User reviews

Written and directed by R. J. Daniel Hanna, the movie follows Chris (Brendan Bradley), a separated new father, creating an account on a dating app and finding himself lured by a mysterious girl he matched with named Adra (Rachel Cook).

Succubus is a movie that has a decent beginning where what is seen is mostly through the screen as the protagonist is video calling with his best friend while swiping right on the dating app. You can feel where the story is heading as he comes across Rachel Cook's profile. A profile that screams scam in every single way where to proceed would require a suspension of logic and sense, but nonetheless she is real, and from then on strange things start to happen. Brendan Bradley is good playing the struggling father, and Ron Perlman as Dr. Orion Zephyr is definitely a strong presence on the film. However, the story loses its steam in the second half where the turn of events departs from what came before and goes for the paranormal. It is one of those cases where it probably would have worked better if the story never left the initial setting and the realm of the real.

It could be said the movie is an allegory for monogamy since many times the decisions the protagonist takes, ultimately putting himself in danger, are always related to finding the fulfillment of desire outside matrimony. It would seem Succubus is preaching that pleasure should only be sought between monogamous normative relationships, and everything outside its realms is deemed a one-way path to doomland. In any case, it is a movie with a good idea that sadly was not translated to the screen.

There appears to be a theme of making men weak and stupid in this current time. It's an acceptable archetype for all audiences it seems. This movie plays on the low self esteem of a new father separated from his wife. This Beta male swipes right on Adra who has all the red flags and instead of getting linked to her OF site he gets tempted by her.

The writing gets weaker as the movie goes along. It gets very predictable especially if you are a fan of horror.

Ron Perlman is a strong presence as usual and Brendan Bradley sells the dumb dad part well.

Rachel Cook who plays the succubus does a better job acting here compared to Kill Shot, but that's not saying much from that mess of a film. She was clearly signed on to draw her IG and OF followers to buy the movie. She was casted well since she does this kind of work in real life.

The effects were OK, but not horrifying. There were some surprises in the end but not worth buying.

The acting is subpar along with a boring plot. Ron Perelman such a good actor but should have simply said no to this script. It's not gripping barely "scary" The director did his best with what he was given. Ron Perelman and Rosanna Arquette can't carry the whole load to make this movie interesting or watchable. While Ron Perelman character has a good backstory to fit into the story development the other actors can't come across convincingly. The succubus woman of fathers desire is attractive but can't act at all. When fans putting up 10 rating and naming her in their titles for reviews that's a red flag movie is no good move on pick another movie there's plenty choose from.

I didn't have high expectations but the movie turned out to be quite good. It kept me on the edge of my seat and wasn't bored at all.

The actors were all good. Rachel Cook's performance was great. I was really surprised by it because after watching her previous movie (Kill Shot) I wasn't sure if she had much acting skills. But she was awesome in this one.

While the majority of the film was great, it completely fell apart in the final act. What an anticlimactic conclusion to an otherwise great little horror story.

Because of the stereotypical horror cliffhanger I would love to see a sequel especially if it doesn't pick up 6 months later but 20 years later or something like that. I think there is a lot of potential there.

(And just a sidenote: Was the full.frontal male nudity really necessary?)

Generally, the horror genre has not been the go-to category for streaming services lately, with most product mainly imitative, paying only lip-service to the classics. 2024 however has a different feel to it, with some very talented people, both in front of and behind the camera, approaching the core notion of horror from new and interesting angles. Check out for example the novel scripting in ABIGAIL, LONGLEGS, and the completely unforgettable (even if you actually want to) THE SUBSTANCE. SUCCUBUS 2024 continues this trend. Creator R. J. Daniel Hanna, best known for the well-received social drama MISS VIRGINIA 2019, goes genre-hopping here. He attempts to deliver a product that both scares and educates at the same time. The really scary (!) thing is that it almost hits both targets, with a tale that is unique enough to hold attention, and alert enough to flag the "horror" of Social Media in our daily lives. Perlman as supporting actor always adds gravitas to any production, and Rachel Cook will likely bring in enough of her worldwide fans to put SUCCUBUS on the 2024 Leaderboard. ((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))

I loved it. Absolutely a creative, lovely project!

