Review Category: Movie

A demented game show host (Jackie Earle Haley) stages a grotesque game of death in this grisly horror film that’s part Saw, part Richard Osman’s House of Games. After packing off to their rich pal’s country house for the weekend, four friends become unwitting participants in Barry Miller’s little game.

Hurtling toward a winner-takes-all final round, Anita (Ella-Rae Smith) must work with – and occasionally against – chums James (Jamie Flatters), Melissa (Joelle Rae) and Matthew (David Angland). And with friends like these, who needs enemies? It’s good that screenwriter Joey Miller’s story cuts to The Chase, as every moment of their company prior to the game beginning is utterly intolerable. Thank the game show gods for Jackie Earle Haley, who elevates the sub-Saw-like material with a performance which vacillates between The Grabber in The Black Phone and Michael McIntyre on Michael McIntyre’s The Wheel. Which is to say, he’s extremely annoying, but his victims are worse.

On its surface, Your Host is yet another horror film about a lunatic torturing his victims in a basement. Only connect the dots, and Miller and director JW Medoff have a bit more to say than that. Its message is either intentionally or unintentionally unpleasant, but the extra layer tightens things up rather nicely as the cast is whittled down.

As Earle Hayley’s performance elevates the often clunky script, so too does the undeniably effective gore-making. Sharp implements puncturing eyeballs and eardrums are old hat, all these years after Hostel, but the simplicity of Your Host’s sadism works wonders. There’s one sequence which left me genuinely slack-jawed in disbelief at what had just unfolded – a rarity in modern Torture Horror.

Your Host grates more than it gratifies, but there are glimmers of something fascinating in there; a blood-drenched thriller with more on its mind than just Pointless torture.

YOUR HOST premieres at UK FrightFest on August 22, 2025.

Although his name will mean nothing to many modern horror fans, Andy Milligan was a trailblazer at the height of the grindhouse years of 42nd Street and pushed the boundaries of queer cinema.

Milligan’s films were not so much low budget as less-than-shoestring. Using off-cuts of film stock, his movies were the definition of rough and ready. An acquired taste, for sure, but time has been kind to his work, and he’s been reassessed, both by exploitation fans and the more serious film world. Severin Films, the company behind this documentary, put out a box set of Milligan’s work a few years back, and before that, the BFI released two of the films he made in Britain on Blu-ray.

Milligan didn’t start with horror, of course. His first films were rough sexploitation that paved the way for him to dabble in the darker side of exploitation. His first horror film, The Ghastly Ones (1968), was banned in the UK as part of the video nasty ‘panic’ of the early ‘80s. Even the people interviewed in this documentary admit that his films were mostly incomprehensible. However, it’s this shambolic style that endears us to his work. As with the reappraisal of Ed Wood, it proves we love an underdog.

Directed by Grayson Tyler Johnson and Josh Johnson, The Degenerate is a revealing, no-holes-barred overview of Milligan, as told by his friends and those who’ve studied his work. It’s often touching, but never delusional about its subject. No one tries to make Andy out to have been Fellini! This is a refreshingly honest portrayal, and all aspects of his career are covered, including his stage work. Milligan’s biographer and long-time friend Jimmy McDonough provides insight into his tragic final years, and those who were there at the beginning of his career add more perspective.

The test of any documentary, particularly one about an artist so divisive, is whether it would keep the interest of anyone who doesn’t care about the subject. We can safely say The Degenerate is entertaining and engaging enough to win over anyone.

THE DEGENERATE: THE LIFE AND FILMS OF ANDY MILLIGAN screened at FrightFest on August 22nd. 

Working away from home, Dani (Jackie Kelly) settles into her room for the evening, flirting into the early hours in a sexually-charged text message exchange. Her cosy night in is interrupted by a knock on the door; a sinister portent of the night she has in store.

Dani isn’t prepared for where this is all headed, and nor are you – Human is a balls (and everything else) to the wall gorefest, taking its version of a splatter flick to nigh-existential levels in what it throws at the screen. As the faucet is opened on a veritable torrent of effluence, poor Dani emerges as one of the most abused horror heroines of recent years.

