Search: Starring Larry Fessenden

There is visceral violence in Bennett and Brooks’ film, an explicit study of some of the dynamics of self harm, at times eroticised, and a lot of blood. Still, it is essentially a character-driven piece.

Viewers can expect to find their sympathies shifting over time, and to disagree as to who deserves sympathy in any given moment.

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.

It's a style that could easily descend into chaos or comedy, yet somehow director Keating keeps his balance, and lingering shots of walls and windows, beds and chests of drawers are imbued with terror.

A wonderfully economical film.

Very different in tone from the average horror film, Dementer prompts questions about how we measure mental capacity, social functioning and even individuality.

In Good Boy, Indy the dog delivers not only a great animal performance, but one of the best performances by anyone this year.

Monaghan and Fessenden are cast perfectly and have a great onscreen rapport, reminding me of a re-vamped Abbott and Costello.

Stevens uses the Nosferatu framework to tell a story about a marriage.

The latex and practical effects, the lighting dominated by primary red and blues, and the synth-heavy score by Steve Moore, all contribute to the strong Eighties vibe.

Kier, Goldblum, and Lavant are never less than fantastic in their portrayal of modes of crazed, unreliably self-assured masculinity.

Horror has taken us to cabins in the woods many times before, but it has rarely done so with such spirit.

Unusually coherent for a film of this type and well structured so that the different directors' styles complement one another rather than clashing.

The central problem here is a common one in fantasy epics: it does go on a bit.

It’s beautifully acted and its gentle pacing allows for the construction of a richly detailed world.

Don't be suckered in by the promises of bloodsucking.

Characters who belong to a fairy tale or folkloric world struggle to contain themselves in flesh, edged out by the existence of mere mortals who, despite their vulnerability, forever push them to the edges of the narrative.

This quiet, unfussy film feels more important than a whole host of glossy blockbusters.

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

The important thing is, thanks to a smart and involving script, we care about whether they make it until morning.