Simon Glassman’s Buffet Infinity is a mind-jangling Canadian sci-fi horror comedy that builds its narrative entirely from regional TV ads. It’s clever, bananas and perhaps brilliant, with a style that sustains itself for ninety-three minutes of simulated channel surfing and cosmic capitalistic catastrophe.
Hope Madden reviews Adam O’Brien’s Bury the Devil. A haunted house horror with a great atmosphere and strong central performances. The incomplete mythology holds it back from being truly memorable.
Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is the nerdiest horror film ever made. With Gillian Anderson, Hannah Einbinder, and more slasher trivia than you can shake a split diopter at, this queer horror masterpiece is bloody, beautiful, and utterly compelling.
Marco van Belle’s Feed finally puts the Dearg Due, Ireland’s first vampire, on screen in a handsome indie horror. Grace Collender and Charlotte Bradley bring real texture, yet the film keeps slipping into familiar cabin territory instead of its own mythology. Our full review weighs a fresh premise against safe execution.
Brock Bodell’s Hellcat straps Dakota Gorman into a moving Airstream and lets Todd Terry talk at her for 91 minutes. Hope Madden reviews a single location horror thriller that mines its premise well before the third act gets contrived. Lean, mean and effective, hokey practical FX and all.
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.
