Friday the 69th

'OverKill' is a film with a comedic take on a familiar setup: when too-woke-for-their-own-good college kids are terrorized by an unstoppable masked killer, the final girl must outsmart him to survive. Only in this movie, the killer literally cannot be stopped (or killed).

Sam wakes up in a cold, metal-covered room with a long streak of blood flowing from the door. The blood trail leads to a mutilated body. The body is her boyfriend lying in the corner of the room. Obviously frightened, she still mysteriously knows where she is and whom an ominous, forceful voice on an intercom belongs to. It's her father's voice. She stays in the room as punishment, and how long until she gets out she doesn't know. Hours become days. Days become weeks. In the room, Sam finds solace in talking to her nine-year-old sister through a latch built into the bottom of the room's door. This keeps herself occupied and her mind focused to prevent reoccurring flashes she has of her late mother's death. Meanwhile, the voice gives her instructions to take white pills that put her to sleep. Sam slowly pieces together fragmented memories she has from her past, and begins to understand why she stays locked in this room, for what lies inside of her cannot be let free.

After a tough split, a girl takes a "me day" to help her move on.

Bubbly cam girl, Amber, is menaced during a private chat by a mysterious and frightening user.

Adulterous L.A. Deejay Mr.C spins five tales of malice and deceit: A millennial slasher, a demonic mirror, the dark half of a literary doomsayer, a satanic parrot, and a vengeful wife scorned. Featuring film adaptations of works by Stephen King, Nicole Bird, and Alec Cizak. Based on the world's most enduring underground pulp fiction digest magazine, Pulp Modern.