This window into Viktor Wynd's unknown world is an invitation to be disarmed and seduced by the strange, the forbidden, and the inexplicable.
A highly enjoyable, atmospheric thriller that unfortunately tails off into a mere breeze instead of building into the raging, frenzied tempest it could have been.
Peppered with moments of pastiche, Kirill Sokolov's debut has a zany, kinetic energy that will appeal to admirers of off-kilter, graphic and darkly comic cult cinema.
A spellbinding tale of forbidden knowledge, ancient otherworldly entities, strange cults, and alien worlds that lurk unseen on the periphery of our own.
Offering the same taut suspense as its predecessor, there is much to enjoy in this terrific exercise in nerve-wrecking tension.
Darkly absurd humour, with a deeply unsettling score and cinematography that bolster the portentous atmosphere of dread.
While the tales are condensed, key dialogue and memorably nerve-jangling passages are retained. All are hauntingly effective.
Possessing a strong comic book aesthetic, Demon Hunter echoes the likes of Buffy the Vampire Slayer and Blade.
A fascinating central premise strongly evokes The Twilight Zone, the focused script ensuring an insular, intimate atmosphere.
A dark, terse and keenly paced little chiller that brims with unsettling ideas and nightmarish detail, subverting expectations.
Cuts to the core of the horror without ever diluting or compromising M. R. James’ carefully woven plots. Recommended for die-hard enthusiasts.
Beautifully filmed, with a bleak karmic mantra that makes for a frequently intense viewing experience.
A comic, upbeat tone throughout that features more one-liners than you can shake a severed arm at.
Gleefully absurd, a gonzo sense of humour ensures that Curtain is a disarmingly compelling and bizarro genre gem.
An almost perfect exercise in queasy tension, but would benefit from a tighter script and better characterisation.
The X-Files FAQ is an enriching and accessible exploration of one of television’s most imaginative and popular shows.
Bernard Rose’s Frankenstein is a compelling and thought-provoking yarn that retains an air of unpredictability.
With its pallid execution and rudimentary story, Navy SEALS vs. Zombies is a highly unremarkable film indeed.
Successfully posits the film as one of the most influential titles in horror cinema history.
Fascinating reading, further highlighting how groundbreaking Mario Bava’s film was.
A well-written, well-paced screenplay gradually builds tension and intrigue, ensuring the viewer is riveted throughout.
With their ingenious recreations of radio productions from a bygone era, the troupe afford us a glimpse into the past.
A wealth of interesting ideas remain undeveloped, while rudimentary direction fails to make the most of the moody location.
What could have easily been melodramatic drivel is rendered surprisingly powerful with certain moments packing an emotional wallop.
At times the film feels rather muddled, but atmospheric tension and taut pacing ensure it remains compelling.
With its retro-sleaze appeal and synth score, it perfectly emulates the gritty atmospheres of exploitation shockers such as Maniac.
Unflinchingly depicts women subjected to the same processes as the average dairy cow as it delves into the horrors ignored by society.
Charming and oddly heart-warming, it’s testament to all involved that the film feels so fresh, energetic and cuspid-sharp.
A powerful rumination on the cost of fame and the monstrous things people are prepared to do in order to obtain it.
A carefully constructed and deliberately vague set-up that milks every ounce of tension, with twists coming thick and fast.
A ludicrous blending of musical comedy with slasher flick that sets itself up as an over-the-top, camp romp, but sadly never quite nails it.
Attempts to create something more thoughtful than the usual Saw-inspired torture porn, but lacks the edge to pull it off.
While the central concept obviously lends itself to crass humour, the film actually unfolds as a delightfully quirky comedy.
A light-hearted introduction and jumping-off point for anyone new to zombies, with enough know-how to cope when the dead rise.
With its icky transformation scenes, lashings of blood and gore, and bizarre sense of humour, this has cult stamped all over it.
Tries to pass itself off as self-aware, but in the end it is, disappointingly, a rather vacuous and plodding mess.
With long takes, reliance on sound and suggestion, and chilling climax, it is one of the better found-footage titles.
With its engaging themes of destiny, fate, and redemption, After emerges as a strangely touching and haunting film.
Rich characterisation, an intriguing premise and delicately handled direction enhance this full-blooded yarn.
Atmospheric and beautifully shot, it may not take any original paths, but should appeal to admirers of Japanese horror cinema.
A bloodless take that merely skims the surface of the story’s rich depth. Uninspiring direction further renders this dreary.
While it is often overlooked, it is an effective horror flick with a dark sense of unease that is still incredibly palpable.
My Amityville Horror poses many questions, but by the film’s conclusion, very few have actually been answered.
Unstrained and anarchic, Lifeforce may not be considered Hooper’s best work, but it’s certainly one of his most wildly entertaining.
Anthony DiBlasi maintains a firm hand on the reins and ensures Missionary slow-burns its way to a satisfying and moving finale.
Improves on the formula established by the original film; by slim-lining the segments, and by featuring fewer, the impact is undeniable.
An entertaining if not very original demonic possession slash zombie gorefest that, at the very least, showcases energy and zest.
This new cut includes previously excised moments, while the top-drawer special features are worth the retail price alone.