Representing a big step up not only in terms of its theatrical release, but also in Barker’s command of filmmaking as a visual medium, Obsession boldly stakes its claim as a true modern genre masterpiece.

The film is a must watch for fans of the surreal and the strange, and a must skip for fans of the French monarchy.

Kaneto Shindo’s 1964 period horror Onibaba is a tactile assault on the senses, a sweat-soaked fever dream that conjures up primal feelings of dread, horror and lust.

Though J-Horror has a reputation for being incredibly disturbing and graphic, KINKI’s humour and brisk pace hold it back from being anything truly traumatic.

Hokum is a tall tale woven by an exciting up-and-coming auteur in the horror space, with McCarthy bringing an admirable style of filmmaking that manages to feel both traditional and refreshing.

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.