Say Goodbye to This Twisted 111-Minute Horror Hit Leaving HBO Max in 2 Weeks

Published Aug 22, 2026, 8:00 PM EDT

Rohan Naahar is a News Writer for Collider. From Francois Ozon to David Fincher, he’ll watch anything once. He has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also writes obsessively about the box office, charting the many hits and misses that are released weekly, and how their commercial performance shapes public perception. In his time at Collider, he has also helped drive diversity by writing stories about the multiple Indian film industries, with a goal of introducing audiences to a whole new world of cinema.

After breaking out with the acclaimed Showtime thriller series Yellowjackets, Sophie Thatcher has made some interesting career choices. She didn’t gravitate toward a major franchise, but appeared in a string of genre movies that got progressively weirder, with the latest being Nicolas Winding Refn’s Cannes title Her Private Hell. The movie grossed just $1 million at the box office and divided critics with a 40% score on the aggregator website Rotten Tomatoes. Before that, Thatcher headlined the sci-fi film Companion, produced by Zach Cregger. But one of her earliest breakout roles on the big screen came in a horror movie that quietly grossed more than $60 million at the box office.

The movie in question is currently streaming in the United States on HBO Max, but not for much longer. It was directed by Scott Beck and Bryan Woods, best known for writing the script for A Quiet Place. Thatcher played a conflicted missionary for The Church of Jesus Christ of Latter-day Saints (LDS), who finds herself imprisoned in the house of a mysterious man during a storm. She was joined in the cast by Chloe East, who played a fellow missionary, and Hugh Grant, who played the menacing homeowner. The movie was released domestically by A24, emerging as one of the distributor’s most successful sleeper hits.

Your instincts, your strengths, and your particular way of thinking under pressure point to one villain you actually have a fighting chance against. Everyone else — good luck.

Jason is relentless, but he is also predictable — and that is the gap you would exploit.

Michael watches before he moves. He is patient, methodical, and almost impossible to detect — until it’s too late for anyone who isn’t paying close enough attention.

Freddy wins by getting inside your head — using your own fears, your own memories, your own subconscious as weapons against you. That strategy requires a target who can be destabilised.

Pennywise is ancient, shapeshifting, and feeds on terror — but it has one critical vulnerability: it cannot function against someone who genuinely stops being afraid of it.

Chucky’s greatest advantage is that nobody takes him seriously until it’s already too late. He exploits the gap between how something looks and what it actually is.

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