Category: Grimmfest
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REVIEW: Feed Me (2022)
dir. Adam Leader and Richard Oakes Wracked by grief and loss, Jed (Christopher Mulvin) meets Lionel (Neal Ward), a stranger who offers him a terrible bargain – he will help Jed end his life if Lionel is allowed to eat him. Having made an impression with their debut Hosts, directors Adam Leader and Richard Oakes…
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REVIEW: Cult Hero (2022)
dir. Jesse Thomas Cook There’s a charm to Jesse Thomas Cook’s latest that can’t be denied: by-the-books in many ways its slapstick humour and over-the-top antics show a wry self-awareness, with Cult Hero knowing exactly what it is; silly, gory fun. Ryan Barrett is a standout as Dale Domazar, a reality TV cult deprogrammer who’s fallen on tough…
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REVIEW: The Goldsmith a.k.a. L’orafo (2022)
dir. Vincenzo Ricchiuto A trio of thieves break into the home of a jewellery maker and his wife in an attempt to steal his most valuable work. All seems to go to plan until the door closes and they get stuck inside, and the true nature of this older couple is revealed; one filled with…
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REVIEW: Moon Garden (2022)
dir. Ryan Stevens Harris After a harrowing domestic accident five year old Emma (Haven Lee Harris) wanders through a comatose dreamscape. As she journeys back to consciousness she’s guided by the voice of her mother (Augie Duke), encountering figures of both beauty and terror within herself. Editor-turned-director Ryan Stevens Harris’ sophomore film is a remarkable…
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REVIEW: Candy Land (2022)
dir. John Swab At a US truck stop a community of sex workers spend their days servicing Johns and getting by. They’re a close knit group, with strong friendships, romances, dreams and aspirations. None of them are ashamed or resigned to their situation, but equally neither do they fully embrace it, existing somewhere in-between out…
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REVIEW: Final Cut a.k.a. Coupez! (2022)
dir. Michel Hazanavicius There’s a myth that remakes can never work. Horror in particular has a rich history of old stories being injected with fresh blood, emerging from tele-pods in new forms such as David Cronenberg’s The Fly (1986) or John Carpenter’s The Thing (1982). A sticking point however is when the sole purpose of…
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REVIEW: House of Darkness (2022)
dir. Neil LaBute After driving a woman (Kate Bosworth) back to her secluded countryside mansion in the hopes of getting lucky, Hap (Justin Long) soon realises his night is about to turn sour when the mysterious (and cleverly named) Mina soon becomes more than just the manic pixie dream girl he initially expected. As he…
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REVIEW: Megalomaniac (2022)
dir. Karim Ouelhaj Extreme horror is, to put it lightly, not for everyone. But for those who desire a visceral, disturbing experience it’s the ideal conduit for exploring boundaries which are taboo or subversive. In this director Karim Ouelhaj has created an incredibly impressive and utterly brutal examination of evil in his latest, shocking feature.…
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REVIEW: The Passenger a.k.a. La Pasajera (2021)
dir. Fernando González Gómez & Raúl Cerezo Four strangers ride-share a van towards a country village when, on a dark and misty road, the driver hits a severely injured woman. However they soon realise that everything is not as it seems, and they must put aside their grievances to fight for their lives against a…
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