The Yeti drops a 1947 search party into the Alaska Territory and hands them a practical FX creature feature with a proper cast. Gene Gallerano and William Pisciotta nail the 40s B movie tone, and Wayne Anderson’s creature design gives the beast real weight. The script, sadly, needed a couple more drafts.
Spider One’s Big Baby casts Brandon Lewis as a horror screenwriter who cannot stop listening to the podcast telling him to die. Krsy Fox supplies the film’s genuine tension, and the crying baby mask supplies the axe. Our horror film review looks at why the story inside Adam’s script leaves the whole thing curiously unsatisfying.
onathan Zuck’s Chum strands a wedding party off Malta between a great white shark and a fisherman with a grudge, played by Jim Klock. It is a shark attack horror with a climate change conscience and a fatal reliance on AI visual effects. Alice Eve commits, the Maltese location dazzles, and the film still goes under.
Hanna Bergholm follows Hatching with Nightborn, a Finnish folk horror about a mother who cannot love her own baby. Hope Madden’s review looks at how Seidi Haarla and Rupert Grint keep the film’s sympathies shifting. The creature effects wobble, but the nightmare holds.
Son of Sara takes the well worn Satanic pregnancy formula and finds fresh life in it, thanks to Houston Bone’s patient direction and a cast who make even familiar scenes land. Chloe Van Landschoot and Tymika Tafari sell the relationship at its centre, and the film’s quiet change in theme upends the expected ending. An indie horror film that spends its small budget wisely and gets you out in under ninety minutes.
Robbie Banfitch follows The Outwaters with Tinsman Road, a found footage horror about a missing sister, a grieving mother and a camcorder that cannot quite capture what is out there. Jim McLeod reviews the New Jersey grief horror ahead of its UK digital release through Blue Finch Films.
Zoe Kavanagh flings Niamh Hogan’s Taryn Barker back to 1987, where a summer camp slasher and a cult run by Lisa Wilcox stand between her and the Necrox. This action horror sequel skips the po-faced polish and goes straight for practical gore, real stunts and big daft fun. Here is why the indie horror slate has a new favourite.
The Evil Dead franchise goes French extreme—and the humour is the first casualty.
2026 has delivered an exceptional year for horror, from Nia DaCosta’s brutal 28 Years Later: The Bone Temple to Curry Barker’s devastating Obsession. We rank the best horror films of 2026 so far, including Kane Parsons’ Backrooms, Maggie Gyllenhaal’s The Bride!, and Damian Mc Carthy’s Hokum.
Avalon Fast’s Camp takes the bones of a summer camp horror and grows something stranger from them. This sapphic, witchy coming-of-age tale follows Zola Grimmer’s grief-stricken Emily into a coven of damaged young women, trading slasher mechanics for melancholy magic. Here’s why this girl horror lingers.
Izabel Pakzad’s Find Your Friends drops five wasted party girls into Joshua Tree and promises a survival-horror reckoning with toxic masculinity. There’s a real story of female rage swimming beneath the booze, the Molly and the desert menace — but does this Shudder revenge thriller ever let it breathe? Our review counts the cost.
Our Chum 2025 review wades into Jonathan Zuck’s AI-generated shark thriller starring Alice Eve. Here’s why this killer shark film sinks faster than a chum bucket with a hole in it.
Salome film review: The Shell Brothers compress Wilde’s tragedy into 76 minutes of claustrophobic horror, with Jessie Epstein’s stunning performance at its hypnotic centre.
A countdown of five essential horror movies about unlicensed doctors, from Stuart Gordon’s Re-Animator to the Soska sisters’ American Mary, exploring what happens when the scalpel meets obsession.
Kane Parsons’ Backrooms transforms YouTube-born creepypasta into a singular liminal space horror starring Chiwetel Ejiofor. Here’s why this feature debut demands attention.
