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.
Stark, exhilarating and utterly lacking in compromise, Andrzej Zulawski's film is an emotionally brutal watch.
A smooth read, especially if you’re a well-versed Lovecraft fan. If you’re not, Culbard might be able to convince you.
In conversation with Paul Hyett on his directorial debut, The Seasoning House, and the transition from SFX to directing.
A sense of conviction and commitment to realism prevents the film from seeming an exercise in exploitation.
Flounders between drafts, as confused as its one-dimensional characters. A jarring edit does nothing to help matters.
Follows original events more closely and benefits from this with a much more coherent and progressive storyline.
A read with huge amounts of intrigue; there are enough unanswered questions to leave the reader looking forward to part two.
A hoot from beginning to end, this is sheer B-movie lunacy of remarkably bad proportions, and all the more essential for it.
Enjoyable enough, but is more fond nostalgia as opposed to a true study of the subgenre.
The real standout is "Dogfight" from Marcel Sarmiento, an unsettling piece that lingers longer than any other story here.
Overall, what the film does, which is torture porn, it does well. But Evil Dead does not do The Evil Dead well.
The extras on offer here earn this release its entitlement to the term 'special edition', where so many others fail.
Thoroughly unlikeable characters played by terrible actors spout unnecessary predictive dialogue in lieu of characterisation.
A movie which feels like the filmmakers knew what they wanted to achieve, but were unsure on how to go about it.
Accepted for what it is, an enjoyable experience which admirably avoided becoming Groundhog Day in another guise.
Piecing together its story in multi-format, it's an interesting spin on found footage, but it falls victim to an over-zealous edit.
Two opportunities for interesting subplot that could alleviate the tedium of watching an unlikeable trio pant and bicker were missed.
We speak with Hammer historian Marcus Hearn about restoring Dracula in high definition for its incredible, definitive release.
That rarest of films, one that genuinely keeps you guessing to culminate in some palpable tension come the third act.