Rumours is worth commending for its sheer gaul, but ultimately, it's biting off far more than it can chew.

Subverting expectations and blending genres, Your Monster is an endearing love letter to the ones who’ve had their hearts broken, and gives them permission to embrace their fury. 

Heretic is a film of two clashing identities. One is a simmering rumination on the evolution of modern day spirituality, and the other is a relatively by-the-numbers basement chiller.

Smile 2 is a worthy sequel that, while not quite as groundbreaking as its predecessor, still offers plenty of great elements.

Overall, Terrifier 3 proves that a little Yuletide seasoning and some punchy editing go a long way to finally giving Art the film he clearly deserves, a raucous and thoroughly cruel slasher fiesta that's sure to be a Halloween season hit.

SK Dale’s direct-to-streaming suckfest Subservience, […] dares to ask the brave question “what if we made the robot… sexy?”

With strong performances, and a compelling narrative that deviates just enough from the original, Speak No Evil is worth a hearty recommendation for fans of the genre.

The best part of the screening was the little black cupcakes that were handed out outside the cinema afterwards, almost like a little treat for slugging through the disappointment that was this movie. 

With complex, figurative ideas, eccentric leading performances, and a tense atmosphere, Cuckoo leads with promise.

All in all, Alien Romulus is a worthy - if conflicting - addition to the franchise.

If there was ever a flick to skip the popcorn on, it’s this one. Coralie Fargeat’s latest film, The Substance (2024), is a stomach-churning concoction of body horror and comedy that makes for an insanely monstrous watch.  

Emerging from the festival circuit in all its adrenalised glory, Strange Darling is a nightmarishly visceral masterclass in subversion which keeps you on your toes from the get-go.

Peter Weir’s second feature The Cars That Ate Paris (1974) has an underlying power, and it’s both due to how raw it is as a cultural and industrial satire, and how much Peter Weir’s delicate emotional trademarks manage to bleed themselves into the expression of this bizarre premise.

Director Jane Schoenbrun impresses with I Saw The TV Glow - a horror flick which is only half-scary but full heartbreaking.

Whilst applaudable in its attempt to meld lycanthropy with modern-day political concerns, Blackout is a poignant character study hampered by heavy-handed exposition which renders its bark worse than its bite.

For those willing to embrace its unique approach, Nash's film offers an off-kilter and strangely beautiful experience.

Grab your popcorn, silence your phone, and sit down for A Quiet Place: Day One - just don’t expect it to leave you anywhere near as speechless as its survivors.

Longlegs still manages to stand out despite the abundance of highly effective and artful horror we are afforded in the modern era.

If you’re an avid fan of horror films and especially love slashers, this is the film for you; if I’m not describing you, but you’re willing to give it a shot, you’ll find a fun ride of a movie with a few laughs and thrills along the way!

There are whispers of a great movie in The Watchers, with Ishana’s directorial eye occasionally shining through the film’s middling aspects, however at present her directing style feels imitatively beholden to superficial notions of M. Night’s storytelling sensibilities, and I’d love for her to find her footing amidst the depths of the forest.