Do Not Enter

There is something almost ironic about seeing, in 2026, a horror film built around the idea of streamers seeking fame on the Internet, since the very culture it critiques is now one of the main drivers of genre cinema. With Do Not Enter, Mark Klasfeld makes the leap from music videos to feature film directing with a project that feels both familiar and strangely timely, adapting David Morrell’s novel Creepers into a compact 90-minute descent into paranoia, decadence, and digital obsession. From the very first minutes, the film establishes a tone that blends the fantasy of urban exploration with the tension of old-school haunted houses, and as someone who has been following horror trends for decades, I couldn’t help but smile at the way the film knowingly plays with clichés before turning them into something darker. The concept of influencers breaking into an abandoned hotel to get views may seem like a simple gimmick, but the screenplay by Stephen Susco, Spencer Mandel, and Dikega Hadnot, quickly reveals a more cynical dimension, showing how the need to stay relevant online can push people into situations far more dangerous than they anticipated—a theme that feels disturbingly realistic in an era where any risk can become content.

The setting of the Paragon Hotel is undoubtedly the film’s greatest asset, and it reminds us of those rare productions where the location becomes a character in its own right rather than a mere backdrop. Filmed in Bulgaria but serving as a convincing stand-in for New Jersey, the building is captured with a sense of scale and texture reminiscent of late-1990s thrillers, when abandoned spaces still felt mysterious rather than overused. Jake Manley carries the story with a performance that strikes a balance between arrogance and vulnerability, making his character, Rick, believable as someone who started seeking thrills for fun and found himself trapped by his own personality. Adeline Rudolph, Francesca Reale, Shane Paul McGhie, and Kai Caster form a believable group dynamic, and what I appreciated most is that the film takes the time to show how much their online personas differ from who they really are once the cameras are off. Javier Botet’s arrival as the Pale Creature brings the film right back into the heart of the genre, and anyone familiar with his work will recognize that unique physical presence capable of transforming a simple silhouette into something truly unsettling without resorting to excessive special effects.

What surprised us most was how Do Not Enter refuses to choose between thriller and supernatural horror, constantly oscillating between rival intruders, psychological tension, and something far less explainable lurking in the hallways. This instability gives the film an unpredictable rhythm that sometimes feels chaotic but also keeps it alive, especially in the second half where the story becomes less about exploration and more about survival. Watching the group gradually realize that the hotel isn’t just abandoned but hostile reminded me of the first time I saw films like Session 9 or House on Haunted Hill, where the fear comes as much from the environment as from the monsters themselves. Nicholas Hamilton, Brennan Keel Cook, and Laurence O’Fuarain provide solid support, but the real tension comes from the sense that the characters are trapped not only within the building but also within the image they’ve created for their audience, unable to admit their fear because the livestream must go on. This idea, simple as it is, gives the film a modern twist that elevates it above the classic haunted house story.

If the film has weaknesses, they stem from its ambition to juggle too many tones at once, and there are moments when the pacing feels rushed, as if the story wanted to explore the mythology of the Paragon Hotel in greater depth but never quite had the time. Yet Mark Klasfeld displays surprising confidence in his direction for a debut feature film, particularly in the way he uses narrow hallways, flickering lights, and the constant presence of cameras at the heart of the story to create tension without spelling everything out in detail. Ultimately, Do Not Enter works best when it sticks to its central idea: that the real danger isn’t ghosts, criminals, or the creature in the darkness, but the need to keep moving forward even when all your instincts are telling you to stop. It’s not a groundbreaking horror film, but it’s a smart and entertaining one, proving that even in a genre overflowing with abandoned buildings, there’s still room for stories that reflect the anxieties of the times we live in.

Do Not Enter
Directed by Marc Klasfeld
Written by Stephen Susco, Spencer Mandel, Dikega Hadnot
Based on Creepers by David Morrell
Produced by Jordan Schur
Starring Jake Manley, Adeline Rudolph, Francesca Reale, Laurence O'Fuarain, Nicholas Hamilton, Javier Botet, Kai Caster, Shane Paul McGhie
Cinematography: Yon Thomas
Edited by Patrick J. Smith
Music by Blitz//Berlin
Production companies: Lionsgate, Suretone Pictures
Distributed by Lionsgate (United States)
Release date: March 20, 2026 (United States)
Running time: 91 minutes

Viewed on March 20, 2026 (VOD)

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