Between the gallons of gore and disembodied, uh, body parts, it’s very much in the Evil Dead II vein of bloodbath. Even fans of that franchise’s grisliest entries might struggle with Human though, which dials up the unpleasantries to almost inhumane levels.

And we’re not necessarily talking about the trauma suffered by Dani either. It’s hard enough to stomach as an audience member. From the constant ping of Dani’s phone to an absolutely gruelling gore sequence late in the film, it’s a harrowing experience, and a relentless assault on the senses.

Kelly weathers it all well, while writer and director Matt Stuertz sends in several surprises to ensure that she has something to bounce off of, even if it’s just a strange man doing a monologue about periods over the phone. The cacophonic approach is probably the point though, successfully putting the audience on edge before the gross stuff has even started.

Human is not a pleasant horror film, but it is an undeniably effective one.

HUMAN premiered at FrightFest on August 22, 2025.

Director Chris Marrs Piliero knows his Quentin Tarantino films, and really wants you to know it. His ensemble piece Appofeniacs is a modern-day Pulp Fiction, spanning several intersecting narratives, each related to our modern world and the ill-intended consequences of abusing deepfake technology.

As a steamy hot tub party and a cosy night in both go awry, app-happy Duke (Aaron Holliday) sets into motion a terrible sequence of events which will result a bloody denouement for all involved… and then another one, on top of that. Swapping gimp suits and ball gags for weaponised Karen rants and giant anime swords, it’s an eclectic blend of Tarantino-esque violence and Black Mirror-style fearmongering. Some of the Tarantino references are a bit on the nose, but Piliero’s screenplay does a good job of aping the filmmaker’s signature style in a way that so many have failed to do before.

Where Appofeniacs is at its most successful is when it does its own thing, such as an early sequence involving a hot tub and a masturbating man in a kilt (Michael Abbott Jr, who channels Trainspotting’s Begbie to steal the whole film). Sean Gunn also gives a strong showing as anime arms dealer Clinto Binto.

Appofeniacs is perhaps too beholden to its love affair with Tarantino for its own good, but it’s an enjoyable collection of pulpy techno-terrors.

APPOFENIACS premiered at UK FrightFest on August 22, 2025.

A young woman faces horrific night terrors in this moody supernatural thriller by writer and director James Ross II. Haunted by past tragedy, the subconsciously simmering trauma of Riley (Jasmine Matthews) bubbles to the surface when she sleeps, taking the form of a nightmarish masked figure lurking in the shadows of her mind.

When a close friend disappears, Riley becomes convinced that her night terrors have become a dangerous, tangible reality. Has her pet dream demon really breached through, or is the danger already here and present in the waking world? And what does the sinister Mama (Sally Stewart) have to do with all of this?

Parasomnia successfully harnesses that feeling of vulnerability and anxiety one often associates with teetering on the edge of sleep. The low budget and murky cinematography are effective in building an atmosphere of tension and dread, leaving the viewer as wrong-footed as Riley when it comes to what’s real and what’s not. Sure, it looks a little cheap, but the most effective nightmares are those grounded in reality.

It’s a startling feature debut from its director, who keeps a tight handle on tone and pace, while throwing in plenty of striking imagery. It’s hardly going to put Freddy Krueger out of business, but there are some interesting flavours of folk horror to the various nightmares at play here, utilising creepy masks and surprising jump scares.

PARASOMNIA premiered at UK FrightFest on August 22nd, 2025.

At last, a horror film for haters of Chat GPT and Slack in the workplace. CognAItive, or Cogn-AI-tive, if you want to be really obvious about it, is an updated version of technophobic sci-fi thrillers like Dream House (1998), 2001: A Space Odyssey and The Simpsons segment ‘House of Whacks,’ wherein an AI-controlled house gains self-realisation and attempts to kill its residents.

What even The Simpsons couldn’t predict, however, is how all-encompassing and life threatening AI would eventually become. Taking that theme to its natural conclusion, Tommy Savas’s Cognaitive asks: ‘What if Chat GPT was actively trying to kill us?’

