CABIN FEVER (2016) is a relatively brisk but undemanding watch if you can stomach peeling flesh, burning flesh, naked flesh and if you haven’t seen the original it might still hold some surprises for you but, if you have, don’t expect anything new.

While adjusting to a new life in a quiet suburban community, a recently divorced mother (Dawn Van de Schoot) and her two teens receive mysterious red letters instructing them to kill or be killed.

Check out Director Kevin Greutert’s JACKALS (2017). Cults, family disputes, a cabin in the woods and uninvited guests come together in this neat, if occasionally predictable, home invasion thriller.

Despite the intriguing title, compelling premise and fast faced set-up DARK TOUCH (2013) doesn’t quite hit the mark it feels like it’s shooting for. It’s a shame because there is a lot to like here.

From film making partners Justin Benson and Aaron Moorhead, SPRING (2015) is an ambitiously unique genre-defying romantic horror.

Cheap and cheerful and the horror genre go hand in hand. Not every title is going to be a masterpiece and some feel like they’re just not trying. Written and directed by Tom Lewis THE OTHER SIDE aka THE CHANNEL (2016) is somewhere on the curve.

How best to explain STAGE FRIGHT (2014). Take a deep breath ….. it’s a Scream-esque summer camp horror thriller with shades, more than shades actually, of Phantom of the Opera, GLEE and every Craven knock-off you’ve had the pleasure of enduring.

CRAWL (2011) is written and directed by Paul China (Night Shift). Georgina Haig plays Marilyn Burns (name stealing) as the unfortunate young woman stalked by a Croatian hitman with very little but murder on his mind. 

There’s a sense of early nineties camp horror anarchy about writer director Andrew Feld’s debut feature – KILLER KATE! Walking the tightrope between extreme graphic violence and insane comic brutality he manages to navigate both with relative aplomb.

Asian Horror cinema as a genre had long been well regarded by the international cinephile audience but it was Director Hideo Nakata’s RINGU (1998) that flicked some kind of switch and caught the attention of the movie-going public at large.