It all begins with an idea.

It all begins with an idea.

It all begins with an idea.

It all begins with an idea.

It all begins with an idea.

It all begins with an idea.

Released quietly in a thimbleful of cinema screens ten years ago, Elliot Goldner’s first, and so far, only, film was quickly released on a bare bones DVD, seemingly destined for an afterlife of quiet obscurity. However, a handful of decent reviews, including one from Mark Kermode who in his review claimed he nearly had to leave the screening room towards the end through fear, have helped the film garner a small cult following that have amassed around its haunting story. Fair play to then to Second Sight Films who have released the film in a new substantial package, finally giving the film its proper due.

Although credited to screenwriters Chad Law and Shane Dax Taylor, you could be forgiven for thinking TIL DEATH DO US PART might be an A.I.-generated hybrid designed to merge all our favourite moments and characters from JOHN WICK, TRUE ROMANCE, READY OR NOT and KILL BILL. If this is the case, The Machines have failed to carry over the wit, excitement, invention, and humanity. Early on, a poor rip-off of Hans Zimmer’s glorious “You’re So Cool” theme from TRUE ROMANCE (itself an adaptation of a Carl Orff piece already appropriated by BADLANDS) makes you realise just how tediously third hand all of this is.

The otherwise familiar sight of American cityscapes is marred by plumes of black smoke pouring upwards into the sky. On the streets below, tanks sit stationary at the traffic lights, the highways are choked with abandoned cars, the shells of burnt-out helicopters lie in the middle of the JC Penney’s parking lot and the Wi-Fi keeps dropping out. Welcome to Alex Garland’s vision of a war-torn America where what once was a fantastical conceit seems disturbingly plausible through the writer/directors’ English lens, with his tale of a band of journalists and photographers travelling across a war torn dis-united states.

One of the more surprising pieces of film news in recent months was that actor Dev Patel had made his directorial debut with an Indian martial arts movie for Netflix, only for the streaming service to drop it, supposedly for fear that the films portrayal of right-wing government figures could offend an Indian audience. Enter Jordan Peele, who, impressed after a viewing, uses his own production company Monkeypaw Productions with the help of Universal to bring the film to a cinema audience.

Eighteen years after a totally unnecessary and unmemorable remake, which seemed purely a marketing decision instead of a creative one to take advantage of its 6/6/06 release date, hopes could hardly be described as high when plans for a prequel to THE OMEN were announced. With a completely underwhelming EXORCIST sequel still fresh in our memories, it is hard not to feel that this could be yet another cynical ploy by a major studio capitalising on a profitable IP. What a pleasure then to find that THE FIRST OMEN is much better than expected, showing what can be done with a vintage franchise with the right talent paying their respects while simultaneously taking risks that, for the most part, pay off in a fulfilling and sinister fashion.

Following on from last year’s 4K UHD release of Lucio Fulci’s THE HOUSE BY THE CEMETERY, Arrow Video have turned their attention to another of Fulci’s so-called ‘Gates of Hell Trilogy’ titles with 1980s CITY OF THE LIVING DEAD (which means you know what will be coming soon… hopefully).

The use of a live broadcast documenting otherworldly events and fooling the audience into thinking these events were taking place goes back to 1938 with Orson Welles radio adaptation of H.G. Wells' War of the Worlds which with its use of actors posing as real-life journalists and witnesses to an invasion from Mars fooled many an unsuspecting listener. Then in 1992 some of us were lucky to bear witness to the live transmission on BBC1 of GHOSTWATCH. Readers of a certain age will know someone who knows someone whose mum phoned up the BBC to check up on Michael Parkinson’s supposed possession after a ghost laid havoc to a Halloween broadcast investigating a haunted house in England.

Usually when it comes to an actress whose star is in the ascendant, as is very much the case with Sydney Sweeney, the horror roles come first and then swept aside in favour of the safer choice of more mainstream fare. How refreshing to see after the box office success of her rom-com ANYONE BUT YOU that Sweeney jumps to the other end of the spectrum with IMMACULATE, a passion project of the actress after auditioning for it when she was only sixteen years old.

Who doesn’t enjoy a good time loop movie? With the likes of Groundhog Day, Edge Of Tomorrow and Happy Death Day being notable examples, the dilemma of a character trying to break free from a set of pre-ordained events over and over has also in recent years become a field of interest for a number of genre directors. At the lower end of the budget scale films such as COHERENCE, TRIANGLE and TIMECRIMES helped make the name of their respective writers and directors, maybe some more than others, but the use of a limited set of events in a limited location can often prove fertile ground for the skills for a smart storyteller.

A smart compact thriller with a memorably vicious edge, Last Straw is a calling card for debut director Alan Scott Neal. Viewers expecting another low budget siege thriller, this time taking place in a roadside diner, may find themselves surprised by the surprises contained within, leading onto a film that although it does not re-invent or galvanise its own sub-genre earns more than enough in keeping the viewer gripped with its relevant and character driven edge.

A series of shocking, grisly murders take place in a small French village amid a mountainous landscape. Simultaneously, several children have gone missing, one of them turning out to be the son of a couple who have become the latest victims to have met their end in spectacularly gruesome fashion. Turning up on the scene to investigate if the missing children could be linked to a series of abductions across the country is police captain Franck, turning up at the same time as big city detective Elisabeth who has been called into investigate the murders. Despite bristling against each other, and the resentful small town small police force, they find their investigations melding together when they discover the local legend of a monstrous figure who feeds on the souls of the dead.

The V/H/S franchise continues to transport us to random years within the video tape era, and having made a couple of stops in the ‘90s it is time for the 1980s to have a go. 1985 was right in the middle of the video tape explosion, with rental shops becoming palaces to those looking for more than just whatever the mainstream TV channels could throw at them, so this could potentially be the best V/H/S yet, right?