British filmmaker Simon Rumley's latest, Fashionista, is a strange and visually brilliant examination of deep obsession.
Horror relies on image to promote terror and bring hideous ideas to life.
A close analysis of Jimmy Sangster’s script and the differences between film and book.
Holland would be well advised to place the emphasis on stronger scripts and to dispense with his trifling on-screen introductions.
Boasts edgy performances and a script which focuses on the here and now rather than excessive backstory.
In conversation with playwright Carl Grose on his fast and loose tribute to Parisian theatre company, Le Théâtre du Grand-Guignol.
Bleak and multi-layered, the performances are solid throughout, the film benefiting enormously from stylish cinematography.
While undeniably quite remarkable in overall aesthetic, Blood Moon seems to build to a climax which never fully materialises.
A half-baked, ambitious ending, but the film is effectively creepy and satisfyingly lensed, its shocks permeated with a melancholy calm.
An exhaustively researched, largely successful attempt to analyse the subversive qualities inherent in the horror cinema.
A joy to read; insightful and well researched, it serves as encouragement to return to Halloween once again.
Sheer Filth was one of the more eclectic fanzines, covering not only cutting-edge exploitation but strange music and literature.
Not all of the tales are memorable but overall The Best British Horror 2014 is an agreeable, worthwhile anthology.
The body count is huge, the dialogue abysmal, the story perfunctory at best, yet the enthusiasm ensures it's never tiresome.
An excellent study in its own right, well researched, informative and intelligently written in a clear, presentable style.
Nothing but fun is to be had here, the film a catalogue of gore and nudity posing as a behind-the-scenes survey of SFX techniques.
The upbeat tone is maintained so thoroughly that, even when the blood rises in gouts, it doesn't dampen the lightheartedness.
In conversation with Paul Hyett on his directorial debut, The Seasoning House, and the transition from SFX to directing.
A sense of conviction and commitment to realism prevents the film from seeming an exercise in exploitation.
Follows original events more closely and benefits from this with a much more coherent and progressive storyline.
We speak with Hammer historian Marcus Hearn about restoring Dracula in high definition for its incredible, definitive release.
After I had viewed it as many times as I could stand, I had to put on Red Roses of Passion to restore my respect for Sarno.
A classic in its own unique way, embraced now for 30 years by those who savour off-beat films that foil expectations.
It's pure pantomime and about a decade too late, but with the lights down and sound up there's fun to be had.
Despite the potentially ominous setting, this is a lethargic outing augmented by lifeless direction and a leaden script.
You would almost expect tongue planted firmly in cheek, yet this sagging clod of a movie takes itself quite seriously.
A stalk-and-slash film with very little stalking or slashing, little happens until the inevitably contrived conclusion.
Zombie fans will enjoy the numerous genre references, but many will see the same old tired and perfunctory plot devices.
B-movie fluff at best, dull at worst, and not a patch on the films it tries to emulate. Fortunately, it doesn’t take itself too seriously.
We speak to SFX maestro Greg Nicotero about the power of make-up and the upcoming series of The Walking Dead.
The script really is slow, with nothing remotely interesting happening until the final few minutes. But what an ending.
A cruel indictment on contemporary Japanese youth and their despondency, which unravels its cruel web satisfactorily.
With huge jump scares and more subtle, creepy moments, this is a film which has mastered the whole spectrum of horror filmmaking.
A great example of how the first-person horror subgenre works its magic, but it also highlights some of its core flaws.