Piper Curda stars as developer Kaya, one of the minds behind the titular CognAItive. Ambitious CEO Ethan (Noel Fisher) has just brought the release date forward to literally tomorrow, and Kaya and her team have been charged with staying overnight to ensure that the launch goes smoothly. Having outgrown the parameters of its programming a while ago, Cog has certain ideas about what the launch should entail and is prepared – and able – to kill for the cause. It’s Mission Impossible – The Final Reckoning on a much smaller scale, although there is also a guy named Ethan here.

With CognAItive, Savas and screenwriter Angie Simms have updated ’90s schlock for our modern workplace. Its office setting is sharply observed, from the omnipresent Slack screens to cans of Liquid Death and Monster energy drink. Curda’s world-weary Kaya is a beacon of normality in a colourful crew of freaks and geeks, each profoundly irritating but amusingly wired. It’s on-the-nose but effective, utilising killer drones, 3D printers and even revenge porn in its attack upon the beleaguered office workers.

Will CognAItive, like Chopping Mall and Lawnmower Man age badly, like the tech world’s own Elon Musk? Whether we make it another three or four decades is anyone’s guess (if not, it could very well be AI’s fault) but, in the here-and-now, it’s a delightfully savage takedown of AI, tech bros, and Slack in the workplace.

COGNAITIVE premiered at UK FrightFest on August 21, 2025.

Troubled Max (Peter Davidson), still reeling from the loss of his big brother, is sentenced to community service at a seniors’ nursing home, Green Meadows. While he gets on with his mundane duties, he sees some disturbing things – a masked couple making love and a woman bleeding from the head in the swimming pool – but he also befriends one of the residents, Norma (Mary Beth Peil), who takes him under her wing. He struggles to sleep as he hears noises and screaming coming from the fourth floor – a place where he’s been forbidden. As the days go on, he finds that there’s something very wrong with the place.

Davidson provides a very measured performance, vulnerable and surprisingly endearing. Among the ensemble of residents are John Glover (Gremlins 2: The New Batch), who plays a ponytailed former actor, and Ethan Phillips (Star Trek: Voyager), who both add a sense of gravitas to the inhabitants. Director (and co-writer) James DeMonaco (The Purge) fills the screen with grotesque and disturbing imagery, building a mystery that culminates in a mix of David Cronenberg and Brian Yuzna. There are plenty of cheap, clichéd shocks along the way, but DeMonaco knows how to utilise expectations and build to a gore-laden finale in which all hell breaks loose (even if what’s going on is fairly predictable).

Given the shock and gore, the film’s strength lies in the quieter character interactions, particularly between Max and Norma. While it may not hit home completely – the tone shifts far too often – the cast and some gnarly effects save it.

THE HOME screened at FrightFest on August 21st. 

Timo Tjahjanto’s Nobody 2 is a chaotic, blood-splattered road action comedy that tries to balance the violent grit of its predecessor with a surprisingly tender exploration of family tension.

Bob Odenkirk once again embodies Hutch Mansell, a man torn between his violent obligations and his desire to reconnect with his family. Odenkirk’s grounded performance anchors the film, making Hutch’s internal conflict as compelling as his knack for creative takedowns.

The film benefits greatly from Tjahjanto’s kinetic action sensibilities. Set pieces are choreographed with flair – boat brawls, backwoods shootouts, and inventive traps keep the energy consistently high. RZA and Christopher Lloyd return for more crowd-pleasing moments, while John Ortiz and Sharon Stone bring entertaining menace to their new roles. The humour, darker than in the first instalment, often cuts through the chaos with unexpected wit.

Where the film falters is in its juggling act between story and spectacle. The road-trip setup promises more depth, particularly in Hutch’s strained relationship with wife Becca (Connie Nielsen), but the script doesn’t always give these emotional beats room to breathe. Family drama often feels rushed, especially when it’s shoved aside for another volley of bullets. Tonal shifts also clash, undercutting tension with humour that doesn’t always land.

Still, fans of the original will find plenty to enjoy. The film embraces its pulpy identity, delivering brutal fights, eccentric villains, and a satisfying finale. It doesn’t surpass the lean precision of the first Nobody, but as a wild, occasionally messy follow-up, it earns its place.

NOBODY 2 is in cinemas now. 

