A triumphant debut effort which offers unique tension and poignancy and isn’t afraid to confront uncomfortable cultural realities.
Dream team Adam Wingard and Simon Barrett bring an unusually hit-and-miss affair that nevertheless delivers in a frenetic final act.
Sardonic elements balance with emphatic characters and sharp camerawork to ensure the film's anxious torsion maintains its focus.
Cuts to the core of the horror without ever diluting or compromising M. R. James’ carefully woven plots. Recommended for die-hard enthusiasts.
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.
Uses all the hallmarks of Britain’s distinctive post-apocalyptic zombie cannon to make for powerfully relatable, bleak scenes.
Stephen King cultists will find the humour and originality of the author firmly intact, but perhaps only in fragments and flashes.
A sardonic and entertaining chapter in an ambitious and bizarre adaptation, but disappointingly lacks allegorical meat.
Ultimately, Bachelor Games falls flat due to lacking commitment to its ideas, but the comedy stitches it together, albeit loosely.
Ambitious and bizarre, Limbo is a hallucinogenic rollercoaster that takes giddy pride in disintegrating reality and reliability.
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.
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.
With a tenuously linked story that lacks supernatural finesse, Backtrack is confused, and a tiresome experience.
Rawly sketched artwork complements the abstract plot line, which will please the exploitation and pulp fiction aficionado.
Horror relies on image to promote terror and bring hideous ideas to life.
Talking the effectiveness of aural terror with award-winning sound designer and composer Alan Howarth.
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.
Successfully posits the film as one of the most influential titles in horror cinema history.
A close analysis of Jimmy Sangster’s script and the differences between film and book.
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.
100 Bloody Acres is an excellent example of comedy-horror that gets the balance just right, delivering a thoughtfully layered story.
With their ingenious recreations of radio productions from a bygone era, the troupe afford us a glimpse into the past.
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.
An audacious effort that should be given praise for its unrepentant Maggie, portrayed with fearless honesty and confidence.
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.