On the whole achieves its aim of imitating amateur home video, as director Dominic Perez steers the ship to a solid finale.
The raison d'être is ludicrous and sewn up in minutes, but the cast is very good, as is the cinematography and symbolism.
B-movie fluff at best, dull at worst, and not a patch on the films it tries to emulate. Fortunately, it doesn’t take itself too seriously.
The Rig fails to capitalise on any initial potential and becomes more tedious with every dragging minute of screen time.
Not quite as funny as you’d expect if you have seen the shorts, the film plays it straight.
We speak to SFX maestro Greg Nicotero about the power of make-up and the upcoming series of The Walking Dead.
Occasionally inspiring, often harrowing and depressing, the film throughout is artistic, engaging and intriguing.
An interesting statement on misogyny, albeit subtle as a sledgehammer — but then, this is from Lucky McKee and Jack Ketchum.
A required watch for fans of Frank Darabont, creator of The Walking Dead, if only to see what a difference 20 years can make.
Believes itself brutal, when in reality a small number of strong images are tied loosely together with a basic story.
The script really is slow, with nothing remotely interesting happening until the final few minutes. But what an ending.
A disappointing film with a script that is too basic for any kind of social commentary Kevin Smith may have been aiming for.
Writer Steve Santini possesses no talent whatsoever, prompting the begging of life's most simple, yet profound question: why?
Florencia Colucci is superb, easily shouldering the film. Also impressive is some genuine creepiness courtesy of clever lighting.
In conversation with Hammer CEO Simon Oakes on his long-term plans for the studio and business strategy.
Actor Lee Byung-hun discusses his performance in Kim Jee-woon's I Saw the Devil, and plans for directing film.
Despite the odd flare of brilliance, the concept fails. For rabid collectors only.
All a rather predictable outcome that doesn't offer anything we've not seen before, but Anthony Hopkins saves it.
The cartoon violence on display here completely removes all sense of realism, shoving the film into torture porn territory.
The performances are faultless, but clumsy CGI removes the delicateness that had us so in love with the original.
A mixed bag and too ambitious for so early in a career, however Guillem Morales should be noted for the future.
A confused affair that is a bizarre mishmash of clashing styles, with the barest of subplot revealed in just one line of dialogue.
A masterpiece that will make the world sit up and take notice of what is the perfect portrayal of the psychology of a man.
A cruel indictment on contemporary Japanese youth and their despondency, which unravels its cruel web satisfactorily.
With huge jump scares and more subtle, creepy moments, this is a film which has mastered the whole spectrum of horror filmmaking.
A timeless and sublime masterpiece that presents an incredibly intelligent and moving picture of psychological struggle.
Stands on its own two feet amongst the usual Brit comedy suspects, which is largely due to its cast of unknowns.
This low-budget indie is a star turn, with a clever, funny script that shows life from the point of view of the zombie.
An interesting and refreshing take on your standard toothy yarn, but the author lacks the ability to drive his purpose home.
Low budget, not particularly well acted and with a basic script, yet somehow, this film manages to elicit goosebumps.
There are many zombie survival guides out there. But do any of them teach you how to speak zombie?
A great example of how the first-person horror subgenre works its magic, but it also highlights some of its core flaws.
Deftly balances a horror premise with the politics of a family drama, marking Jorge Michel Grau as a filmmaker to watch.
With nicely subtle handling of its occult element, the film slowly builds an atmosphere and is more chilling as a result.