While looking for this film I stumbled upon the same-titled Russian film, thinking it was this. The quality of that one primed me for low expectations with Succubus (2024).

Let me tell you! This film EXCEEDED my expectations! It was funny, suspenseful, and really well done.

My only only quams is how shaky / glitchy the video calls were the Entire movie! Sure, a few times is accurate, but at times it felt a little unececcary and distracting.

That said, creator, don't read the normie comments on here. I mean, sure, you can. I loved your take on modern society, and how although this film doesn't take itself too seriously, it is incredibly sexy.

Good job the casting as well. It is because of Rachel Cook that I ever heard about this movie. I've even recommended it to my boss. LOL How awkward! But totally worth it!

About to rewatch it just for fun. Peace.

Succubus is a captivating and innovative horror thriller that skillfully blends the supernatural with the anxieties of modern dating. Writer-director R. J. Daniel Hanna delivers a stylish and suspenseful film that keeps you on the edge of your seat from beginning to end.

Brendan Bradley shines as Chris, a vulnerable father navigating a separation and seeking connection in the digital world. His performance captures the raw emotion of loneliness and longing, making him instantly relatable. Rachel Cook is mesmerizing as Adra, the seductive succubus who ensnares Chris in her web. Her portrayal is both alluring and terrifying, perfectly balancing vulnerability with a chillingly sinister undercurrent. Ron Perlman delivers a powerful supporting performance as the enigmatic Dr. Zephyr, adding another layer of intrigue to the film.

The film's unique approach to storytelling, seamlessly integrating "screenlife" elements with traditional cinematography, is a testament to Hanna's innovative vision. The "red room" sequences are visually stunning and emotionally disturbing, showcasing the film's technical mastery. The subtly pulsing electronic score and sharp editing further enhance the suspenseful atmosphere, creating a truly immersive experience.

Succubus is not just a horror film; it's a thought-provoking exploration of human connection, isolation, and the dark side of desire in the digital age. Its clever use of symbolism and social commentary elevates it beyond typical genre conventions, making it a must-see for fans of horror and thought-provoking cinema alike. Rachel Cook's Special Mention Best Actress award at Grimmfest and the film's Audience Award are well-deserved recognitions of its achievements. A triumph of contemporary horror.

This film is a dark jewel, a shimmering exploration of loneliness, desire, and the seductive pull of the digital void. It's a story of psychological unease that unfolds not in darkened basements or fog-shrouded graveyards, but in the sterile glow of a laptop screen, the echo of a disembodied voice on a video call, the relentless ping of a dating app.

Brendan Bradley gives a performance of remarkable sensitivity as Chris, a man teetering on the precipice of a breakdown. This is not the tired trope of the pathetic, emasculated male; this is a raw, unflinching portrait of a father, a husband, a person grappling with the crushing weight of modern life. The scene where he sits catatonic, tears silently streaming down his face as Ron Perlman's Dr. Zephyr delivers a chilling warning, is both heartbreaking and terrifying. Some might call Bradley's acting in these moments "droll" or "listless," or even a "phoned-in" performance, but they clearly weren't paying attention. The quiet intensity he gives, his nuanced portrayal, embodies what other actors and reviewers fail to grasp.

Rachel Cook's Adra is incandescent, enigmatic, everything a succubus should be. Cook gives us a creature of mesmerizing allure and primal magic, a haunting blend of innocence and danger, hope and despair, vulnerability and power. Her transformation in the movie's brutal, practical-effects-driven finale, from dream-lover to demonic power, is a feast for the eyes and captivates the viewer completely.

Director R. J. Daniel Hanna creates an atmosphere of creeping unease, using technology itself as a tool of terror. The intrusive buzzing of notifications, the pixelated glow of screens, the hushed intimacy of video chats: all become instruments in a symphony of dread and disturbance. The electronic score pulses, mirroring Chris's unraveling mental state.

What some have criticized as excessive dialogue is, in fact, another layer in the film's complex tapestry. Ron Perlman as the disgraced scientist adds another dimension to the film's exploration of loneliness and longing. His limited online interactions and detached performance make him a poignant, modern trope. The disjointed conversations emphasize social anxieties. Through masterful editing and darkly comedic moments, like Eddie receiving maternal guidance mid-flirtation (unaware his mother is on camera), the film skewers the absurdities of our digital world.

