The Midnight Peepshow is a delight if you like it gory, claustrophobic, and downright bone-chilling. Technically an anthology of three vignettes, each with a different director, the film ties together tightly in a mind-bending labyrinth that changes the game in every act, yet makes perfect sense when put all together. Mostly. The more I think about the end, the more questions I have. But this isn’t necessarily a bad thing.

The nature of movies like The Midnight Peepshow is to never show their full hand. I feel I came away with questions because I was supposed to. It’s hard to explain without getting into spoiler territory, but the film’s blend of dark web/tech horror and supernatural horror makes for a puzzle of a film I’ll definitely be trying to piece together for a while.

If you go chasing rabbits, and you know you’re going to fall…

Valentine’s Day. Graham (Richard Cotton), a wealthy Soho investor, has just had his wallet stolen on the way to the bar. Graciously, he allows the thief to keep it, if she’ll only let him keep the photo of his wife he keeps inside. She does, and he continues on with his night, meeting up with his friend and talking shop with him over glasses of whiskey. The friend eagerly tells Graham all about the Black Rabbit, a dark web site where even the darkest sexual fantasies can be made real for the right price. Graham warns his friend that the Black Rabbit sounds like bad news, but they part ways amicably without too much discussion on it. On his way home, Graham stumbles across a place called The Midnight Peepshow, where he lets his curiosity bring him down a very dark rabbit hole indeed.

“Two pounds,” explains a black-veiled madame (Chiara D’Anna) at the front desk, “and the ladies will bare all.”

I think my overall favorite vignette was “Fuck, Marry, Kill,” directed by Andy Edwards. It was so different from the rest of the film that it really drove home the overall horror. It definitely made the end of the film more satisfying. And I wanna give a shoutout to the performance of Jack Fairbank as Liam. Something about his cheeky yet earnest bearing (and Essex accent) had me doing a triple take to be sure I wasn’t looking at Will Ospreay (bruv).

While it isn’t an entirely fair comparison, I can’t help but draw comparisons to Cam (2018). Both films are neon-bathed psychosexual thrillers that blend the terrors of tech with the terrors of the supernatural. Both critique the treatment of sex workers without vilifying sex work. Both have cheesy moments that definitely won’t sit the same with everyone. But The Midnight Peepshow ratchets up the intensity. It’s gorier. It’s grimier. It dives headlong into matters of sexual violence and abusive relationships throughout. It’s definitely harder to watch. But it’s no less good.

The Midnight Peepshow is not for the faint of heart or weak of stomach, but if you can handle it, it is absolutely worth your time.

8.5 out of 10 Black Rabbits