Office Space collides with The Purge and Battle Royale in The Belko Experiment, a fitfully engaging workplace horror from Guardians of the Galaxy‘s James Gunn.
Supernatural horror tropes come thick and fast in Don’t Knock Twice, a disappointingly shopworn demonic yarn from director Caradog W. James.
Without question one of the year’s most talked about genre releases, The Love Witch, a years-long labour of love from writer, director, producer and costume and set designer Anna Biller, is fully deserving of the hype it has been steadily amassing since it first began turning heads on the festival circuit last year. Unflinching and totally convincing in its commitment to its atmosphere and retro visual flair, this is a hugely entertaining piece of work that is both an effective homage to sixties and seventies horror and a smartly observed riff on long-standing genre gender politics.
Best known for his work as one half of cult comedy duo Key and Peele, Jordan Peele makes an unexpected gear-shift into horror for his directorial debut. As it turns out, the outcome is better than anyone could have expected: Get Out is a slickly executed, expertly paced and remarkably well written thriller that succeeds all at once at being chillingly relevant, deeply scary and hugely entertaining.
A Cure For Wellness is an achievement in one way, at least: made on a budget of $40 million, it’s genuinely remarkable to see a film with such a notable lack of mainstream commercial appeal being made on such a grand scale in 2017.
In The Good Neighbor, aspiring documentarians Ethan and Sean (The Walking Dead’s Logan Miller and It Follows’ Keir Gilchrist) carry out an experiment on their reclusive elderly neighbour Harold Grainey (The Godfather and Misery‘s James Caan).
With the best will in the world, there’s not too much to get excited about in The Evil In Us, a heartfelt, lovingly-sculpted “cabin in the woods” infection/zombie yarn that, while unshakeable in its commitment, doesn’t really engage in any significant way until its final twist.
While the title might imply a tale of some unknown creatures lurking underground and waiting to strike, the monsters in David Farr’s The Ones Below are of an entirely different kind.
“I was practically hate-fucked into existence.” Yikes.
It was the horror sequel nobody asked for: despite the obscene box office success of 2014’s Ouija, it fared almost as poorly with genre fans as it did critically. However, the horror genre is no stranger to unwanted attempts to magic up franchise potential from thin air, so mere months after its original theatrical run, a follow-up was confirmed. Set expectations to zero.