and The Roku Channel; rent or buy on Apple TV and Fandango at Home.
🎬 Deep-Cut Spotlight
Apr 7, 2017 — The Void
A savage cosmic body-horror deep cut with a half-empty hospital, robed cultists, practical-effects mayhem, and pure midnight VHS nightmare energy.
Where to watch: Free on Tubi; rent or buy options include Prime Video and Apple TV.
🎂 Horror birthdays
Apr 8, 1955 — Kane Hodder
Apr 10, 1988 — Haley Joel Osment
Apr 11, 1942 — Damien Thomas
Apr 12, 1951 — Tom Noonan
⭐ Weekly Recommendation
Apr 12, 1985 — Cat’s EyeA wickedly fun Stephen King anthology full of mean little twists, 1980s horror charm, and compact nightmare hooks that bite harder than they first appear. Where to watch: Howdy with subscription; rent or buy on Apple TV and Fandango at Home.
🎧 LISTEN NOW and subscribe for spine-tingling horror stories every week!
🎉 Unlock exclusive bonus episodes and support the show on Patreon!
👉 WeeklySpooky.com/Join
📬 Contact Us / Submit Your Horror Story!
- Twitter: @WeeklySpooky
- Facebook: facebook.com/WeeklySpooky
- Email: WeeklySpooky@gmail.com
🎵 Music by Ray Mattis 👉 Check out Ray’s incredible work here !
👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
🌐 Explore more terrifying tales at: WeeklySpooky.com
WEBVTT
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Some weeks in horror history feel like they're all pulling
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on the same nerve. This one is about the moment
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a normal thing turns hostile. A ravenous little alien pest,
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A household mirror, a joke sequel that still reminds you
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how powerful the genre had gotten, a world where even
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the sound of your own breathing can get you killed.
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And then for our deep cut spotlight, a nasty little
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Canadian cosmic nightmare that feels like somebody fused John Carpenter paranoia,
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Luccio Fulci Goo, and a midnight VHS hallucination into one
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blood slick fever dream. So, if you hear something scratching
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in the walls, maybe ignore it. If your reflection looks
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a little too interested in you, definitely don't trust it.
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And if something small, round and covered in teeth comes
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rolling out of the dark, don't kid yourself. Run. Welcome
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back to this week in horror history. I'm your host.
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Enrique Kuto coming up. A modern monster movie that turned
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silence into pure box office terror, A gleefully dumb, self
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aware franchise entry that proves horror was big enough to
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parody itself again. A cursed mirror story that helped turn
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Mike Flanagan into a name horror fans will never forget,
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and a ravenous little creature feature that turned pint sized
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furballs into total chaos. Then, after the break for our
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deep cut spotlight, a hospital siege, a cult in white robes,
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and a cosmic nightmare that looks like it crawled straight
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out of a forbidden VHS tape. April sixth, twenty eighteen,
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A Quiet Place opens in theaters, and it instantly reminds
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everyone that tension can be louder than chaos. John Krasinski's
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film takes one simple idea monsters hunt by sound, and
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builds an entire survival nightmare around it. Every footstep matters,
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every creek feels fatal, Every family interaction has the weight
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of life or death. What made it hit so hard
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is that it plays like a studio crowd pleaser and
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a stripped down monster exercise at the same time. It's emotional,
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it's ruthless, and it turns silence into one of the
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great horror gimmicks of the twenty tens. It was a
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genuine monster hit as well, pulling in more than one
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hundred and eighty eight million dollars domestically, kicking off one
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of modern horror's most reliable franchises, and in my opinion,
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the franchise as a whole works really well. I actually
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loved A Quiet Place Day one a hell of a lot.
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So if you want to revisit them or get quiet
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for the first time, you can check it out streaming
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on Paramount Plus with your subscription, or rent or purchase
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it via Amazon Prime Video, Apple TV, and Fandango at Home.
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On April twelfth, two Thy thirteen Scary Movie five lands
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in theaters, and while nobody's arguing it's the crown jewel
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of the franchise, it is a funny little timestamp for
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how dominant horror had become again by this point. The
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series is riffing on paranormal Activity, Mama Black Swan Evil
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Dead style imagery, and the whole Possession found footage era
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that had flooded multiplexes. Even when the film whiffs it
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accidentally works as a snapshot of what horror culture looked
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like in the early twenty tens. Everything was demonic, cursed,
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shaky cam and very, very marketable. It made just over
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thirty two million dollars domestically, which is a long fall
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from the earlier entries, but as a horror history maker,
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it still tells a story. Horror had become so mainstream
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again that parodies could coast on recognition alone, And as
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we prepare to see the brand new Scary Movie six,
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it seems like we're still there. And I'm not gonna lie.
