slasher
For all of its merciless violence, Puppet Master: The Littlest Reich is a clever exercise in genre thrills and impossibly twisted humor.
With sophisticated cinematography and aesthetics, The Strangers: Prey at Night and its moody semblance of survival preserves dread just enough to deserve its place in slasher cinema.
Director Damien Leone’s horror introduces us to the terrifying Art the Clown – it’s just a shame the rest of the movie doesn’t live up to the terrifying promise of its central big bad.
The Babysitter is perfectly trashy popcorn entertainment, with a distinctive, highly-stylized vision and self-satirizing bite; a lesson in embracing genre conventions rather than falling victim to them.
Paul Cotgrove’s Horror on Sea festival is championed by up and coming genre filmmakers across the world. Film Inquiry met with Paul to find out why his small seaside festival has become a phenomenon.
We examine the history and trends of the slasher horror sub-genre, and whether it is still as popular in modern times as it was in the past.
Mayhem is a culmination of film, art, historical and current affairs references, genre juxtapositions, and effective stylized filmmaking.
Happy Death Day is a fun slasher film that likens back to the slasher days of old, albeit with a Groundhog Day twist.
Saw II might not be as strong or as fresh as its predecessor, but it has enough about it that works, making it a guilty pleasure watch.
Another entry in the continuing trend of independent horror, Cut Shoot Kill just manages to stand out amongst the masses.
Sure, it’s a terrible film, yet Silent Night, Deadly Night 2 has elements to make it an entertaining cult classic in the making.
The Bye Bye Man is an attempt at an urban legend slasher film that falls short due to its lack of scares and uninteresting story-line.