All posts by Naila Scargill

Naila is the founder and editor of Exquisite Terror. Holding a broad editorial background, she has worked with an eclectic variety of content, 
ranging from film and the counterculture, to political news and finance. She is the Culture Editor at Trebuchet, and generally gets around.

I Didn’t Come Here to Die

Thoroughly unlikeable characters played by terrible actors spout unnecessary predictive dialogue in lieu of characterisation.

/ April 14, 2013

The Bay

Piecing together its story in multi-format, it's an interesting spin on found footage, but it falls victim to an over-zealous edit.

/ March 18, 2013

247°F

Two opportunities for interesting subplot that could alleviate the tedium of watching an unlikeable trio pant and bicker were missed.

/ March 18, 2013

The Fallow Field

That rarest of films, one that genuinely keeps you guessing to culminate in some palpable tension come the third act.

/ March 11, 2013

Midnight Son

Eschews many of the vampire subgenre's tropes to present something more akin to a quietly observed character study.

/ February 11, 2013

Piranha

Schlocky good fun, but Piranha straddles the line between dull and entertaining, twiddling its thumbs between fish attacks.

/ January 23, 2013

Excision

Masquerades as a teen horror comedy, but the real story is the degenerative mental condition of the lead character.

/ November 12, 2012

Stitches

Lacklustre, featuring little by way of horror or indeed comedy, relying on thinly spread visual gags over real thought.

/ October 26, 2012

Basket Case Trilogy

This limited edition steelbook is a sight for sore eyes; teeming with extras, no B-movie aficionado should be without it.

/ October 23, 2012

The Devil Rides Out

As a classic tale of good versus evil, the film required a strong representative of either side, and does not disappoint.

/ October 22, 2012

Cube

Vincenzo Natali's debut holds a beauty in purity that matches the mathematical conundrum its characters find themselves in.

/ October 15, 2012

The Curse of Frankenstein

The transfer does not hold quite the same clarity as other recent restorations; an important package nonetheless.

/ October 15, 2012

Rosewood Lane

Really, this is average TV drama fodder at best, plodding its way to a clumsily made point that makes little sense.

/ October 13, 2012

The Thompsons

More concerned with style over substance; fast and fun, there is no pretence here for anything other than a bloody ride.

/ October 12, 2012

Frankenweenie

The puppetry is simply superb as is texture; it's excellent attention to detail from puppet-makers Mackinnon and Saunders.

/ October 10, 2012

The Harsh Light of Day

An arduous affair with a cringeworthy script that provides no value for the subgenres it attempts to straddle.

/ September 28, 2012

The Pact

Juxtaposes the supernatural with real-life threat, whilst holding a very strong point in maintenance of mystery.

/ September 27, 2012

Arachnoquake

There's very little to recommend this film; any comedy present is lacklustre, while the predictability is too pronounced.

/ September 26, 2012

Santa Sangre

A trip that was calculated carefully, the near constant use of slightly off-key circus music adding to its hypnotic quality.

/ September 21, 2012

Dragon Wasps

The biggest mistake here is that the genetically-engineered insects of the title take a backseat. Truly dreadful.

/ September 12, 2012

The Devil’s Business

With a hell that breaks loose quietly, The Devil's Business metes its tension effectively to insidiously creepy result.

/ September 10, 2012

ParaNorman 3D

The puppetry is impressive — the ghosts and zombies are a feast for the eyes — and the stop-motion is fluid.

/ September 6, 2012

A Night in the Woods

A taut atmosphere is effectively created, emphasised by drip-feeding of subplot, with one particular twist genuinely surprising.

/ September 5, 2012

Underground

Dreadful acting and a basic, sweary script is the order of the day, with poor use of light making the film difficult to follow.

/ September 3, 2012

Berberian Sound Studio

Strangely accessible for a giallo come art-house film; a pleasure from beginning to end, with lavish attention to detail.

/ August 31, 2012

The Possession

The exorcism makes a refreshing change in not being Bible-based, but this is strictly Hollywood horror by numbers.

/ August 31, 2012

V/H/S

Naturally there is variance in quality, but overall an exhilarating experience that brings pleasure back to found footage.

/ August 23, 2012

[REC] Genesis

A bizarrely playful addition to the [REC] series that opts for comedy over horror, despite plenty of blood on offer.

/ August 23, 2012

The Inside

Refreshing for its solid reason for found footage, with some effective moments, but let down by uncontrolled camera.

/ August 22, 2012

Supernatural Activity

The humour wears thin due to puerility and the editor needed reining in, but some of the comedy is surprisingly well timed.

/ August 13, 2012

The Reverend

Bordering on unbearable, The Reverend pushes the limits of patience, the script basic and the acting self-consciously bad.

/ July 31, 2012

Zombie 108

A reasonably good start rapidly falls victim to a lack of direction, resulting in an incoherence that does not entertain.

/ July 27, 2012

Axed

Intriguing at first with some style to be had and attention to detail, but let down by a lack of direction and poor acting.

/ July 25, 2012

Absentia

Will keep you guessing, until all possibilities for explanation are eventually tied together in an excellent balance of subplot.

/ July 9, 2012

The Innkeepers

It's only really for specific moments that The Innkeepers very obviously feels like a horror film, yet it is effectively creepy.

/ June 25, 2012

Chernobyl Diaries

The set piece needs more attention, but the attacks are done reasonably well, an instil of progressive tension reasonably effective.

/ June 22, 2012

The Amityville Haunting

Cliches abound, as does overkill, while the characters are irritating. And yet, a wound-up tension is impressed without noticing.

/ June 17, 2012

Father’s Day

Has everything one could desire of a daft evening's entertainment, from sibling incest to a meeting with the Devil/God himself.

/ June 11, 2012

Skew

Found footage is a tricky subgenre to add an original concept to and Skew makes a good attempt. But it's not enough.

/ June 10, 2012

Return of the Living Dead

A superb package teeming with extras; a fitting tribute to a film that fully justifies its reputation as a cult classic.

/ June 4, 2012

Island of Lost Souls

The foreboding set piece complements the horrific story wonderfully, while Charles Laughton is genuinely sinister.

/ May 27, 2012

Osombie

Quite possibly one of the most lacklustre attempts at a zombie film ever made, Osombie is simply excruciating.

/ May 14, 2012

Dark Shadows

At first glance Dark Shadows is fun, but there is simply little story to be had, with a script that relies on just the one joke.

/ May 11, 2012

The Monk

An unusually restrained Vincent Cassel is a pleasure, but it's a drawn-out story that runs out of steam before a rushed conclusion.

/ April 27, 2012

A Ghostly Pushover

One week on since fun and games at a paranormal investigation… Perhaps it's safe to talk about it now. Perhaps it's not.

/ April 20, 2012

Cassadaga

Enough strands are left to ponder to deem writers Bruce Wood and Scott Poiley as worthy of keeping an eye on.

/ April 16, 2012

Break

Deeply irritating; places far too much focus on stunted, badly-acted banter that is difficult to understand at points.

/ April 16, 2012

The Cabin in the Woods

A perfect introduction to the genre, accessible enough to reel folk in. The rest of us will go giddy counting the references.

/ April 13, 2012

Sometimes They Come Back

A painfully average film, its classic horror status somewhat baffling. Purchase to complete your Stephen King collection.

/ April 9, 2012

The Revenant

D. Kerry Prior's limited experience mostly lies in SFX, but you wouldn't know it from what is perfect comedy timing.

/ April 2, 2012