Here’s what we discover from the earliest scenes of Roof (2026): Dev (Asif Ali) doesn’t come across as a very nice person. As he practices affirmations into the mirror while getting ready for his working day, he’s concurrently ignoring voicemails from both his girlfriend and his mother. He doesn’t have time for their special pleadings; […]
We’re busy, busy, busy as we get underway with Indonesian horror movie The Hole (2026), aka The Hole, 309 Days to the Bloodiest Tragedy (which rolls less well off the tongue). Leading with a notice which we normally see on the end credits of a film – ‘Any similarity to actual characters, places or events […]
Man-su (Lee Byung-hun) has it made: we know he has it made the moment we first see him, barbequing eel outside his spacious home whilst wearing a contented smile and a ‘happy at my level of maturity’ moustache. Not only that, but the eel was sent as a gift by his impressed new bosses at […]
So this is Glacier National Park, Montana in the 1960s and we start with a question: why are two people open-air camping in grizzly territory? Roll opening credits – genuine retro footage of people behaving stupidly around wild brown bears and the discomfiting reminder that the incidents in the film, open-air camping and all, are […]
By contributing writer Chris Ward Valeria (Natalia Solián) is a young woman trying to start a family with her husband Raúl (Alfonso Dosal). After visiting Monumental de la Virgen De Guadalupe – a large statue in Chalma, Mexico, sculpted in 2017 by artist Víctor Gutiérrez – with her mother and her aunt, Valeria discovers that […]
Whilst the genre of ‘found footage’ is more on a downward arc these days than it was, say, fifteen or twenty years ago – when every no-budget filmmaker was irresistibly drawn to its cheap, practical possibilities – it’s nonetheless so familiar by now that we can instantly recognise its trappings and conventions. As such, we […]
Lucio Fulci is one of those directors whose reputation has continued to blossom in the years since his death; this makes sense, as his films – perhaps particularly his horror films – are so beloved of genre fans, offering a great deal to both enjoy and to decode. It’s difficult to find someone who ‘quite […]
Relentless (aka Syphon) starts life as a home invasion movie, with all the requisite anxieties of that genre. However, it quickly moves beyond home invasion, hovering over other genres along the way, but holding hands with horror as its sustained, often grisly pursuit unfolds. It’s also the third film I’ve seen in almost as many […]
The Housemaid paints in very broad strokes. On occasion, its strokes are so broad and even a bit clumsy, that it seems like the paint will tear straight through the canvas. However, if you wait it out, it gets into a much more horror-adjacent, nasty phase which feels like a decent payoff for all the […]
Hard as it is to believe, today marks ten whole years since the very first post from Warped Perspective! By anyone’s reckoning, that’s a good stint: Warped Perspective was also a relaunch, following the closure of the earlier, US-based Brutal as Hell (which was founded by Marc Patterson back in 2009). So that’s a decade […]
This article contains spoilers for Season One. There’s no doubt that the new Vince Gilligan series Pluribus – a kind of Invasion of the Body Snatchers for the wellness generation – has been an intriguing, if slow-burn entrant into the post-apocalyptic genre. Post-apocalyptic, that is, from the perspective of Carol Sturka (Rhea Seehorn), one of […]