Coming to UK screens off the back of huge box office success in the US, low budget horror film Get Out is destined to be one of the most talked about films of the year. Review follows… Continue reading
Released by Studio Canal, Korean zombie film Train to Busan rocks up on UK screens from the 28th of October. A box office blockbuster in its home country, is this a zombie epic worth boarding? Review follows… Continue reading
I’ve only seen 1999’s The Blair Witch Project once, on release in a multiplex in Plymouth with an audience who clearly thought it was rubbish. Normally I’d find this distracting, but despite the evident disdain of my fellow audience members I found the film to be one of the most unpleasant viewing experiences I’d had since seeing Watership Down. I had the last minute of the film in my head for weeks and I wanted it out of there.
In other words, it was a great horror film. Can the new sequel live up to it?
I guess I’ve given that away in the title of this review haven’t I? Still read on please lovely audience. Continue reading
Turkish horror film Baskin would make an interesting double bill with Nicolas Winding Refn’s The Neon Demon. In a Venn diagram of influences both share common ground especially in Italian horror (Fulci, Bava, Argento) but the resulting films could not be more different in style. Continue reading
Oh what the hell, I’ve decided to follow my archive review of Wrong Turn 3 with another Declan O’Brien monstrosity and make it a double bill. Enjoy. Continue reading
Why here? Why now? Why… a review of Wrong Turn 3?
Fair enough question. I was feeling nostalgic and this was the first review I had published in phase 2 of my ‘career’ as a critic (following the Gonzo Fanzine years of the early nineties which I am assured did happen even though I can’t remember them). So thanks to Ian Rattray of London’s FrightFest horror film festival for taking the chance on me all those years ago. 2010 was it? I can’t remember. Anyway, this set the tone for many reviews to come, horrible genre dreck no-one in their right mind would watch on purpose (aka 90% of Netflix). Continue reading
American novelist and screenwriter Bret Easton Ellis on his popular and provocative podcast has recently decried the rise of what he calls ‘Indie Arthouse horror’. Among the films that form the vanguard of what Ellis wants to see as some kind of new wave (although in a pejorative sense) is the 2014 Austrian film Goodnight Mommy (original title Ich seh, Ich seh). Continue reading