Category: Horror

Speak No Evil (2022, Dir. Christian Tafdrup)

A Danish family meets a Dutch family on holiday who are not all they seem. Truly uncomfortable and challenging to watch at times, this is one of the all time shout at the screen films. Awkward and unflinching – you will feel the tension and atmosphere – recommended.

Death Race 2000 (1975, dir. Paul Bartel)

A near-future fascistic USA is focused on an annual cross-continent murderous road race. Scattershot but sprightly, this exploitation effort (a Rollerball mockbuster) juggles media satire, cartoony splatter, 1984 riff, and car-chase comedy. Full of ideas, though, and hugely influential. A remake – spawning several DTV sequels – followed.

Here’s the trailer.

The House That Dripped Blood (1971, dir. Peter Duffell)

A detective investigates a missing film star, leading him to enquire into a house’s tragic history. Brisk Amicus anthology horror based on Robert Bloch short stories (with one standout yarn) – four twisty tales plus a wraparound story – delivering value for money and some genre-friendly faces.

Here’s the trailer.

Gatlopp: Hell Of A Game (2022, dir. Alberto Belli)

Four old friends play a mysterious drinking game: matters soon get out of hand. Fun little riff on Zathura / Jumanji with a little escape room stuff thrown in. At its strongest when focused on the game itself (its weakest in engineering soapy issues to be addressed), but there’s talent and some confidence on display here.

Here’s the trailer.

The Night House (2020, dir. David Bruckner)

A recently widowed woman starts to believe her house is haunted by her dead husband. Effective ghost story with some terrific scare moments and lingering unease. The payoff is a little tricksy, but this is well worth your focus nevertheless, not least for Rebecca Hall’s immaculate central performance.

Here’s the trailer.

Goodnight Mommy (2022, dir. Matt Sobel)

Twin boys begin to suspect that their mother is not who she claims to be. Muted and perhaps over-respectful English-language remake of the 2014 Austrian original. The performances are uniformly good, mind, even if the reveals aren’t strong: Naomi Watts delivers another variant on her mum (or not…) under pressure specialism.

Here’s the trailer.

The Postcard Killings (2020, dir. Danis Tanović)

A detective crosses Europe on the trail of serial killers responsible for his daughter’s death. Tickbox post-Lecter thriller (from a James Patterson novel) held together by Jeffrey Dean Morgan and – initially – some strong moments. It collapses, though, under the weight of ho-hum twists and a throwaway ending.

Here’s the trailer.

The Awakening (2011, dir. Nick Murphy)

1921 London: a debunker of fake mediums is asked to investigate a haunting at a boys’ school. Autumnal and good-looking psychological thriller: it takes a hard left turn late on that requires a huge leap of faith, but there’s plenty in the first hour especially to please subgenre fans. No relation to the 1980 flick of the same name.

Here’s the trailer.

Morbius (2022, dir. Daniel Espinosa)

After experiments backfire, a scientist develops vampiric abilities. Ho-hum second-tier Marvel adaptation, halfway between Blade and Venom, and much less fun than either. A decent cast struggles to make much of the material, which is standard antihero origin story stuff.

Here’s the trailer.