Now You See Me: Know You Don’t is a magic act you’ve seen before.

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.

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.

For those looking for horror cinema that mostly leans on the goofy side while also delivering on some serious gore, Final Destination: Bloodlines is just what the coroner ordered.

Clornfield knows exactly what it is and isn't self conscious about it, playing out like an R-rated episode of Scooby Doo, complete with some lean and mean kills […]

Mr. K is ambitious, imaginative and impressive, but the setup is unfortunately better than the payoff.

At a brisk 95 minutes, Drop is the kind of taut, grown-up genre film that feels increasingly rare.

Occasionally awkward performances and deliveries are mostly forgiven by this fine adaption of a scandalous mystery. 

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

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

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.

Monster confronts viewers with an ambiguous ending, leaving us to decipher the truth of who really is the eponymous monster, but perhaps the objective truth is there are monsters in each and every one of us.

Behind the flashing neon lights, Mars Express’ messy and complicated core is a delight to unpack and crucially, is without the comfort of easy answers. While it’s not exactly reinventing the wheel, its entangled approach to familiar concepts positions it uniquely, and is well worth the price of admission.

Fans of bizarre, esoteric and extreme films, who live around Melbourne and Sydney can rejoice, because it's that time of year - Fantastic Film Festival Australia is back once again.

Imaginary is a confounding experience, with absolutely none of the first draft wrinkles of the script ironed out.

Just two bros sitting around a campfire. Five feet apart. Because they can’t face reality. 

Painting a portrait of a marriage in decline, a child irrevocably changed, and a woman in freefall, Anatomy vivisects the ripple effect of its victim’s demise, familial wounds spilling open to reveal grisly entrails for all to see.