horror
With Slaughterhouse Rulez, it seems Simon Pegg and Nick Frost haven’t quite let go of the comedy/horror genre, only this time with a different director and with uneven results.
Monster Party is a quick, gory horror romp with a modern sensibility. It’s undoubtedly a bloody good time.
The Haunting of Hill House is full of arresting images and startling moments of pure drama; this is a show that doesn’t skimp on the heft and it presses its viewers with an inherent need to invest.
In our latest recap from the Tokyo International Film Festival coverage, Tynan Yanaga reviews Lust in a Karaoke Box and Melancholic.
There is a tiredness within American Horror Story: Apocalypse’s “Sojourn”, and its inability to reinvent the Satanic image.
Aided by a stellar central performance from Matt Dillon, The House That Jack Built is an unforgettable, uncomfortable nightmare, and one of the few films of the current age that more than lives up to its transgressive billing.
The Changeling has built up a devoted club of admirers and its influence on films such as The Ring and Annabelle have seen it reclaimed by many as the grandfather of the Conjuring Universe.
Some scenes have a lasting impact – the Film Inquiry team dredges up some of the most gruesome and horrifying scenes that they couldn’t ever forget.
Film Inquiry’s Tessa Bahoosh writes about one of her favourite films, The Blair Witch Project, and how its existential dread still resonates today.
Possum is an impressively chilling debut from Holness and credit must go to the director for taking a risk on a darker affair.
The Super has the occasional moment of great horror filmmaking – but not enough to make it a super film.
American Horror Story’s “Traitor” was packed with old characters returning, answers and satisfying moments – yet there are still many questions that remain.
While the film possesses a level of craft and passion that cannot be ignored, Await Further Instructions is missing something vital: originality.
Ken Wiederhorn’s mostly forgotten 1977 film Shock Waves is an apt metaphor about the fear of a fascist planet.
If it’s undeniably riddled with imperfections, Apostle is still a worthy new venture from an abundantly talented filmmaker.