In Divinity, writer-director Eddie Alcazar seems to have crafted a readymade cult object. A film completely furnished with textual references, grotesque violence, hyper-stylised visuals, and mixed media experimentation, seemingly destined to attract a small coterie of like-minded fans and repeat viewers. The only issue is that I can’t imagine anyone sitting through this twice.

The First Omen is a quiet triumph for modern horror, understanding the delicate balance between terror and beauty, and between homage and innovation.

Hood Witch is redolent of self-importance, so deeply invested in its own world that it barely pauses to consider the viewer’s ability not to care about its mediocre characters and plot delivery.

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.

Watch out Cullens, there's a new vampire family in town! Fans of Twilight (2008), Dark Shadows (2012), Submarine (2010), and Moonrise Kingdom (2012), get your fangs out and sink your teeth into this quirky vampire coming-of-age film.

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

Factually, this film is about the stain that the 1948 Nakba left on its people. Symbolically, it’s about children who are trapped in a cycle of trauma that they will never outlive. It’s terrifying to think of the thousands of children who this story now belongs to, but it is important not to look away.

Based on his 2017 short film of the same name, Alberto Corredor’s Baghead is a horror film about a young woman who inherits her father's pub, only to find out there's a supernatural entity in the basement with the ability to take on the form of dead loved ones.

Leaving little room for seconds, Thanksgiving reminds us to be thankful for the simple pleasures that horror brings, and not unlike the dishes that might adorn a festive dinner table, there's plenty of corn to go around.

Serviceable but not particularly functional, Five Nights at Freddy's is a horror film that's as clunky and awkward as the lumbering animal robots it revolves around.

While Twin Peaks: Fire Walk with Me is not the most audience (or even fan) friendly experience around, it's a devastating look at a life cut short.

Despite some initial promise, The Exorcist: Believer is a half-hearted attempt at best, and complacent with mediocrity at worst.

Overall, It Lives Inside illustrates itself to be a unique conceptual endeavour which struggles under the weight of its own potential. Although somewhat competent in facets of its execution, it ultimately sabotages its potency and settles upon a derivatively restrained final product which unfortunately struggles to leave a lasting impression.

While The Nun II isn't exactly breathing new life into the genre, horror fans should find themselves satisfied, offering a course correction after the first entry underwhelmed.

Late Night with the Devil is destined to be a halloween cult classic.

Featuring Argento at his most feverishly creative, Phenomena lives up to its title, providing an experience that's as difficult to rationalise as it is rare to come by.

Voyage of the Demeter's real problem is that the audience already knows where the map leads, and the film does little in its way to add any bite.

Talk to Me is another solid addition in the outback horror canon - a beating heart, pumping with fresh blood.

It might appeal to die-hard fans who want to see how it all ends, but for casual viewers who are looking for a fresh and exciting horror experience, it winds up feeling more like this door could've stayed shut.

The Boogeyman is a decent horror film that delivers on the prerequisite jumps and jolts, despite sometimes falling into the trappings that come with elaborating on succinct source material.