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.
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.
An exhaustively researched, largely successful attempt to analyse the subversive qualities inherent in the horror cinema.
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 joy to read; insightful and well researched, it serves as encouragement to return to Halloween once again.
Sheer Filth was one of the more eclectic fanzines, covering not only cutting-edge exploitation but strange music and literature.
Not all of the tales are memorable but overall The Best British Horror 2014 is an agreeable, worthwhile anthology.
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.
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.
An incredible amount of humour, and the weird-for-the-sake-of-weird mentality is not just ballsy, but also highly entertaining.
Rich characterisation, an intriguing premise and delicately handled direction enhance this full-blooded yarn.
Buchan excels at short and twisted love stories, but it’s Simmonds’ graphic artwork that makes the author's prose shine.
An excellent study in its own right, well researched, informative and intelligently written in a clear, presentable style.
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.
Fearless in its idea, but disappointingly lacks the direction and acting needed to pull off its own wacky intellections.
Falls short of its early promise, but a worthwhile experience for picking at the scab of the more desolate side of life.
Although the plot loses some of its intrigue, Wan superbly distracts us with his talent to make the audience feel constantly unsettled.
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.
Anthony DiBlasi maintains a firm hand on the reins and ensures Missionary slow-burns its way to a satisfying and moving finale.
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.
Nothing but fun is to be had here, the film a catalogue of gore and nudity posing as a behind-the-scenes survey of SFX techniques.
Showcases a great deal of devil in its detail, with a tight-knit, metaphysical framework that may require multiple viewings.
The upbeat tone is maintained so thoroughly that, even when the blood rises in gouts, it doesn't dampen the lightheartedness.
Improves on the formula established by the original film; by slim-lining the segments, and by featuring fewer, the impact is undeniable.
An entertaining if not very original demonic possession slash zombie gorefest that, at the very least, showcases energy and zest.
Incredibly fun with some fantastic gore, but falls just short of its own expectations.
Compare Antisocial to projects with similar production constraints, and there is no parallel in terms of cinematic experience.
The final act crosses the line between fantastical to slightly amusing ridiculousness.