FrightFest — A–Z of films

A splatter-happy romp through one night in the organ trade.

Nothing is taken too seriously - there's plenty of teasing within the group itself - but respect is shown for the effort that has gone into all this.

Through the simple act of showing us Ayse's far right from the start - along with her lover's attempts to defend her - director Emre Akay places viewers instinctively on her side.

McKenna-Bruce is good in a role that first requires her to restrain her emotions and then pulls her in several directions at once.

There are some fantastic laugh-out-loud moments here and some wonderful design work.

Dahl wants to make a certain type of film but Sissel Dalsgaard Thomsen's script just isn't right for it.

A handsome setting, gorgeous costumes by Nataliya Fedulova and a sumptuous score by Hugh Wielenga give this film a real touch of class.

No matter how good everything else is, it’s impossible to make a good film from a weak script.

Some of the participants are incredibly generous with their time and advice, and overall there is a welcoming atmosphere, and excitement at the prospect of engaging with new filmmakers.

The magic of Ivo van Aart's film lies in its balance.

Ultimately there are only so many possibilities, but director Will Jewell manages some effective sleight of hand nonetheless.

Witchcraft is a difficult subject for today's filmmakers, not least because of the public's shifting sympathies, but Lee has found a story in which it is a perfect fit.

The best thing about the film is Eva Habermann as the nurse.

Though they're wildly out of balance, there's a lot here worth taking a look at.

Tremendously enjoyable.

Bell...brims with confidence and keeps her character believable even when the story loses its grip.

From the outset, Sparrow's work is gripping, even though she has to do most of her acting through a visor.

For The Sake Of Vicious demonstrates that you don't need exotic settings to make a pulsing action film.

The film is literally very dark, which can be frustrating in the dramatic scenes but works well with the approach taken to special effects, adding to the sense of threat and general unpleasantness.

There's a melancholy undercurrent to the tale throughout, but that only makes its upbeat moments more delightful.

It's effective in capturing the passion of the fans and is likely to become a treasured collectible itself.

Though not exactly polished, it has an innate exuberance that will encourage viewers to tick with it.

A species of all-American folk horror bound up with Biblical fundamentalism and the tainted bounty of the land.

Beautifully framed within a carefully designed environment, The Honeymoon Phase has a distinctive look that fits very well into that older science fiction tradition whilst retaining a modern sensibility.

The film is beautifully edited, at times coming across like one long conversation between people in different places.

Fans of straight out violence and gore will find a fair bit to enjoy here.

Johnson does impressive work, rarely getting to pause for breath and carrying her character through a difficult arc.

Grant, who wrote the script as well as starring, submits completely to the logic of the role even as her character grows increasingly outraged by the absurdity of it all.

It's almost the equivalent of pantomime, an established genre style in which we all all know that certain things are going to happen at certain times - some of them grisly - with the surprise lying in the (ahem) execution.

This is film full of red herrings and sly questions.

The various torture devices used here are all real but lose much of their horrific impact because the film is so over the top.

Director Natalie Erika James, still only in her twenties, draws viewers into her astonishing debut feature by externalising the horrors of a disease that will be all too familiar to many.

There are shadows everywhere, shapes moving on the fringes of one's vision, and it's easy to suspect that one is being watched.

Sacrifice builds with a slow, gentle rhythm, like the waves rolling up against the shore.

Connoisseurs of grindhouse will appreciate it for what it is.

A weighty legacy of films about dead girls has informed this film and shaped its imagery.

It's brazen, bloody and completely committed, almost operatic in style.

Perhaps most disappointingly of all, we really don't see much of the sharks.

A consistently smart, well-structured film with well-drawn characters, superb performances and a serious point to make.

Shot in a very plain style under the glare of the California sun, Blinders emphasises Andy's exposure at every turn.

Townsend is fully committed to the role and her performance is as heartbreaking as it is disturbing.

Skye is stunning in the central role.

Crijns handles the action set pieces well, creating a real sense of danger and dynamism despite the smallness of the setting, but it's in the film's chillier moments that he really comes into his own.

It has a distinct story arc of its own and more going on thematically than you might expect.

Shot at night with scenes designed to look as if they're lit by torchlight, this is no small technical achievement.

It's a playful, high spirited romp which has some pithy observations to make about modern societies but doesn't let them get in the way of the action.

For all its elegance, there's a neediness and an inherent dishonesty about it which continually distract from the development of its central ideas.

With a sometimes poppy, sometimes bluesy score by French band The Limiñanas, which contributes some much needed energy, the film establishes a distinct personality.