You’ll likely not want to eat sushi again (or at least not for a while) after watching this.

Something in the Dirt offers up a bounty of intriguing morsels, and to witness filmmakers attempt so much with so little is inspiring in its own right.

While its lack of teeth in the back end of its runtime is somewhat of a letdown, and Derrickson may not quite recapture the highs of earlier works like Sinister, there's no doubt that The Black Phone is still an effective, nasty little horror flick.

It'd be hard to prime anyone for the journey the feature takes you on, and to do so would in part ruin the fun. It's a thunderous Pandora's Box of a film, a disorganised mixed bag of funhouse tricks that's rewarding sporadically, but always daring.

The highly anticipated third film of visionary Ex Machina and Annihilation director Alex Garland seemed primed and posed to be one of the most insightful, and timely, films of the year. An alluring blend of “woke” horror and psychological disturbia ready to spark riveting conversation and horrify us with the realities women must face on a day to day basis. 

It's a séance in the city.

Firestarter is a disappointingly damp affair, a film that's all fuse; frustratingly flickering between stupid and boring.

Following a seemingly idyllic family as the daughter [..], winds up raising a grotesque creature with whom she shares a telepathic connection, the film uses horror as a vessel to explore themes of vanity, coming-of-age, and beauty, while also offering up a healthy dose of criticism aimed squarely at family vloggers.

Set against the harsh backdrop of the Berlin Wall, Andrzej Żuławski's 1981 cult classic Possession is a genre-defying chronicle of marriage in decay.

The debut fiction feature from director Macarena Astorga, The House of Snails is a slow burn psychological thriller filled with twists and turns that will have you on the edge of your seat.

While not packing the usual one-two gut punch of most of its horror contemporaries, World’s Fair blends familiar mumblecore, coming-of-age and micro-budget horror elements into a film that’s greater than the sum of its parts, equally unnerving, hypnotic and experimental in the same breath.

Equal parts The Texas Chainsaw Massacre and Boogie Nights, [X] follows a film crew as they stay at an elderly couple’s farm to shoot a pornographic film, unknown to the couple themselves. 

The Scary of Sixty-First, the feature directorial debut of Belarusian-American actress, filmmaker, and podcast host, Dasha Nekrasova, presents itself as two movies. It’s at once an earnest, self-important, mumblecore horror film about passive twenty-somethings being angry at the injustices of the world, or it’s a tongue-in-cheek parody of said pretentious low-budget horror films.