This is a film that will stay with you, a visceral experience not for the faint of heart. Is it excessive? Perhaps. But that is precisely where its power lies. Do we, seduced by the promise of connection and trapped by our screens, truly know the nature of the darkness lurking just beyond the screen, in ourselves, or those digital whispers promising a fulfillment that isn't remotely there?

I purchased it this morning and seen it just now. I hope the writer will create a similar project in the future but with happy-ever-after ending because that it is the challenge when imagining Other Species and us and all the possible angles/directions which an adventure as such could really lead to. Most other works on this genre bow to mythological dualistic schools of thinking, of socio-religio battles of personified good and bad. I think this work hints beyond that limit and I hope to see more! Brilliant and entertaining! I did love the Movie, the actors and all. Cheers, Sky a.k.a. JD Aeon.

This film is not simply a horror movie; it's a captivating exploration of human fragility in the digital age, a visceral descent into the isolating depths of loneliness and desire. It's a story told in the flickering glow of screens, in the hushed whispers of late-night video calls, and in the raw, unflinching portrayal of a man on the brink.

Brendan Bradley delivers a performance of astonishing vulnerability as Chris, the weary single father navigating the wreckage of a broken marriage. He doesn't just portray loneliness; he embodies it. We feel the weight of his exhaustion in the slump of his shoulders, the tremor in his voice during strained FaceTime conversations with his estranged wife, Sharon (Olivia Grace Applegate, delivering a performance of quiet strength and palpable anxiety). We witness his yearning for connection in every hesitant swipe on his dating app, a modern ritual of hope and rejection played out in the cold light of his phone. While other reviews have focused on Rachel Cook's undeniable allure as Adra, it's the terrifying juxtaposition of her ethereal beauty with the chilling emptiness behind her eyes that truly elevates this movie. Adra is not just any seductive character. From the moment her luminescent, sensual gaze captures Chris, Cook's performance crackles with a sinister energy, embodying the age-old temptation of a man seeking relief from the crushing pain of loneliness.

R. J. Daniel Hanna's direction is masterful, wielding cinematic language with precision. His inventive camera usage gives the film its power. What some have mistakenly dismissed as a low-budget aesthetic is a brilliant use of visual metaphor, turning the mundane into the menacing. The tight framing of the initial screen-based scenes reinforces the sense of being boxed in. As the story intensifies and Adra draws Chris further into her world, the frame expands, especially during scenes of Adra in her horrifying true succubus persona. These scenes, best viewed on a large screen, possess a visceral, otherworldly power that will burn indelible images into viewers' imaginations long after the film ends. The subtly pulsing electronic score by Andrew Brick Johnson amplifies the creeping dread and the tension simmers during Chris and Adra's disturbing online rendezvous, becoming a terrifying, sadistic, yet darkly prescient crescendo. Hanna masterfully balances the eroticism of the genre with a thought-provoking discourse about how genuine intimacy manifests in our current reality.

Critics might mistakenly criticize the often exaggerated dialogue. However, it serves as symbolic caricature and a thought-provoking modern trope. The disjointed conversations highlight the chaotic dissonance created by our digital lives. Through masterful editing and intimate setting intercuts, such as when Eddie flirts with Adra while his mortified mother unknowingly yells at him through his monitor, the film captures the tragicomedy of colliding digital worlds. Ron Perlman as Dr. Zephyr brings an unsettling gravitas to the film. His pained intensity and quiet desperation in his attempts to communicate across the digital divide to a lost soul embody the movie's key themes. Perlman masterfully encapsulates the universal desire for a safe, meaningful, and genuine connection, no matter the cost. The fact that his scenes were filmed in virtual isolation enhances the unnerving nature of his character, a victim of his own descent alongside Chris.

With reality colliding profoundly with demonic desire and the need for connection, Succubus sets a new standard in horror. It explores how these desires manifest in the digital age, raising a disturbing question: as we open ourselves to the digital void, will those whispers haunt us too, these desires as old as time itself?

