Many films could be described as dream-like, but few embody the truly indecipherable logic of the subconscious like Sanatorium Under the Sign of the Hourglass

it is a delight to see The Toxic Avenger uncut and in its full glory after two whole years sitting on the post-festival shelf, and if it also ends up getting more eyes on its ‘84 cousin, I'm all here for it.

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.

Blumhouse’s fave bratty ‘bot returns in Gerard Johnstone’s M3GAN 2.0, a sequel that swaps the eerie off-kilter vibes of the original for a broader, brasher techno-thriller.

28 Years Later clearly wants to put brains back on the menu, even if it stumbles along the way.

The Code is an earnestly off-kilter, free-wheeling journey down the rabbit hole.

Ultimately, Frankenhooker is the kind of film that refuses to be ignored. It’s loud, garish, and unapologetically grotesque, yet like its oddball protagonist, it manages to be weirdly endearing, despite the rampant sex and violence […]

It's clear the Philippou brothers have crafted a horror experience that doesn’t just scare - it leaves wounds. If Talk to Me was a party, Bring Her Back is a funeral. Leave the flowers at home.

Low on budget but high on ambition, BUM represents the exact type of cinema I wish I was exposed to more in high school, the kind of art that makes you realise just how few roadblocks might actually be between your concepts and the actual execution of your first feature film.

Ultimately, this modern update of Lilo & Stitch is a film that coasts on nostalgia.

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 […]

Monkey’s Magic Merry Go Round is an audacious leap into analogue horror that skilfully marries the nostalgic charm of children’s television with a creeping, unsettling dread and forebodingly surreal stylistic turns.

Tall Tales might not be as grandiose as its title would suggest, but the real scale lies in its ambition.

Fantastic Film Festival Australia (FFFA) is back for its 2025 programming, and cinephiles with a taste for the experimental, esoteric, and independent, brace yourselves!

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

Escape from Heck Island is a raucous time and shows just how assured Coutis is in his wheelhouse of deadpan absurdism, doped up with self-aware cheese and bizarro references to Aussie pop culture.

James Ashcroft’s The Rule of Jenny Pen is a slow-burn psychological horror that trades in gore for something far more insidious - helplessness.