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Not the biggest scary movie fan in the world, but
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I'm excited to see them roast some a twenty four
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Blumhouse titles. So if you want to bone up on
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the previous entry before Part six hits theaters on June fifth,
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just head to your favorite service to rent or buy
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digital movies like Amazon Prime Video, Apple TV, or Fandango
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at home, and you could even do the whole Waza
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thing if you want. I won't tell anyone. On April eleventh,
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twenty fourteen, Oculus arrives and gives us one of the
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meanest haunted object movies of the last twenty years. This
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is the one with the Lasser Glass, a mirror that
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doesn't just show you ghosts, it rewrites your sense of
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reality until you can't tell memory, hallucination and self destruction apart.
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Mike Flanagan takes a premise that could have been cheap
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and turns it into something elegant, but nasty and genuinely upsetting.
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The genius of Oculus is how it weaponizes structure, past
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and present blur together, trauma loops back on itself, and
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the more the characters try to control the curse, the
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more doomed they feel. On a reported budget of five
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million dollars, it earned forty four point four million dollars
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at the box office worldwide, punching way above its weight class,
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and it became one of the key stepping stones in
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Flannagan's rise, later blowing many horror fans' minds with films
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like Gerald's Game and Doctor Sleep, as well as series
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like Midnight Mass and Oh the Haunting of Hill House.
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I love that one, and I want to mention I
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saw Oculus in the theater and I had not heard
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anything about it, and I was even familiar with Mike
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Flanagan's previous film. I just went to see a movie
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in the theater I didn't recognize and I had a
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great time with it. I really recommend watching Oculus if
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you've never before, and especially if you're a big fan
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of what Mike Flanagan has been up to as of late.
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If you want to catch it right now, you can
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either watch it on Amazon Prime with your subscription, or
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buy slash rent it on Prime Video, Apple TV, and
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Fandango at home. But be careful. You might not like
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what looks back at you when you peer into the glass.
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On April eleventh, nineteen eighty six, Critters rolls into theaters
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and proves that sometimes the best monster movie hook is simple.
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What if something small, fast, mean, and very hungry fell
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out of the sky and ruined your whole night? The
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film drops those little extraterrestrial piranha balls into rural Kansas
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and just lets the mayhem rip. It's part creature feature,
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part sci fi mischief, part midnight movie with with some
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Kremlin energy, but not enough to be sued, and that's
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exactly why it lasts. Critters knows these monsters are funny
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right up until they're chewing through the room and you
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as well. While it wasn't a giant blockbuster, it did
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perform very well, earning around thirteen point two million dollars
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domestic on an estimated two million dollar budget, strong enough
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to spawn a whole franchise and secure its place as
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one of the great nineteen eighties tiny monster movies, and
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in my opinion, there's not a bad one in the bunch. Yes,
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I even like the one in Space Fight me. What
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makes it matter for horror history is that that perfect
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B movie confidence. It's scrappy, weird and cheerful about turning
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a farmhouse siege into a nasty little party. And hey,
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part two is even appropriate for Easter. I mean as
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appropriate as it can be, considering they eat flesh. But
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I digress. Whether you've never seen Critters before or you're
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hungry for more, it's available to watch right now free
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on two B TV with ads, and of course you
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can also catch it on the Roku channel, Amazon Prime
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with your subscription, or rent it on Google Play, YouTube,
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Apple Tv, and fandango at home. Make sure you're subscribed,
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because right here tomorrow on the weekly Spooky Feed, we're
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heading out onto a frozen lake in Ontario where a
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man settles into a tiny ice fishing hut for a long,
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lonely night miles from shore. At first, it's just the
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usual discomfort, the cold, the wind, the dark, the kind
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of silence that makes you feel very, very small. But
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sometime after midnight, something begins hitting the walls of the hut.
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Then later, at two thirty in the morning, comes something
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even worse, A slow, deliberate knock at the door. Not
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the wind, not the ice, not a random bump in
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the night, a knock, and out there, beyond that thin
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little shack there should be absolutely no one. What follows
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is a night of dread, confusion and sheers psychological terror,
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with every sound outside turning that frozen lake into a
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place that feels completely cut off from the rest of
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the world. And when morning finally comes, what's waiting in
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the snow only makes the whole thing worse. So tune
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in tomorrow and hear our brand new horror story. Knock Knock,
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keeping your weak spooky. Now, let's take a quick break.
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But when we come back, we're heading into our deep
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cut spotlight. A half dead man stumbles into a hospital.
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Figures in white hoods surround the building, and inside, something ancient,
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wet and very very wrong is waiting in the dark.
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All right, we're back, my spookies, So let's get into
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our deep cut spotlight. April seventh, two In seventeen, the
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Void hits us theaters, and if you love your horror practical, slimy,
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and unapologetically midnight movie nasty. This one is like catnip.