I liked this movie quite a bit. I know nothing about dating apps - but the use if a dating app and the uses of chat and the computer/social media in general was very effective. My guess is that no dating app has women as young and attractive as most of those in whatever app Chris was using. And probably that not many women that young and attractive are very interested in going out with a father in the middle of a separation with a very young child, but what do I know?

If you get past that - and suspend belief that said father would not be suspicious about a woman who looked like Rachel Cook oozing over him - the movie is very much fun. Ron Perlman is not going to win an Academy Award for his performance, but the character was fun - I spent a lot of the movies trying to figure out whose side he was really on.

The succubus mythology was interesting and the final ending both surprising and foreshadowed.

An altogether competent bit of fun.

This intense and visceral horror film about the dangerous and obviously seductive succubus (a female demon that preys on men) takes its material seriously. It is a slow burn of authentic plot design that portrays an estranged husband whose descent into terror is believable and realistic. This sinister movie has a credible message about temptation and its consequences using even some echoes from films such as John Cusack's superior occult horror 1408 (2007) and as well as his bizarre role in the highly rated Being John Malkovich (1999). The low IMDb rating could be attributable to the overall creepy and insidious nature of the succubus as depicted in this movie which would repulse women and terrify men. However, this movie by its end has both a bitter yet sweet ending of sorts and the excellent special effects and the creeping horror of its believable plot outline is worth remembering for anyone who lives on the edge of instability and wanton desire.

This isn't your garden-variety demon flick. This is a film that burrows deep under your skin, a chilling exploration of modern anxieties wrapped in a seductive, darkly humorous package. It's a story about connection, or rather the desperate lack thereof, in a world saturated by screens and superficial swipes. From the first unsettling scene of a desperate scientist, Dr. Zephyr (a magnetic Ron Perlman), trying to share his world-altering research via shaky webcam footage, the film establishes a unique visual language, a claustrophobic intimacy born from our dependence on technology.

While some have criticized the film's heavy reliance on screen-based interactions, this "flaw" is precisely its strength. Director R. J. Daniel Hanna masterfully uses the familiar glow of phones, laptops, and the unnerving surveillance of the baby monitor not only to tell a story, but to create a chilling metaphor for our increasingly mediated existence. We become voyeurs, trapped alongside Chris (a captivatingly vulnerable Brendan Bradley) in his digitally walled world. We see his desperation mirrored in every hesitant swipe, every furtive glance at his phone as he searches for solace in the void of online dating. The camerawork by Jimmy Jung Lu reinforces this isolation, utilizing tight close-ups that highlight the subtle tremor in Chris's hand, the flicker of doubt in his eye, intercut with quick, distant camera angles of Rachel Cook's mesmerizing portrayal of the sultry Adra. Cook's Adra radiates both deep connection and raw animal lust across the miles. These isolated shots become more unsettling still when Chris realizes this virtual siren he's come to depend on is not human, but otherworldly. This shock-and-awe reveal during a terrifying, sadistic, and almost darkly comedic dream sequence ends with a scream, a whisper, and something unforgettable, perhaps the truest nightmare horror onscreen ever imagined.

This movie succeeds where others, like Hanna's earlier work in Miss Virginia, focused primarily on social commentary. It subtly blends important themes surrounding masculinity and vulnerability through an eerie, hypnotic score by Andrew Brick Johnson. Quiet synth chords mix with pulsating bass lines to echo that ancient, timeless, primal desire, especially during Chris' poignant monologues, including his heartbreaking, soul-baring confession after the tragic end. By emphasizing each character's inevitable emotional, psychic, and physical breakdown, the film achieves a horror of an entirely different magnitude.

Some reviewers have criticized certain secondary characters, such as Chris' mother, for their awkward, over-intrusive, and overly verbose conversations. However, I found this a creative storytelling and casting choice. These characters become caricatures within a story unfolding for and through Chris and Adra's respective digital spaces, a familiar trope within modern online personas. In these portrayals, we suddenly realize just how alienated Chris has been feeling while simultaneously emphasizing the very reasons this intelligent young man has fallen for Adra's allure. A standout moment involves Chris interacting with Adra on his laptop, unaware that his mother and wife are observing him through the baby monitor, as his friend Eddie makes inappropriate remarks during a simultaneous conversation. When Eddie's mother enters the frame to chastise him, unaware she's on camera, it creates a nail-biting blend of techno-horror and dark comedy. This juxtaposition of intimate settings (office, bedroom, and home) reveals a unique visual and thematic narrative brilliance.

