The Babysitter: Killer Queen (2020, dir. McG [Joseph McGinty])

Two years after the traumatic events of the first film, Judah finds himself still struggling to be believed. Zippy sequel that expands on, rather than rehashes, its predecessor (which it’d be useful to see immediately prior). More gore slapstick than horror flick, this is a fun and pleasantly inconsequential ride.

Here’s the trailer.

Aquaslash (2019, dir. Renaud Gauthier)

High school graduates partying at a run-down waterpark are targeted for murder. This 80s throwback horror gets a lot of its incidentals right, but takes an age to deliver on its single promise, and ultimately makes little sense. Still, there’s some good work here, even if this is a solitary idea for a short stretched to feature-length.

Two Heads Creek (2019, dir. Jesse O’Brien)

Adopted twins flee Brexit Britain searching for their birth mother, apparently living in a remote Australian township. Scattershot horror-comedy in need of a second script-editing opinion. Competently made, and with glimmers of focus and satire, making the film all the more frustrating to sit through.

Sky Sharks (2020, dir. Mark Fehse)

Zombie Nazis riding jet-powered sharks terrorize the skies. Alternating between good-looking and tatty, this mashup of the likes of Dead Snow, Iron Sky and the Sharknado franchise is clearly a labour of love. However, there’s neither a story or any characters to care about, and swathes are clumsy, puerile, and tedious.

Cut (2000, dir. Kimble Rendall)

Murders recommence when film students attempt to complete a supposedly cursed unfinished horror movie. Passable low-budget Aussie mashup of Scream and Wes Craven’s New Nightmare, with a few quirky kills and a fun Molly Ringwald performance.

Arachnophobia (1990, dir. Frank Marshall)

A spider-phobic doctor’s home is the centre of a killer arachnid invasion. Hugely enjoyable comic horror flick, expertly playing as a family-friendly and icky jump-fest. Lots of fun; a rare example of a lightweight genre move which works with all audiences. Recommended.