horror
With a clever use of eerie scenery and camera shots, The Endless is a vortex that goes full on wacky, without diluting its purpose, only strengthening it.
Who’s Watching Oliver rises above those that have come before and is poised to become a cult classic for lovers throughout the genre.
Spidarlings is a love letter to a forgotten era of midnight movies – but in 2018, it feels less revolutionary than in their 70’s heyday.
Vidar the Vampire shows the lack of change within the filmmaking community in regards to the portrayal of women on screen and further proves the necessity of the #MeToo movement.
With no clever jokes and not enough scares to build any real suspense or fear, The Night of the Virgin falls flat.
Hover is an expertly crafted horror film focusing on a future almost too close to home. Cleopatra Coleman stands out for her remarkable performance and wonderfully crafted and memorable script.
Whilst not always smoothly or coherently told through the performances and screenplay, Susu is a slightly confused movie with a distinct point to make.
We got to speak with Joanne Mitchell, the creator and star of the outrageous horror-comedy Attack of the Adult Babies.
Upgrade a gleefully nasty film that relies on a unique mixture of futuristic beautiful landscapes and old-school grindhouse fun.
In Darkness could have been an exciting thriller with a complex, well-written female protagonist but it instead ends up being a convoluted and messy misfire.
Dominic Brunt’s horror comedy Attack of the Adult Babies is equally versed in British toilet humour and the classics of the horror genre.
In Films of The New French Extremity, Alexandra West studies French horror films which are known for graphically brutal depictions of sex and violence.
Sarah Paulson fits the criteria of great actors. She has range and stamina, two incredibly important things to have in Hollywood.
Just like his earlier short, Hereditary feels like nothing more than a provocation, updating the parental anxieties of Rosemary’s Baby for the modern era — and adding no substantial allegory that makes it feel any deeper than this.
In a world full of soulless remakes, Luca Guadagnino’s Suspiria is one that has the potential to be fresh, exciting and unique.