Ron Perlman's portrayal of Dr. Orion Zephyr, the disgraced scientist desperately trying to redeem his tarnished reputation through online interactions with Chris, adds another layer of thematic depth. Perlman's brief, almost detached performance captures Orion's emotional isolation, lending a poignant gravitas to his pivotal role. The fact that his scenes were filmed in virtual isolation enhances, not detracts from, the power of his storyline, making them all the more unnerving.

In our increasingly artificial virtual world, with reality colliding evermore profoundly with another world filled with demonic desire and a desperate need for connection (no matter its horrific cost), Succubus sets a new paradigm not just within the modern urban-legend myth genre, but within horror itself. By exploring not just where and when such desires can occur, but how they manifest in our digital age, the film taps into a primal fear: will those digital whispers haunt us too, as these desires, now more than ever, become as ancient as ancient stories themselves?

This movie has been very underrated. My opinion is a pretty good well done movie. Ron Perlman was excellent and so was. Rachel Cook As well as the other actors. Not a cheesy horror movie like people would think. Highly recommend watching. Anyone who is interested in horror movies and the paranormal supernatural genre should watch this Don't listen to the bogus critics reviews. Think for yourself and come to your own conclusions and opinions on this movie. I think it deserves a sequel. Especially with Ron Perlman's character and more. Remember that critics originally underrated the terminator when that first came out.

Adra was absolutely stunning perfect performance!! Everyone played a great role in the movie. Was on the edge of my seat great movie definitely recommend to see it. Love to support rachel cook she's made for the camera :) never know who your going to meet on those dating apps lol. Wish I could of seen it in theaters. Everyone's performance was great hope she makes another movie. Adra is so sexy... perfect performance for her she was made for the camera. Super sexy and scary movie love it wow. Been waiting for this movie to come out! Very sexy movie and funny in some parts lol his friends in the beginning lol.

This isn't your typical demonic romp; Succubus is a digital-age fever dream that lingers long after the screen fades to black. It's a visceral exploration of modern anxieties, weaving a chilling narrative of loneliness, temptation, and the insidious power of technology.

Brendan Bradley shines as Chris, a sleep-deprived new father grappling with the implosion of his marriage and the seductive pull of online escapes. Bradley's performance is heartbreakingly authentic, capturing the exhaustion and longing of a man teetering on the brink of collapse.

Enter Adra, played with bewitching intensity by Rachel Cook. Cook is electrifying; her performance is a masterful blend of sensuality and menace, a siren luring Chris into a labyrinth of desire and despair.

Director R. J. Daniel Hanna demonstrates an unflinching vision. His chilling aesthetic, defined by a muted color palette and claustrophobic camerawork, mirrors the protagonist's mental descent. The innovative use of sound design - a symphony of whispers, digital distortions, and unnervingly silent moments - heightens the tension, building an atmosphere of dread that permeates every scene.

And when those scenes erupt in violence, Hanna employs startlingly effective practical effects. These moments are not for the faint of heart - they're raw, visceral, and intensely memorable.

Woven throughout this darkly erotic tapestry is a subtle but profound layer of symbolism. Ancient alchemical motifs blend seamlessly with the mundane trappings of our digital lives, transforming iPhones into sinister tools of seduction and social media into a desolate landscape of yearning and isolation.

Succubus challenges genre conventions, crafting a horror narrative that is as emotionally resonant as it is terrifying. The film doesn't shy away from exploring the darker facets of our online lives - the thirst for validation, the fleeting promise of connection, the ease with which we surrender our vulnerabilities to the digital void. This film is an experience - one that will stay with you long after the final frame, leaving you questioning the seductive power of technology and the fragile nature of reality itself.

