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Fisher and Wood achieve a great rapport, and there’s some entertaining supporting work even though much of our time is spent in the middle of nowhere.

Retains a tight grip on your imagination

Running a tight 84 minutes, the film still feels like an epic journey into both its seedy world and its heroine’s psyche.

This is one film that's really going to test the mettle of Wood's mainstream fanbase.

By mixing the situations of a crime drama with dysfunctional family dynamics, the everyday becomes accentuated, meaning that outbreaks of violence are absurdly comic but still retain a nasty edge.

A kaleidoscopic sequence explores questions of identity through some of the trippiest black and white imagery you'll have seen on the big screen for a long time.

The director resembles a sniper who remains unseen, but whose presence can nonetheless be felt.

Gerard Barett's low-budget drama is marked out by raw performances and a strong empathy for its characters that help buoy up its downbeat subject matter.

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

Harris shines in the central role.

Kill List manages to blend its study of friendship, masculinity, violence and family with a hitman road movie wrapped inside a horror mystery. This is quite some achievement.

The script is cleverly done, the key relationships well and economically drawn; and while this is clearly comedy, it does not pull its punches.

An exceptional piece of filmmaking.

The honour of horror has been disemboweled by this film

In short, Outpost is exactly what a horror film should be.

Isolation rules and comfort is cold in Scott Graham's gripping and emotionally tense feature debut.

Stacey Gregg has crafted a script that neatly gives us characters and then exposes their flaws.

Much of the humour in the film depends on contrasting viewers' expectations of rural life with the paraphernalia of Sixties spy movies and Seventies cop shows.