Claudio Fäh attempts to liven up the shark genre with No Way Up (2024). Swapping sinking boats for a crashed airliner, does this claustrophobic survival thriller deliver?

Laura Moss makes a striking debut with Birth/Rebirth, a cold and clinical reimagining of the Frankenstein myth. Is this feminist body horror a modern classic?

Caye Casas delivers one of the darkest horror-comedies in years with The Coffee Table. A simple domestic dispute over furniture spiralling into a nightmare of pure anxiety and cruelty.

Jane Schoenbrun follows up We’re All Going to the World’s Fair with a neon-drenched, surreal trans allegory. But is I Saw the TV Glow actually a horror movie?

Maxine Minx heads to Hollywood in the final chapter of Ti West’s trilogy. Trading the slasher grit of X for an 80s crime aesthetic, is MaXXXine a fitting conclusion or a messy departure?

Ti West swaps the 70s grit of X for the oversaturated Technicolor of the 1910s in Pearl. Starring Mia Goth in a career-defining role, this is a character study that cuts deep.

Ti West returns to horror with X, a love letter to 70s exploitation and Tobe Hooper. Starring Mia Goth and Jenna Ortega, is this more than just a stylish exercise in nostalgia?

Robert Morgan makes his feature debut with Stopmotion. While the titular animation is a visual triumph, does the standard horror plot do enough to keep you awake?

Jack Delroy’s Night Owls Halloween special goes horribly wrong in Late Night with the Devil. A fresh, 70s-soaked take on the possession genre that is as fun as it is creepy.