Welcome to the heart of Knockout Horror. This is where we keep the hundreds of reviews we’ve written over the years. Let’s be honest: the horror genre is a minefield. For every Hereditary, there are a dozen low-budget disasters waiting to waste your Friday night. That’s where we come in.
We watch the good, the bad, and the absolute trash so you don’t have to. From the latest theatrical blockbusters to the obscurest oddities hiding in the depths of Tubi and Shudder, you’ll find our honest, unpretentious, and jargon-free verdicts right here. No film school lectures, just a horror fan telling you if it’s worth the popcorn.
We review Kyle Mooney’s Y2K (2024). This A24 horror-comedy takes us back to New Year’s Eve 1999, but is it a sharp, funny subversion of the tech-panic era or just a messy, tonally confused trudge through 90s tropes? Find out in our full review.
We review Bloody Axe Wound (2024). This Shudder Original starts with a fun satirical slasher premise but quickly collapses into a cringeworthy teen drama. Is it a misunderstood meta-masterpiece or legitimately the worst horror movie of the year? Find out in our full review.
We review Leigh Whannell’s Wolf Man (2025). The first big-name horror release of the year sees the director team up with Blumhouse for a rural Oregon reboot of the Universal classic. Is it a terrifying masterclass in monster horror or just another shallow, trope-heavy quick-fix? Find out in our full review.
We review Nikola Petrović’s Mudbrick (2023). This Serbian folk horror follows an illustrator who returns to his native village, only to find himself entangled in a pagan cult dedicated to the god Veles. Is it a chilling new classic of the genre or just a glacially paced trudge with too little bite? Find out in our full review.
We review Marielle Heller’s Nightbitch (2024). Amy Adams stars as a stay-at-home mother undergoing a canine transformation, but is it a biting subversion of parental isolation or just a derivative, toothless drama that fails to deliver the horror? Find out in our full review.
We review Pascal Plante’s Red Rooms (2023). This Canadian psychological thriller takes a clinical look at a young woman’s obsession with a dark-web serial killer trial. Is it a masterclass in tension and character study or just a slow-moving techno-fantasy? Find out in our full review.
We review Luke Genton’s Chateau (2024). This ultra-low-budget influencer horror follows an aspiring social media star into a haunted French estate. Is it just another trope-heavy found footage trudge or a charming DIY surprise with a quirky sense of humour? Find out in our full review.
We review Gregory Jacobs’ Wind Chill (2007). Starring Emily Blunt, this road-trip ghost story trapped in a snowstorm offers plenty of claustrophobic tension and wintry dread. Is it a hidden Christmas horror gem or just a messy trudge with unlikable characters? Find out in our full review.
We review Tommy Wirkola’s Violent Night (2022). David Harbour stars as a hammer-wielding Santa Claus taking on mercenaries, but is it the ultimate R-rated Christmas action-thriller or does a weirdly sentimental script ruin the festive fun? Find out in our full review.
We review Camille Griffin’s Silent Night (2021). Starring Keira Knightley and Matthew Goode, this British apocalypse horror-comedy sees a group of posh friends gather for one last Christmas before the world ends. Is it a sharp, timely satire or just a tonally confused trudge with unlikable characters? Find out in our full review.
We review Tyler MacIntyre’s It’s a Wonderful Knife (2023). This Shudder Original reimagines the holiday classic as a slasher movie. Is it a clever, bloody subversion of George Bailey’s story or just a toothless, saccharine trudge through festive tropes? Find out in our full review.
We review Magnus Martens’ There’s Something in the Barn (2023). This Norwegian Christmas horror sees an American family battle a murderous barn elf, but is it a new festive tradition like Rare Exports or just a tonally confused Gremlins-lite trudge? Find out in our full review.