What’s immediately striking about Exit 8 is how unassuming it is, given the simple plot outline […]

Fantastic Film Festival Australia is once again descending upon Melbourne and Sydney like a beautifully cinematic meteor, and honestly, what a privilege it is to stand directly in its blast radius.

Viewer beware: you’re in for a scare generic A24 horror flick.

For viewers who want a tight, thoughtful sci-fi horror mixture, Cold Storage will undoubtedly frustrate, but for those in the mood for messy, gory fun, its lead chemistry and gleeful commitment to splatter-comedy make it an entertaining - if imperfect - midnight snack for genre fans.

The line between satire and imitation can often become blurred, but rarely does an example come around so blatantly unaware of this distinction as the latest Scream entry.

In an era of horror films that strain for prestige, Send Help feels refreshingly unconcerned with respectability. It is messy, funny, cruel, and wholly entertaining.

Horror, at its most existentially terrifying, is not about answers; it is about the discomfort of not having them. In trying to return to Silent Hill, the film loses its way before it even arrives.

28 Years Later: The Bone Temple is game-changing and glorious, making for the first great movie of 2026.

Oz Perkins’s Keeper is a film that wears its intentions on its sleeve: intimate horror wrapped in relationship anxiety, an exercise in dread that occasionally achieves something quietly memorable.

Shelby Oaks is a fine horror film with flashes of promise, but too many inherited ideas and not enough discernible passion.

Where the first film offsets its crude side with a palpably warm heart, Goremageddon plays like a reunion tour that’s fun for the diehards, but very much has the air of desperation that comes with one final hurrah.

Through a series of confounding creative decisions, Shell decries superficiality, yet refuses to look anything less than polished.

Arriving a mere two years after the first film scared up a minor success at the box office, Scott Derrickson’s Black Phone 2 leans into its lineage and then sharpens its teeth […]

If you’re absolutely craving a modern slasher, wait to stream it with friends, popcorn, and maybe a beer or two, but just don’t expect too much in the way of carnage or catharsis.

Even though Last Rites' final moments were somewhat heart-warming as a fan of the first two, its catharsis is wasted on something which could’ve been so much better.

Zak Hilditch’s We Bury the Dead is a moody, slow-burning horror drama that leans into atmosphere and emotional weight over cheap thrills - and for the most part, it works.

Genre fans looking for a siege of monsters and otherworldly horrors may come away disappointed, but those looking for a more cerebral and borderline ethereal experience will likely find themselves embracing the film and its scrappy charm.

Every once in a while, a film manages to thread the needle between nerve-shredding horror and sharp, genuinely funny comedy without ever feeling forced or careless. Zach Cregger’s Weapons is resoundingly one of those rare beasts.

Chain Reactions is a celebration of the 50 year anniversary of The Texas Chain Saw Massacre.

Together explores the cracks and crevices, the dark and dirty parts of relationships, asking the questions that we’re too afraid to ask ourselves