FrightFest — A–Z of films

Aaaaaaaah! is a beautifully crafted piece of work masquerading as an ethnological study made by chimpanzees.

Afterdeath deserves credit for trying to do something different.

The best combination of loser comedy and gore since Shaun Of The Dead.

Overall this is an entertaining and intriguing film which deserves more attention than it has historically enjoyed.

It's properly scary in places and it's also lots of fun.

One of the freshest entries in the horror genre for years.

Bello makes a strong impression, making a lot of a role that could easily have been played by numbers.

It's likely to be most appealing to people just too young to be officially allowed to see it.

Manson is strong in the lead, showing us January's vulnerability - induced as much through terror as anything else - without relying on pity to hold our attention.

Tyler Shelds' surreal fairytale is part morality play, part action thriller, all of it stylishly shot.

This is not the most revealing documentary ever, and it deals with a subject that is ultimately pure pop-culture, but it is impossible to feel anything other than inspired by the pluckiness of the this British underdog.

There’s plenty of the pre-requisite tension, and the monsters are designed well and deployed with restraint.

There isn’t anything particularly wrong with the direction, which is solid horror fare, but it’s trying to animate a cadaver of a script.

It stands out for its failings in a genre where there's some seriously tough competition.

Though it's no longer likely to shock horror audiences, Hellraiser remains highly watchable, and there is no doubting its importance in the history of cinema.

A gorgeous palimpsest of a film.

The spectre of the war looms large in a film that explores the origins of violence, feuding, and the enactment of men's aggression toward one another on the bodies of women.

Akasha Villalobos' utterly committed performance makes for one of the most compelling horror heroines we've seen in years.

This is a disappointing effort which uses the crudest of tools to try and manipulate audience emotions.

Dixon has certainly got what it takes.

Documentary this may be, but it's very much in horror movie territory, and filmed as such.

Thayer's unrelenting impression of nails scraping down a blackboard meas that by the end of an hour and a half you'll be ready to kill Deb yourself if the zombies haven't.

A challenging take on human sexuality and the shared language of sometimes erroneous assumptions that enables us to navigate relationships.

The discussions of the material realities of film-making in Turkey even into the 1970s are fascinating.

Though its tendency to whimsy means it’s not quite as tightly plotted as it needs to be, this charismatic little thriller still manages to punch above its weight.

It has a monster and it's going to use it.

The character of Moira is woefully underwritten, wasting a lot of interesting potential, but McCormick gives her humanity, showing us the pain we need to see to understand her.

We are thrown headlong into a remake of Aliens, only with a mansion instead of a space colony and caterers instead of marines. The surprise is that it works.

A great film to watch with horror-loving friends, to see who you can spot.

A compelling, interesting and well-acted redemption tale.

A remarkable first film.

A preposterously gory exercise in nostalgia.

The premise, rich in possibility, is enhanced by haunting cinematography, eerie music and a colour palette which sees initially subdued tones fade almost into black and white.

Ted Geoghegan's darkly witty, stunningly beautiful film is the kind of horror we don't see much these days.

With alternatively beautifully and wisely low key cinematography, Friedenberg turns a landscape many will associate with holidays into something primal and filled with unknown threats.

Undulating bodies and splattering blood stand in for more explicit imagery and give the impression of spectacular excess.

These are not so much the high-kicking tough guy lowlifes of Gareth Evans' hit as the offspring of some ITV reality show supplied with guns and lingerie and crack.