Our horror movie reviews cover new releases, indie horror, festival premieres and the odd cult classic. From FrightFest reports to slow burn ghost stories and creature features, every review gives you an honest verdict on whether a horror film is worth your time.
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.
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.
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.
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.
