An impressive slow burner that develops beautifully through to a spine-chilling climax, with unexpected, shocking results.
This at times excruciating feminist satire is propelled forward by Gillian Wallace Horvat’s delightfully deadpan delivery.
Roger Spottiswoode’s Terror Train is an effective comment on social order, teaching that trust in our hierarchy is a dangerous assumption.
Ambiguous and beautifully insidious as result, Rift is an impressive sophomore effort from Icelandic filmmaker Erlingur Thoroddsen.
An astonishing and brave feature debut that marks director-writer Liam Gavin as one to watch. Highly recommended.
Arrow present a limited 4K restoration of Dario Argento's startlingly assured directorial debut.
Halfworlds brings a strong aesthetic via excellent concept but is ultimately let down by poor pacing and a bad cast.
Drew Barrymore shines in a stylised affair that revels in a refreshing juxtaposition of viscera with middle-class suburbia.
Dream team Adam Wingard and Simon Barrett bring an unusually hit-and-miss affair that nevertheless delivers in a frenetic final act.
Featuring the Devil in his most vanilla of forms, horror fans will be left wanting; Lucifer is disappointingly sparse on strong imagery.
Australian outback killer Mick Taylor returns in Wolf Creek the series, an addictively unsettling watch that comes highly recommended.
As is generally the case for an anthology, Holidays is a mixed bag, touching all bases between effectively chillsome and irritating.
Presented as more a thought piece than coherent story, Observance is a truly psychological film and effectively unsettling.
Ultimately, Bachelor Games falls flat due to lacking commitment to its ideas, but the comedy stitches it together, albeit loosely.
There is nothing to recommend here; as a creature feature (mostly) missing its creature, The Sand is an arduous watch.
With a tenuously linked story that lacks supernatural finesse, Backtrack is confused, and a tiresome experience.
A missed opportunity for exploration of the relationship between mental illness and the supernatural.
Burrows beneath your skin from the off, with a sly edit that ekes out the tension to unbearable levels.
For a first-time feature, Cub is a multi-faceted approach that proves too ambitious, let down by incomplete narrative.
100 Bloody Acres is an excellent example of comedy-horror that gets the balance just right, delivering a thoughtfully layered story.
Coming from a confused premise, Killer Mermaids is an empty affair that lacks subplot and character arc.
Populated by stock types, the story is backed by little in the way of characterisation, and missing a necessary campiness.
Serves as a neat, interesting introduction to Asian folklore that allows some playing with storytelling techniques.
A slow-burn approach with a dreamlike quality that is at times hypnotic indicates a filmmaker to watch in director-writer Francis dela Torre.
Begins as a fairly run-of-the-mill supernatural story but unpredictably gives way to a wickedly funny and bloody romp.
For a film not well received at the time, The 'Burbs has dated very well. There is nothing a hard-core fan could want for in this package.
An absurd, one-gag pony, but these alien clowns look incredible even now.
Pollyanna McIntosh singlehandedly carries the film, but all good work is undone with a crude final act, leading to a laughable climax.
From the archives, an interview with the jovial Joko Anwar, writer-director of The Forbidden Door.
It is not just in its writing and direction that Housebound excels; the production design is a feast for the eyes.
With frustratingly little to sink one's teeth into, the film is just as forgettable as the formulaic films it seeks to mock.
The inevitable showdown is a hoot, but overall, a throwaway experience that should have spent more time in development.
A script crying for a horror backbone is frustratingly weak for the most part, its tedious jump-scares no substitute.
The promised 'extreme shock and tension' is a baffling assurance; what we have here is far from a true horror production.
Delivers a number of tired tropes amidst a bland screenplay that largely consists of tedious, drawn-out padding.
Carefully conceals the cannibalism at its heart in favour of the examination of familial roles, rites of passage and ritualism.
A wonderful beginning to a story that promises surreal, and what follows calls to mind David Lynch in its dreamlike quality.
Deftly balancing genres, it's a remarkable script that never misses a beat, truly belying the writers' inexperience.
A smart screenplay delivers an effective psychological thriller that wastes no time in initiating a tension that remains taut.
Ryûhei Kitamura's second US venture is a riot; revelling in its throwaway nonsense, it's fun from the get-go and knows it.
One hell of a dull time, with nothing other than repetitive speculation to lull one to sleep.
Crams in every bit of exploitation style it can into the first 10 minutes alone.
Showcases a great deal of devil in its detail, with a tight-knit, metaphysical framework that may require multiple viewings.
The final act crosses the line between fantastical to slightly amusing ridiculousness.
Stark, exhilarating and utterly lacking in compromise, Andrzej Zulawski's film is an emotionally brutal watch.
Flounders between drafts, as confused as its one-dimensional characters. A jarring edit does nothing to help matters.
A hoot from beginning to end, this is sheer B-movie lunacy of remarkably bad proportions, and all the more essential for it.
Enjoyable enough, but is more fond nostalgia as opposed to a true study of the subgenre.
The real standout is "Dogfight" from Marcel Sarmiento, an unsettling piece that lingers longer than any other story here.
Overall, what the film does, which is torture porn, it does well. But Evil Dead does not do The Evil Dead well.