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.

The Shrouds presents potential by reeling in its audience at the beginning, but then loses its grip on them far too soon.

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

Despite its pitfalls, Dangerous Animals still manages to thoroughly entertain for its full duration […]

As with any spin-off, it’s difficult not to compare what you are watching to the original; needless to say, Ballerina embraces this challenge by continuing to change the form of what we know the world to be, innovating its tropes and style.

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.

The phrase gets thrown around a lot these days, but Mission: Impossible - The Final Reckoning really does demand to be seen on the biggest screen possible.

The Surfer’s dysphoric madness is purposeful, its structure disorienting, and its central performance unapologetically feral. But for those willing to paddle out into deeper, more turbulent waters, it truly stands as a mesmerising devolution into psychedelic bedlam.

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 […]

There is a lot to like about Sinners for any movie-goer.

The equal helping of fights and jokes should be guaranteed to make action aficionados laugh and comedy connoisseurs flinch.

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

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

Steven Soderbergh continues his prolific ‘post-retirement’ run with Black Bag, a tightly-wound spy thriller that is as cleverly composed as it is devilishly paranoid.

Rasoulof brings the audience directly into Tehran - this film will most likely be the closest thing we’ll ever have to see into the lives of those who have been oppressed in Iran.

Inside is a well-directed debut feature that is unforgiving, and filled with stand out moments from the whole cast.

Visually, this film feels like a masterclass of instinctive storytelling.

Dating and relationships, especially in the modern world, can be a real horror.

As far as January horror movies go, you could do worse, but howling about Wolf Man, you will not be.