Cut Off first look review Arrow FrightFest 2019
A coroner and a cartoonist work in tandem to find a serial killer before it’s too late in violent horror Cut Off
A coroner and a cartoonist work in tandem to find a serial killer before it’s too late in violent horror Cut Off
Three journalism students go looking for a gruesome story and find it in Tunisian horror Dachra
Secrets are revealed and blood is shed when three friends are stranded on a boat in dark comedy Harpoon
A woman confronts her fears as a man is tormented by digit thieves in twisted dark comedy Fingers
Siblings engage in a deadly power play in housebound horror Rock, Paper And Scissors
Elijah Wood goes looking for his old man and won’t like what he finds in Ant Timpson’s Come To Daddy
Two sisters, a plastic surgeon and a mystery make for an unpredictable chiller in Takeshi Sone’s Ghost Mask: Scar
A whole neighbourhood is haunted in Demián Rugna’s unpredictable shocker Terrified
The Paz brothers’ mythic oater/monster mash-up The Golem is a parable of Israel’s beleaguered, cursed status
Gaspar Noé’s fifth feature Climax is a beautifully choreographed bad trip, with one hell of a comedown
Tom Paton’s Lovecraftian action sci-fi Black Site is a mashed-up homage to Carpenter and the Eighties.
Yvonne Strahovski fights off a masked home invader in routine cabin in the woods horror He’s Out There
Societal evils and a malevolent spirit prey on the vulnerable in South African horror The Tokoloshe
There are two possible explanations for blood-soaked carnage in inventive snowbound horror Dead Night
Comedy horror The Night Sitter is a Christmas-lit cracker of mothers real, metaphorical and malevolently supernatural
Kristian A. Söderström’s feature debut Videoman is a bittersweetly backward-looking romance with a giallo-esque flavour
Joseph Kahn’s battle rap comedy Bodied has serious things to say about the power of language in the arena of offence
Marcus Hearn’s documentary Hammer Horror: The Warner Bros Years traces the decline of an old horror production house in changing times
Paul Raschid accommodates war’s horrific paradoxes in a plain white room
Gonzalo Calzada’s film is the first in a devilish saga of histories reborn, where Shamanic meets Satanic