Zack Snyder’s CV includes such fantastic fare as Watchmen, 300, Man of Steel and his career-launching zombie-fest Dawn of the Dead, so who better to helm a zombies-in-Vegas heist movie?

Raw opens with a bang, a distant figure on a remote country road stepping out in front of a car, causing it to crash into a tree. What’s really happened isn’t made clear until we’re well into French director Julia Ducournau’s 2016 feature.

The horror novelist Sarah Langan recently compared motherhood to being treated like a game of Operation. “The point of the game is to correct us by removing our defective bones, to carefully pick us apart. It’s open season.” For the Mexican writer Brenda Navarro motherhood is also a sort of hollowing out, but it’s a different kind of open season.

Man’s strange relationship with other species haunts this freaky simian horror film from Psycho II director Richard Franklin.

Relic's deliberate drabness hits home first; set in Victoria, Natalie Erika James’s modern horror shows us a grey contemporary Australia, a place bleached of all colour.

Lockdowns must be good for something, right?

Many have struggled to bring a new slant to the horror genre, but writer-director Brandon Cronenberg has managed it with Possessor, his second full-length feature.

“Films are about the mystery of fate or the mystery of faith,” proclaims director William Friedkin in Alexandre O. Philippe’s latest documentary, Leap of Faith. At 84 years old, Friedkin proves himself to be a master of storytelling, not only behind the camera but in front of it, spiritedly discussing the genesis of his horror masterpiece with Philippe.

The cheaply made experimental exploitation indie Dementia (1955) is one of those footnotes in movie history that makes cultists salivate.

The bleak power of the Australian horror movie Relic, Natalie Erika James’s feature debut, derives from its masterful use of a simple metaphor.