• Mortal



    Trollhunter director Andre Ovredal returns with a mix of Norse mythology and a dark Chronicle flavoured superhero origin story. Offers plenty of mystery and intrigue, but few answers and even less disclosure. However, this does boast several impressive setpieces and is visually arresting with a major supporting role for the stunning Norwegian scenery. Thor out of five.

  • The Slaughterhouse Killer

    The Slaughterhouse Killer


    Australian psycho and sidekick killing spree shocker, heavily indebted to Henry-Portrait Of A Serial Killer. Doesn’t quite match McNaughton’s classic film’s raw potency and flesh-crawling impact, but it’s still a relentlessly grim and deeply disturbing homicidal trail, which like the most uncompromising Ozploitation efforts pulls few punches and lodges in the brain like a malignant tumour.

  • Butchers



    Doesn’t exactly reinvent the hillbilly horror waggon wheel, but if it’s a grisly menu of Texas Chainsaw / Wrong Turn inspired brutality you’re craving, this serves up a rotting feast of mean-spirited slaughter and relentless redneck nastiness. One of the better recent examples of the loonies in the boonies sub-genre, well worth a butcher’s.

  • WitchStars



    What we have here is essentially an updated, extended and re-edited version of writer/director Federico Sfascia’s earlier indie oddity, Alienween. A low budget love letter to 80’s inspired practical-effects laden splattery shockers, the benchmarks are cult classics like The Deadly Spawn, Night Of The Demons, early Sam Raimi / Peter Jackson and any number of gory, cut-price cash-ins from the golden age of Italian exploitation....all incidentally infested with a distinct Lovecraft vibe.
    Utterly dismissive in its approach to logic or…

  • His House

    His House


    Joins an ever-growing list of massively overrated recent horror movies. Outside of its politically charged refugee narrative topicality, there’s nothing here that we haven’t seen dozens of times before. Things that go bump in the night in a contemporary urban location with a bolted-on cultural subtext, this is essentially a ghost film for Guardian readers or a chiller for Channel 4 News devotees.

  • Hubie Halloween

    Hubie Halloween


    I watched this as a change of pace from the usual seasonal scare flicks. Typical hit and miss (mainly miss) juvenile jokes and Adam Sandler gurning inanely throughout...but by the spirit of Samhain did it look utterly magnificent! Sensational production design, art direction and numerous stunningly shot atmospheric sequences, this shames many a bona-fide Halloween-set horror movie.
    Steve Buscemi, as usual, steals the film.

  • The Wolf of Snow Hollow

    The Wolf of Snow Hollow


    A twisted turn off Thunder Road. Much like last year’s superb indie genre piece, After Midnight, here’s a poignant character study laced with angst and acerbic humour in the guise of a metaphorical creature feature. A fine film about facing personal demons and mythical monsters, which underlines writer/director/star Jim Cummings growing reputation as a rapidly emerging cinematic talent.

  • Let's Scare Julie

    Let's Scare Julie

    A couple of semi-decent jump scares bookended between one of the most tedious and monotonous opening half hours imaginable and quite the most abrupt, half-arsed ending. All delivered via an entirely pointless single take gimmick. Eighty minutes rarely felt so long!

  • Broil



    Knives Out to lunch. The ultimate dysfunctional family get together, this has a surplus of ideas, its own warped mythology, doesn’t make a whole lot of sense, but it’s sick, slick, twisted and entertainingly aberrant.

  • The Reckoning

    The Reckoning


    After the misfire of the Hellboy reboot and working on a smaller scale and considerably lower budget here, this atmospheric and elegantly shot folk horror fable is a real return to form (and roots) for Neil Marshall. Dramatic, powerful, ominous and awash with potent and pestilent imagery. Bewitching.

  • Trauma



    Politically-charged Chilean gorefest which at times gives A Serbian Film a rancid run for its money in the boundary-pushing extremity stakes. Indeed, the opening act here sets the depraved tone with a scene of gut-churning rape, torture and humiliation which is both overtly exploitative, whilst perversely acting as a demented character back-story. Grim, shocking and utterly disgusting, there aren’t too many films which offer up both incest and necrophilia before their opening credits roll!
    Trauma truly is in your face…

  • Bullets of Justice

    Bullets of Justice


    I’ve seen some strange, sick and totally out to lunch films in my time and this was definitely one of them! An utterly batshit bonkers post-apocalyptic mutant pig splatterthon, full of sex, violence and porcine delirium, which makes Hell Comes To Frogtown look like a work of level-headed rationality by comparison.