When I heard Brendan Bradley was in a movie, I was absolutely shocked! His acting in this film does not disappoint, not to mention the wonderful plot line and emotional arc of the entire story. I felt a genuine connection to Chris, and I believe that connection stayed true till the end. A wonderfully talented cast of actors, and the final product proves that everyone poured their heart and soul into this movie. Not to mention the relieving comedic moments! This movie had me laughing and screaming at the TV in such a good way! Please, if you haven't already, watch and support this beautiful masterpiece.

As a casual moviegoer, I often find myself gravitating towards lighter fare: rom-coms or action flicks that offer pure escapism. However, something about Succubus whispered to me, promising a journey beyond the ordinary. I'm so grateful I heeded that call, for R. J. Daniel Hanna's film has not only captivated me, but profoundly shifted my understanding of modern storytelling within the horror genre.

Brendan Bradley's portrayal of Chris, the beleaguered new father adrift in a sea of self-doubt and loneliness, is nothing short of breathtaking. He embodies the everyman with heartbreaking authenticity, drawing us into his vulnerabilities and anxieties as a single dad struggling to reconnect not just with a potential new partner, but more importantly with himself and his almost broken family unit. We see in the actor not pity, but sympathetic understanding. The humor from other, lighter aspects within Chris' character offers some relieving sighs while building and maintaining tension, leading to its inevitably horrific resolution.

Rachel Cook's portrayal of Adra transcends the typical "monster" trope. A fiery intelligence dances beneath the surface of her dark presence onscreen, illuminating a captivating creature of ancient, timeless yearnings. She owns every scene, captivating with slow deliberation, then delivering a masterfully primal, powerful final full-body form performance. She manipulates not only Chris within her wicked web of desire, but also the viewers, keeping them enthralled with her subtle allure, then shocking with her chilling revelations. In both her appearance onscreen and as only a whispered promise via phone and video chat, we feel an otherworldly magnetic pull toward this succubus, this personification of feminine fortitude, prowess, and magic.

In a particularly interesting transition, Hanna starts his film in the confines of online communication: texts, and antiseptic screen time. Cleverly so, we are asked to divide our attention between video chats and chat screens. It's an anxiety-inducing and all-too-familiar feeling. Attention is divided, and motivations are diluted. At this point, we sort of understand why Chris might give in to the siren call of Adra. Then, the film's scope eases beyond screentime to the real world. This is easily one of the more elegant transitions between found footage and traditional cinematic storytelling that I have seen in a while. Production design by Eric Peterson also shines. Props like baby bottles, monitors, even simply a glowing red wall become imbued with a sense of unease and foreboding. Peterson masterfully uses the mundane to amplify the growing horror.

The technical aspects of the film are equally impressive. Cinematographer Jimmy Jung Lu creates a series of haunting close-ups during Chris' intimate scenes with Adra and startling far-range shots during dream sequences that give you chills; the images are burned into your memory long after the film ends. While some scenes offer almost a Polanski feel from Repulsion, each frame is not cliché, nor merely imitative. R. J. Daniel Hanna gives a unique modern twist with Succubus, offering artful, genius visuals.

Succubus goes beyond simple scares. Hanna uses horror as a lens to scrutinize the shadows cast by our digital lives. The film becomes a battleground, challenging the protagonist, and the audience, to confront the reality that the digital world, while connecting us in one way, may consume us in another. The film creates these digital interactions in a very down-to-earth and authentic form, giving a creepy, real feel of plausibility and disturbance.

This movie, while having many aspects that are unique, delivers more through story and character-specific monologues; in Bradley's, then Adra's yearning, desperate cries not to cause pain but for validation, before descending or rising powerfully - hauntingly - towards some unknown resolution. This leaves audiences pensive as end credits roll, begging each and all, including and especially lifelong fans of not merely thrillers but rather any connoisseur for stories involving human spirit versus falling victim to that evil existing perhaps in many places: inside and perhaps throughout even our technology. This Succubus delivers. With thought-provoking style, it offers a few scares, a little sensuality, and haunting beauty. It challenges and perhaps provokes viewers to consider that age-old universal need within: Where do we go? How far can anyone even go? And who do we, how might we, eventually allow technology into those once-deemed intimate, most guarded private spaces within us, between souls? And more importantly, at what sometimes horrific, shocking, terrifying price - as played to masterful levels in Bradley's raw, honest yearning cry - not just before, but during and now always, will viewers know what is haunting us?

