Horror Movie Reviews

Annabelle Comes Home is the cinematic equivalent of a haunted house attraction. A shallow but highly entertaining jump-scare fest that revisits the Warrens.

Ari Aster’s Midsommar is a staggering visual achievement. A sun-drenched, visceral relationship drama masquerading as folk-horror that explores the agony of grief.

Tate Taylor’s Ma is a frustrating exercise in wasted potential. Despite a standout performance from Octavia Spencer, the film is hampered by a terrible script.

“What if Superman was evil? That’s the question James Gunn’s Brightburn attempts to answer. It’s a gory, mean-spirited subversion of the superhero genre that delivers on the kills but stumbles on the plot. Is it a super-powered slasher worth your time, or just a messy disappointment? Let’s take a look.”

The Curse of La Llorona is a disappointing entry in the Conjuring Universe. A formulaic jump-scare horror that prioritises heavy exposition over genuine dread.

Lorcan Finnegan’s Without Name is a visual masterpiece that struggles with its own identity. A hallucinogenic Irish horror that prioritises atmosphere over narrative.

Trevor Juras’s The Interior is a bizarre and rewarding genre-shifter. A slow-burn descent into madness that features one of the most effective scares in indie horror.

The 2019 remake of Pet Sematary is a gory, modern update that isn’t afraid to change the rules. A fun, jump-scare-heavy reimagining of the Stephen King classic.

Leaving D.C. is a triumph of low-budget, DIY filmmaking. A refreshing found footage horror that relies on smart sound design and a logical protagonist.

Survive the Hollow Shoals is a humble but effective entry into the found footage genre. A survival vlogging horror that delivers decent scares despite its tropes.