If superhero cinema is losing its lustre, then the same can’t be said to be true about horror, which is on something of a roll this year. In the last couple of weeks alone, we’ve had the extraordinary and unsettling Bring Her Back and Zach Cregger’s remarkable and inventive sophomore effort Weapons. This inadvertent unholy trinity is now completed by Together, the first full-length feature by Australian director Michael Shanks.

Rarely has a film been more aptly titled; this is a film about two people in a relationship who are slowly drifting apart but who find themselves drawn back together in the most literal fashion by something inexplicable (and unexplained) and supernatural.

Real-life couple Dave Franco and Alison Brie are Tim and Millie, who move from the city to the country so she can take up a new post teaching at the local elementary school. Tim, who has already excruciatingly responded with hesitation to Millie’s marriage proposal at their friend-packed leaving party, is a frustrated rock star who hasn’t quite grown up or accepted that his childhood dreams just aren’t going to come true. There’s a growing distance between them, and their move to their new home looks to be doing little more than temporarily papering over the cracks.

The pair set off to explore the countryside around their new home, and they fall into a dank, fetid cave where they’re forced to spend the night. Tim drinks from a pool in the cave, and the two wake up in the morning with their legs partially welded together. They clamber out of the cave, but soon Tim finds himself disturbingly drawn physically towards Millie – the aftermath of an impromptu sex session is agonising and eye-watering.

Millie’s not-quite-right fellow teacher Jamie McCabe (Damon Herriman) joins them for dinner and tells them about another young local couple who disappeared without trace and later reminisces with Millie about his apparently deceased husband. Meanwhile, Tim, increasingly disoriented and discovering a link between the missing couple and the mysterious cave, decides to return to the scene of the couple’s earlier – and apparently life-changing – traumatic experience…

Together is a bizarre and often surreal experience; it’s a story about dependency told from the perspective of a couple who probably don’t belong together, whose relationship has started to crumble, and yet, as it transpires,  absolutely belong together and can’t exist apart. In some ways, the idea and its realisation seem quite absurd. Indeed, there’s an element of humour underpinning the drama as it becomes outlandish and grotesque and stomach-troubling – the body horror somersaults over the ick factor at several points.

What really sells the story when it might seem too incredible and utterly implausible is the very clear bond between the two stars, who bring their own personal chemistry to the intensity of the relationship between Tim and Millie. There’s a strange sort of romantic synergy in the very final sequences when Tim and Millie come together to the strains of a Spice Girls ballad.

Together is both terrifying and beautiful, an exploration of personal connection and interaction taken to extremes. It’s occasionally uneasy viewing but it’s also raw, touching and deeply human,  marrying sometimes shocking body horror to a heart-wrenching story of love gone off the rails and then finding its way back in unimaginable circumstances.

Together is in cinemas now in the UK and USA.

Director Chuck Russell (who helmed The Blob remake and A Nightmare on Elm Street 3: Dream Warriors) brings us an updating of the cult ‘80s horror that weaves a grand mythology and boasts some genuinely shocking moments.

Emily (Madison Iseman) and Christian (Aaron Dominguez) are opening a flashy restaurant in the vibrant French Quarter of New Orleans, but things start going wrong when Emily finds an ancient pendulum board in the local woods. After dabbling with it, she becomes obsessed with it, while all around her, things literally go to Hell.

Radically different to the original movie, Russell’s version is a stylish if slightly overlong mixture of character drama and mystical horror. A large chunk of the running time is given over to the character establishing things like Emily’s drug recovery and Christian’s ex (Mel Jarnson) trying to get him back. This pacing doesn’t. There are still plenty of good points, however. A particularly nasty moment is led up to by a glorious Final Destination-worthy set piece. The opening theft of the pendulum board from a museum is straight out of the Pink Panther films, with a nastier outcome.

Time shifts retell the story of the inception of the board and what’s possessing Emily. A preview at the restaurant in which some rather nasty mushrooms are served ends very memorably. It’s doubtful Russell’s Witchboard will gain the cult following the original has, but even with some flaws, it’s an entertaining picture.

WITCHBOARD is in US cinemas now.