A sylvan nightmare introduces us to the world of Mercy Falls (2023) and a sylvan nightmare it remains; make of that what you will. As a film, it retains all of the standard nonsensical elements of a nightmare, alongside its tension and inescapability. The film on the whole can be perplexing, though it does do […]
The act of fossil-hunting is, for all its wholesomeness and its interesting history and fresh air, a hunt for a past which is by now utterly alien to us. It hangs somewhere between presence and absence; fossils are here, but gone; permanent, but extinct. And if all of this sounds like a rather lofty way […]
Good Boy (2022) is an odd proposition, because it immediately disrupts what you may expect from its most obvious plot elements. With its clean, sumptuous interiors, pleasant and polite cast, and distinctly bloodless approach to its storytelling, it oh-so almost keeps up appearances – but it has a grim, unsettling element which runs right to […]
Minore (2023) is a great premise on paper, but – sadly – too diffuse and poorly-paced to pass muster in practice. Along the way, there are great scenes and great ideas, but the film’s ragtag approach to building tension and developing a plotline let it down. It could have been a great film, shorn of […]
There has, in recent years, been a modest resurgence in interest in the genre of folk horror, with directors such as Ari Aster and Robert Eggers putting their own spin on recognisable folk horror features such as closed communities, local belief systems and irrational devotion to the edicts of these systems. As such, the likes […]
At this point, a good zombie film feels like a noble tradition for many horror fans but also, given the number and the scope of zombie horrors down through the years, it’s acceptable to be a little picky. Not only did the birth of zombie cinema kickstart a new, nasty, unrelenting kind of horror, but […]
By Gabby Foor and Keri O’Shea We are rounding off our coverage of Fantasia for this year with another block of short films; this time, the uniting factor is that all of these films were directed by a female director. There’s no one genre uniting these films per se, although there do seem to be […]
By Gabby Foor and Keri O’Shea We were delighted to be offered Fantasia’s short film blocks for coverage again this year. Small Gauge Trauma, the festival’s genre short film collection, is a great way to spot upcoming talent, clever homage, brand-new ideas and ingenious storytelling. As ever, the range has been incredible, with everything from […]
We know something’s up as #BOSSBABE gets underway: not only are we at a funeral, but we’re at a very glam funeral, one which could almost be a photoshoot, if not for the sales talk colouring the eulogy. This eulogy – which refers to the entrepreneurial genius of the deceased, marking her out as a […]
New Life (2023) opens in medias res: a bloodied, panicked young woman makes her way along a street, clearly fearful of being seen or stopped. She heads home, cleans herself up – but her safety and her memories of this place soon get left behind, and she’s moving again. It’s immediately clear that an old […]
Rage (2020) contains a lot of recognisable horror elements, though it utilises some intent in how it layers these elements together. The result is a watchable, at times ambitious horror film which struggles somewhat with its later pacing, but at its best offers something visually appealing and engaging. We start with a bit of a […]