This is a unique take on the horror franchise that I thoroughly enjoyed. The beginning starts off a little slow and the iPhone screens are kind of in the way, but as the drama unfolds the movie is truly unique in its take on the horror franchise.

Rather than an axe man coming around the corner, you have demons and parallel dimensions causing tension. There's also some uniquely gruesome scenes as well. For someone who doesn't generally watch horror movies, I was pleasantly surprised.

The transitions are rough in a good way, reminding me of something like the Blair witch project but not from the camera perspective.

All of the actors did a great job portraying their role. Standouts were Ron Perlman and new to the scene Rachel Cook. Ron Perlman did a great job being a "bad guy but is he really?" Kind of character, while beautiful Rachel Cook turned into a grotesque demon with many in some cases extreme surprises.

Brandon Bradley was also an actor I hadn't been familiar with, but he played his role very well. At no moment was I thinking he was anything other than a Dad hooked on a dating app.

A huge breath air in the Hollywood trend of not taking risks and making essentially the same movies. Glad I was able to see this one.

Okay, strap yourselves in, horror fans, because Succubus just unleashed a new breed of terror, and honey, let me tell you, Rachel Cook owns this film like a queen of the damned! She is Adra - alluring, seductive, and oozing with a supernatural charm that will leave you both terrified and utterly bewitched.

Forget your average, run-of-the-mill horror flick. This film plunges you straight into the heart of digital darkness, exploring our modern obsession with swiping and likes. Brendan Bradley does a phenomenal job portraying Chris, a vulnerable new father adrift after a separation. But the moment Rachel Cook appears on screen, the whole film shifts into another dimension.

Let's talk about those eyes - windows to a soul both mesmerizing and terrifying. Cook delivers a performance that is both intensely sensual and utterly unsettling. Her voice, dripping with honeyed seduction and veiled threats, will send chills down your spine. Each glance, each touch - you'll feel the electric charge of her presence, even when she's just a seductive flicker on a computer screen.

The sheer brilliance of Cook's performance is that she never overplays her hand. The seduction is subtle, insidious, drawing you into her web of desire and dread with the slow, deliberate precision of a spider luring its prey. And those makeup effects? Girl, when her true nature is revealed - absolutely. Freaking. Terrifying.

Yeah, Brendan Bradley and Ron Perlman (always a pleasure!) deliver solid performances. But Succubus belongs to Rachel Cook. This is her film. Her captivating portrayal of the alluring and lethal Adra is what elevates this film from a good horror flick to an unforgettable masterpiece.

A 10/10 tour-de-force, thanks to the unholy goddess that is Rachel Cook!

Big fans of both Rachel and Horror genre, and was happy with the movie. Could use more screen time with Rachel but there is always a chance for sequel.

The acting was great, was really impressed with the main actor was able to hold his own. Eddie was just fun and Rachel is great. Did I mention that Rachel was great?

The story was unique, I hope we can get more lore if a sequel is to happen on the succubus herself.

There was not any jump scares in the movie but I found the movie enjoyable none the less. The movie answered the important question to make it satisfying on its own

Loved the ending and the acting was good all around.

This is not your average horror film. It's a haunting and exquisitely crafted love story draped in shadows and soaked in desire. Brendan Bradley, as the heartbroken Chris, will resonate with anyone who has ever felt lost and alone in the digital age. The desperation in his eyes, the longing in his voice - it sets the stage for a demonic romance that is both devastating and strangely beautiful.

Rachel Cook's portrayal of Adra transcends the typical "monster" trope. This succubus is a creature of both terrifying power and profound sadness. The vulnerability she reveals in those stolen moments of connection will pierce your heart, even as her dark nature chills you to the bone.

Succubus will stay with you long after the credits roll, a lingering echo of lust, loss, and the timeless yearning for connection, no matter the cost. This is a film that transcends genre, becoming something truly phenomenal - a haunting exploration of the darkness that lurks both within and beyond ourselves.