Search: Starring Tony Todd

Philip Glass' brilliantly constructed score gradually shifts from very formal minimalism to something far more complex.

Foley does the hard work of internalising a struggle too often treated as vast and external.

Full of gothic visuals and brooding melancholy, the bleak gloom is striking.

The deaths are gory and elaborate, certainly, and the effects aren’t bad, but it’s nothing new.

Its storyline is an old one but The Final Wish is innovative in the telling.

James Wong's debut feature mixes a little psychic spookiness into the teenage body count.

The story takes a little time to digest, but New York writing team, Eric Bress and J Mackye Gruber, should be congratulated for taking the craft of the sequel seriously.

While director Adam Green hasn’t really changed the formula at all for his sequel to 2006's retro slasher, he has tightened it up in every way to deliver a markedly more effective ride.

There are so many distractions and superfluous plot points that the only way Bay can compensate is to turn every scene into an MTV blur.

There is nothing wrong with this film, except predictability.

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

“I can’t watch this anymore,” says a police officer, turning away from the found footage film, and you will sympathise.

In the spirit of goregush horror flicks, this Wes Craven production is highly creative in disembowelment techniques.