Category: FrightFest
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REVIEW: The Ledge (2022)
dir. Howard J. Ford Kelly (Brittany Ashworth) captures the murder of her best friend Sophie (Anaïs Parello) on her camcorder after one of the male members of their rock climbing group attempts to sexually assault her. Attempting to flee, Kelly soon realises that the only escape route is up, and begins to scale a gigantic…
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REVIEW: Mandrake (2022)
dir. Lynne Davison Parole officer Cathy (Deirdre Mullins) has a troubled family life, but soon finds her problems worsen when she’s allocated the case of released killer ‘Bloody’ Mary Laidlaw (Derbhle Crotty). Despite having been in prison for twenty years Mary soon returns to certain practices, and so when two children go missing nearby Cathy’s…
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REVIEW: Wyrmwood: Apocalypse (2021)
dir. Kiah Roache-Turner Indie darlings Kiah and Tristan Roache-Turner made a name for themselves in the horror community thanks to their 2014 festival favourite Wyrmwood (which is perhaps as loved for the underdog story that marked that film’s journey to the screen – shot on weekends for years – as for anything in the work…
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REVIEW: You Are Not My Mother (2021)
dir. Kate Dolan According to lore, a “changeling” is where sinister faerie folk swap a human child for a fae baby. But what if it wasn’t a child that was switched, but the mother? Despite being a country rich in folkloric traditions, Ireland’s contribution to folk horror cinema has rather paled in comparison to her British…
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REVIEW: Homebound (2021)
dir. Sebastian Godwin There’s something intrinsically ominous about arriving at a house where you expect someone to be, and them not being there. No matter how hard you try to convince yourself that something just came up and they’ll be back any moment, there’s often a niggling feeling that they’re dead in a ditch or…
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REVIEW: A Cloud So High (2022)
dir. Christopher Lee Parson Utilizing psychedelic visuals, recurring echoes and a whole slew of differing – and at times clashing – themes, Christopher Lee Parson’s feature debut attempts to capture the mental breakdown of a young man recently discharged from the military as he returns to a dysfunctional home, and a society that doesn’t know…
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REVIEW: Let The Wrong One In (2021)
dir. Conor McMahon What if your brother showed up on your doorstep and asked for your help? How about if you didn’t really get along, and on top of that, he’d turned into a vampire? That’s the situation Matt (Karl Rice) is faced with when his irresponsible big bro Deco (Eoin Duffy) appears one morning…
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REVIEW: Night’s End (2022)
dir. Jennifer Reeder Shut-in movies have – for obvious reasons – become more common post-COVID, and the horror genre is a natural home for them; they can be particularly effective when characters feel unable to leave their safe space, even after it has been invaded by a hostile entity. Delving into ‘lockdown horror’, the new…
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