Occasionally eerie but doesn’t surprise us with any unique quirks that make it more than a one-dimensional creature feature.
A compelling plot explores Stephen King’s core themes while creating something truly unique with his mammoth bibliography.
Darkly absurd humour, with a deeply unsettling score and cinematography that bolster the portentous atmosphere of dread.
A fascinating central premise strongly evokes The Twilight Zone, the focused script ensuring an insular, intimate atmosphere.
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.
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.
Beautifully filmed, with a bleak karmic mantra that makes for a frequently intense viewing experience.
Gleefully absurd, a gonzo sense of humour ensures that Curtain is a disarmingly compelling and bizarro genre gem.
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.
With their ingenious recreations of radio productions from a bygone era, the troupe afford us a glimpse into the past.
A wealth of interesting ideas remain undeveloped, while rudimentary direction fails to make the most of the moody location.
An audacious effort that should be given praise for its unrepentant Maggie, portrayed with fearless honesty and confidence.
At times the film feels rather muddled, but atmospheric tension and taut pacing ensure it remains compelling.
Serves as a neat, interesting introduction to Asian folklore that allows some playing with storytelling techniques.
A carefully constructed and deliberately vague set-up that milks every ounce of tension, with twists coming thick and fast.
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.
A script crying for a horror backbone is frustratingly weak for the most part, its tedious jump-scares no substitute.
The promised 'extreme shock and tension' is a baffling assurance; what we have here is far from a true horror production.
Atmospheric and beautifully shot, it may not take any original paths, but should appeal to admirers of Japanese horror cinema.
My Amityville Horror poses many questions, but by the film’s conclusion, very few have actually been answered.
Although the plot loses some of its intrigue, Wan superbly distracts us with his talent to make the audience feel constantly unsettled.
One hell of a dull time, with nothing other than repetitive speculation to lull one to sleep.
Showcases a great deal of devil in its detail, with a tight-knit, metaphysical framework that may require multiple viewings.
That rarest of films, one that genuinely keeps you guessing to culminate in some palpable tension come the third act.
As the epitome of seventies B-movie charm, it boasts the strong elements of enjoyable kitsch that one would hope for.
Juxtaposes the supernatural with real-life threat, whilst holding a very strong point in maintenance of mystery.
A taut atmosphere is effectively created, emphasised by drip-feeding of subplot, with one particular twist genuinely surprising.
The exorcism makes a refreshing change in not being Bible-based, but this is strictly Hollywood horror by numbers.
Will keep you guessing, until all possibilities for explanation are eventually tied together in an excellent balance of subplot.
It's pure pantomime and about a decade too late, but with the lights down and sound up there's fun to be had.
Despite the potentially ominous setting, this is a lethargic outing augmented by lifeless direction and a leaden script.
It's only really for specific moments that The Innkeepers very obviously feels like a horror film, yet it is effectively creepy.
Cliches abound, as does overkill, while the characters are irritating. And yet, a wound-up tension is impressed without noticing.
Found footage is a tricky subgenre to add an original concept to and Skew makes a good attempt. But it's not enough.
You would almost expect tongue planted firmly in cheek, yet this sagging clod of a movie takes itself quite seriously.
Visually, there are some good moments, but it's a hotchpotch of story-telling technique, none of which stick.
One week on since fun and games at a paranormal investigation… Perhaps it's safe to talk about it now. Perhaps it's not.
Enough strands are left to ponder to deem writers Bruce Wood and Scott Poiley as worthy of keeping an eye on.
A painfully average film, its classic horror status somewhat baffling. Purchase to complete your Stephen King collection.
Effectively creates tension to complement an overall creepiness, to deliver a climax that keeps the viewer in the dark.
Under the impressive visuals and solid cast there are genuine flaws, and it allows itself to surrender to cliché too easily.
The raison d'être is ludicrous and sewn up in minutes, but the cast is very good, as is the cinematography and symbolism.
All a rather predictable outcome that doesn't offer anything we've not seen before, but Anthony Hopkins saves it.
With huge jump scares and more subtle, creepy moments, this is a film which has mastered the whole spectrum of horror filmmaking.
With nicely subtle handling of its occult element, the film slowly builds an atmosphere and is more chilling as a result.