Down in the cellar where the monsters were in Sam Raimi’s 1982 debut The Evil Dead, you glimpsed a poster for Wes Craven’s 1977 film The Hills Have Eyes, ripped symbolically in half. The bar for gruelling low-budget horror, Raimi was saying, had just been raised.In employing another debutante, Uruguayan Fede Alvarez, to remake The Evil Dead, Raimi, these days the unlikely Hollywood insider behind the Spiderman trilogy and Oz the Great and Powerful, invites him to raise the stakes again.The original’s fireproof premise is kept: five friends spend the weekend in an isolated cabin in the woods ( Read more ...

If you go down to the woods today, it’s possible a Huldra might be encountered. A Norwegian wood, that is. She goes by other names across Scandinavia, but this be-tailed woman is to be avoided. Men lured into her lair are never seen again. Thale turns the legend on its head and tells the tale of Thale, a Huldra who’s been captured by a man and imprisoned in his basement. The story of the Siren-like Huldra is one that’s ripe for a film treatment, especially after Norway’s Troll Hunter became an international hit. Unfortunately, Thale is somewhat undercooked.Thale’s just-over-70 minutes opens Read more ...

Among the artists Aly Spaltro, the 23-year-old who makes music as Lady Lamb the Beekeeper, calls to mind is Laura Marling. The whispery vocals of the youthful English folk singer may not seem like the most obvious reference point for Spaltro’s guttural, animalistic howl but bear with me: like Marling’s, Spaltro’s vocals are heavy with a wisdom far beyond her years and, much like Marling’s, the subject matter of Spaltro’s songs is often deeply horrific.Ripely Pine is a debut album four years in the making, but has lost none of its rawness for that. It opens in contemplative mode; Spaltro part- Read more ...

When Cesar (Luis Tosar) sees Clara (Marta Etura) leave for work in the mornings, he wants to wipe the smile from her face. And as the barely noticed caretaker of her Barcelona apartment building, he’s in the perfect position to do so. Cesar is a strange monster for this psychological thriller from Jaume Balaguero, director of the visceral hit [REC] horror films: a misanthrope so incapable of happiness, he feels others’ laughter like a stab. His hospitalised, mute mother is the silent confessor who weeps horrified tears at his plans. Otherwise, we’re his only, appalled witnesses.His innocent Read more ...

You don't have to be highly impressionable to get a shriek or two out of Mama, but it would help, and I suppose there are filmgoers who may never look at walls in quite the same way again. Elegantly shot and boasting Oscar hopeful Jessica Chastain in Joan Jett-like form as an imperilled hipster, the movie goes heavy on portentous sound effects and creepy-crawlies. What it lacks pretty much entirely is common sense. On the other hand, who submits to such genre pictures for logic? The whole point of director Andy Muschietti's movie is to trot out a time-honoured arsenal of horror film Read more ...

The gnashing teeth emerging from a slathering black mouth ‑ HR Giger and Ridley Scott's Alien design remains one of the most horrific creations of cinema: an iconic image of vagina dentata body horror and a genetically modified unstoppable bogeyman for a modern age. The film was no one-off, however.James Cameron's Aliens sequel successfully replaced the horror tropes with incredibly tense and visceral action, while more recently Prometheus added epic scale. Even in games, Aliens Vs. Predator (in 2000) delivered a brilliant sense of enclosed fear. Given the series' heritage and mixture of Read more ...

Body-horror proves a viable family business with Brandon Cronenberg’s writing-directing debut, a chilly, queasy successor to dad David’s best work. Cronenberg Sr.’s Videodrome (1983) – which caught its era’s potential for bootleg, endemic visual sex and violence and the interdependence of people and screens – is a decent comparison to Brandon’s Antiviral, which pushes our obsession with celebrity to satiric extremes.We follow Syd March (Caleb Landry Jones) in his work at the Lucas Clinic, where celebrity’s diseases are stored and fans pay to be infected, sometimes serious sickness a small Read more ...

There are quite a few laughs in this new adaptation of The Turn of the Screw, Henry James’s chilling and ambiguous novella, written in 1897 after he was told a tale of children possessed by their deceased household servants. As a result I found this production thoroughly entertaining, while appreciating that not all the laughs were intentional.Though Rebecca Lenkiewicz’s reworking tries to retain the uneasy tension between a straightforward ghost story and a psychological unravelling – are the children really possessed by demonic forces, or is the new governess, played ably and with Read more ...

V/H/S is the first film to convincingly update EC comics’ Fifties horror anthologies, which gleefully corrupted the kids of Eisenhower’s America. They also inspired British films such as Tales from the Crypt (the 1972 anthology with Peter Cushing as a vengeful pet owner, and Joan Collins murdered by a psychotic Father Christmas), an HBO TV series and the Stephen King-George Romero tribute Creepshow. Ealing's Dead of Night (1945) and its murderous ventriloquist’s dummy looms over them all. V/H/S keeps these forebears' twists and narrative variety, slams them into the found-footage sub-genre Read more ...

“It’s like you’re a vampire,” whey-faced LA security guard Jacob is told. He gives a dawning, diffident look of recognition. Back in the cramped apartment he’s stopped leaving by day, he places a crucifix on his face, not quite expecting it to sizzle. For much of director Scott Leberecht’s atmospheric debut, he seems to be following Jacob’s progressive weakening by a rare disease with vampirism’s effects: blood-thirstiness, and enforced night-dwelling, ever since sunlight first blistered his skin aged 12. It takes us a while to realise the “vampire” description’s truth. The transition to a Read more ...

“It’s always the quiet places where the mad shit happens,” observes Garda Lisa Nolan (Ruth Bradley) in Northern Irish director Jon Wright’s creature feature. And, credit where it’s due, the mirthfully monikered Grabbers presents us with some classically mad shit. Set on the fictional Erin Island - a fishing village off the coast of Ireland - Grabbers is Wright’s second feature after 2009’s Tormented.After a prologue involving the fatal molestation of fisherman by an unseen sea monster, we’re introduced to Garda Ciarán O’Shea (Richard Coyle). He’s rebounding off rock bottom, drunk and Read more ...

Flanked by the wonderfully weird tagline, “If this picture doesn’t make your skin crawl…it’s on TOO TIGHT”, 1974’s Black Christmas is amongst the first fully formed slasher pics. Based on a series of murders that took place in Quebec, this Canadian contribution to the festive canon is dripping with seasonal cynicism. From director Bob Clark, Black Christmas sees a psychotic prank caller offing the residents of a sorority house during the Christmas period, and is most famous for the chilling line, “The call is coming from inside the house”.Black Christmas boasts a seriously impressive cast: Read more ...