There’s a popular line of films and television which consists of finding an idyllic (or idyllic-seeming) retro America, and then menacing it with something bloody horrible – as if to say it was never that good, not really, but also because once you’ve created a weird feeling of audience deja-vu over the clothes, toys and […]
A nightmarish (and as-yet mysterious) opening scene segues into what appears to be something like normal life, as we get started with Night After Night (2026): this is a false impression which persists as a motif throughout this alienating, unsettling film. We meet security guard Andy (Scott Poythress) and his buddy Willis (Johnny Sibilly). They […]
São Paulo party planner Malu (Martha Nowill) has a lot to do, toilet breaks notwithstanding. She has a cake to worry about, there are last-minute arrangements to make, and her twins’ father hasn’t come to pick them up as arranged, which is unhelpful, so she optimises a spare moment by helping to yank out her […]
We start with a shock in the opening moments of A Safe Distance (2026), as a tranquil forest setting erupts with a gunshot – and the film then obliquely reveals a body. Two women silently depart the scene, clean themselves up and then hitch their way out of there, finding their way to the nearest […]
Myanmar is better-known to Westerners for its political situation than for its cinema scene – much less its genre cinema scene – but low budget horror has developed a decent foothold in the country, with The Last Footage (2026) director Arkar Soe Oo already a well-known name domestically. The Last Footage is the country’s first […]
Nightborn (2026) is a film hectic with female and feminine anxieties. In common with director Hanna Bergholm’s last feature film, Hatching (2022), it explores childrearing and infant care through a supernatural lens, and whilst the supernaturalism itself flows parallel to the very real human issues in the story, the supernatural elements themselves are beautifully handled […]
Corpus (2026) is a brooding and subtle horror film which reveals its key ideas very slowly and carefully; arguably, it never allows us to understand everything, preferring to focus on its sensual, uneasy world-building and those who finds themselves there. We start in 1997: there’s an as-yet unseen photographer doing a shoot with a young […]
When do you first remember seeing an Asylum studio title? Established in the late 90s, they may have been knocking around for a while before they ended up on your radar. So at a guess, your first Asylum title might have been Mega Shark vs Giant Octopus (2009) or if you’re a little younger, perhaps […]
Zombies and Christmas: why haven’t we had more of this combination before? The overlaps kind of write themselves: gluttony, conspicuous consumption, a strong tradition of being trapped in the house. Unholy Night (2026) begins well, and clearly has a sense of how these two things could work well, but after a bold opening sequence which […]
“The whole point was you’re not supposed to space out.” We find ourselves following two pleasant but aimless young men during the opening scenes of Sour Minnows (2026), as Ricky (David Brown) and Tepper (Chase Williamson) talk contentedly about this and that, though often circling obliquely back to their favourite topics: filmmaking and film. They’re […]
We first see ‘Red’ and ‘Blue’ (twins Emma and Ian Ho) as babies; these two children, now in their early teens or thereabouts, seem to have spent their entire lives in a spacious, but rather dark and dated-looking home, with only each other for company. However, this isn’t Megalomaniac (2022); the kids seem contented, they […]