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.
The body count is huge, the dialogue abysmal, the story perfunctory at best, yet the enthusiasm ensures it's never tiresome.
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.
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.
A wonderful beginning to a story that promises surreal, and what follows calls to mind David Lynch in its dreamlike quality.
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.