He’s Out There first look review Arrow Video FrightFest 2018
Yvonne Strahovski fights off a masked home invader in routine cabin in the woods horror He’s Out There
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
Pascal Laugier returns with grim, brutal and structurally tricksy horror Incident In A Ghostland
Bernhard Pucher’s comedy horror Ravers pits a clean-freak journalist against contaminated, mutant dancers
Giordano Giulivi has created a sci-fi game of death where every move is uncannily predetermined in The Laplace’s Demon
Aislinn Clarke’s found-footage feature debut unearths a horrific chapter in the history of Roman Catholic Ireland
Evan Cecil’s feature debut Lasso is a rootin’-tootin’ round-up of torture porn, the slasher and ‘roid-abusing rodeo entertainments
Ante Novakovic’s meta-slasher Fright Fest keep faking out the viewer as a killer executes a real massacre at a live horror event
Kevin Chicken’s debut Perfect Skin shows the unhappy entrapment and transformation of a Polish migrant in London
Mike Testin and Matt Mercer’s midnight movie freakout Dementia Part II is a horny, hoary tale of age-old appetites
Ben Kent’s feature debut FUBAR offers (literal) poops and giggles over an apocalyptic stag weekend
Harry Lindley’s three-handed singularity CTRL finds the holy ghost of life in an adaptive computer virus
Caye Casas and Alberto Pintó’s feature debut Killing God is an apocalyptic farce where New Year’s Eve might also be the End of Days