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The setup is simple and beautiful, a near empty hospital
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in the middle of the night, a cop bringing in
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an injured man, and a growing sense that the building
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has already been cut off from the rest of reality.
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Outside there are robed cultists surrounding the place. Inside, bodies
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start changing, and not in a heavy handed CGI kind
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of transformation way. I mean old school, fleshy oozing nightmare
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fuel changing the void feels like a deliberate throwback, but
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not in a lazy remember this kind of way. It
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understands why those older films worked, the fluorescent emptiness of
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the hospitals, that the characters are trapped in a place
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that should feel safe but absolutely doesn't, the idea that
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the true horror isn't just death, its transformation, corruption, becoming
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something that can still move, still scream, but isn't you anymore.
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What really makes it sing is the escalation. It begins
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like a siege movie, mutates into body horror, and then
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keeps widening the aperture until it becomes cosmic by the end.
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It's not just about surviving monsters in a Hallway. It's
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about staring into something vast and ancient and realizing the
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universe may be much crueler than you ever understood. That's
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why it's a perfect little deep cut. It didn't make
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much money on release, however, it wasn't a mainstream breakout,
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but for a certain kind of horror fancical effects Siica,
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the John Carpenter de Vochi, the Fulcy Gremlin, as I
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consider myself, it became a favorite almost immediately. If you've
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never seen The Void, why not take a moment and
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look into that bad boy. Now it's available to stream
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free with ads via two B TV Plex and on
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Amazon Prime with your subscription. You can also rent it
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or buy it at Fandango, at Home, Google Play, and
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Apple TV. Now it's time to light a black candle
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for some horror birthdays. First up, a true legend born
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on April eighth, nineteen fifty five, Caine Hotter, the man
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who put brute force physicality into Jason Vorhees and became
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one of Horror's great behind the mask icons. Cain was
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not only the only actor to ever portray Jason Vorhees
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more than once, but he's legendary for his affable nature,
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sense of humor, and how beloved he is with fans
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and how much he loves them right back. A very
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happy birthday to Caine Hodd next up. Born on April tenth,
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nineteen eighty eight, Hailey Joel Osmond forever tied to the
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sixth sense, one of the all time great supernatural shockers,
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and an ending so twisty and legendary that it basically
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became a cliche. Happy Birthday, Haley. Born on April eleventh,
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nineteen forty two. Damian Thomas. He's not exactly a household name,
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but if you know him, you know him. He's unforgettable
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to Hammer horror fans as the decadent villain in Twins
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of Evil. A very happy birthday, Damian Thomas. Unfortunately this
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one is bittersweet. Born on April twelfth, nineteen fifty one.
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A character actor to end all character actors, known for
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modern and classic horror films. Tom Noonan was born, and
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unfortunately we lost him very recently. Whether you loved him
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in Manhunter or in House of the Devil, or like me,
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you remember him so fondly for being Frankenstein in Monster Squad.
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He left such a mark on so many people, from
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so many different films, in so many different ways, from
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being scary and creepy and freaky to being heartwarming and
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charming and comforting. Happy birthday, Tom, You are very very
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missed for our then and now. This week in horror
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history is all about trust collapsing. In twenty thirteen, horror
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is big enough to parody itself again. In twenty fourteen,
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the danger is inside the home, hanging on the wall,
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waiting for you to look at it. In twenty seventeen,
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the walls of reality start peeling back in a half
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empty hospital, and in twenty eighteen, silence itself becomes a
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death sentence. Then nineteen eighty six crashes through the wall
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with tiny teeth, bad attitudes, and one of the great
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little creature feature swarms of the decade. Different tones, different budgets,
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different eras, same lesson. Horror loves taking ordinary things and
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proving how fragile ordinary really is. And for our weekly recommendation,
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we go back to April twelfth, nineteen eighty five, when
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Cat's Eye opens in theaters. If you want something that
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plays like a fun house version of horror itself, go
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with Kat's Eye. This Stephen King Anthology is one of
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those movies that feels deceptively breezy right up until it
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gets weird, nasty and strangely sincere. A smoking cessationian nightmare,
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a deadly bet on, a rooftop ledge, a child menaced
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by a tiny monster only she can see, and threading
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all of it together, one battered stray cat moving through
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the edges of every story like he knows a lot
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more than we do. Although most cats, I think move
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around the world like they know a lot more than
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we do. But that's why it makes it such a
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good recommendation. This week's episode is full of horror, built
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from simple hooks, silence, mirrors, even alien pests, contamination, and
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pattern recognition. Cat's Eye works the same way. It takes
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compact ideas and lets them bite hard, and it has
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that perfect nineteen eighties anthology flavor, a little mean, a
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little funny, very cozy for about thirty seconds at a time,
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