Stephen King cultists will find the humour and originality of the author firmly intact, but perhaps only in fragments and flashes.
Ultimately, Bachelor Games falls flat due to lacking commitment to its ideas, but the comedy stitches it together, albeit loosely.
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.
There is nothing to recommend here; as a creature feature (mostly) missing its creature, The Sand is an arduous watch.
Could have been so much more, but still an alluring watch which bursts with style and vengeful violence.
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.
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.
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.
A well-written, well-paced screenplay gradually builds tension and intrigue, ensuring the viewer is riveted throughout.
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.
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.
Holland would be well advised to place the emphasis on stronger scripts and to dispense with his trifling on-screen introductions.
Populated by stock types, the story is backed by little in the way of characterisation, and missing a necessary campiness.
Boasts edgy performances and a script which focuses on the here and now rather than excessive backstory.
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.
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.
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.
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.
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 light-hearted introduction and jumping-off point for anyone new to zombies, with enough know-how to cope when the dead rise.
A half-baked, ambitious ending, but the film is effectively creepy and satisfyingly lensed, its shocks permeated with a melancholy calm.
Not a bad parody of 90s high-school horror, but its deliberate clichés fall short.
It is not just in its writing and direction that Housebound excels; the production design is a feast for the eyes.
With its icky transformation scenes, lashings of blood and gore, and bizarre sense of humour, this has cult stamped all over it.
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.
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.
A script crying for a horror backbone is frustratingly weak for the most part, its tedious jump-scares no substitute.