If you listen to the podcast, you’ll know that as much as I love horror, crime fiction has always had a special place in my heart. One of my favourite subgenres is cosy crime, those witty, character-driven mysteries you can enjoy with a cup of tea and a smile. Shows like Only Murders in the Building and The Residence have nailed this formula, and now Netflix has brought us another gem: The Thursday Murder Club. And let me tell you what a cast!

Based on Richard Osman’s best-selling series of novels, The Thursday Murder Club introduces us to four retirees who meet at their retirement home to solve cold case murders. But when their lighthearted hobby collides with a real crime, the group suddenly finds themselves in the middle of a genuine whodunit. The story perfectly balances intrigue and humour, staying true to Osman’s witty style while also delivering a warm and engaging mystery.

And the cast? It’s a dream line-up of British and international talent. We’re talking Helen Mirren, Pierce Brosnan, Sir Ben Kingsley, David Tennant… and that’s just scratching the surface. Every performance shines, with the ensemble’s chemistry making you instantly wish this was a long-running series. The mix of humour, heart, and suspense is pitch-perfect, and the finale manages to surprise while still feeling deeply satisfying.
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This film is proof that cosy crime can be just as gripping as any gritty thriller, but with a charm and warmth that makes it perfect for a night in. Whether you’re already a fan of Osman’s books or coming in fresh, The Thursday Murder Club delivers laughs, twists, and a cast you’ll want to see together again. Fingers crossed this is only the beginning for Netflix and this brilliant series.
In short: a must-watch for British crime fans, mystery lovers, and anyone who enjoys clever storytelling wrapped in humour and heart.

For the Saw fans out there, let me introduce you to a new player in town. Your Host takes the sadistic thrills of the torture horror genre and blends them with a twisted gameshow format. Fresh from its premiere at this year’s FrightFest, the film follows four friends who are forced into a nightmarish game of survival where every choice could cost them their lives.

The core idea is a great one: a disgruntled gameshow host, unfairly fired for something he didn’t do, plotting revenge against the people who took everything from him. It’s a darkly clever concept that taps into the theatrics of gameshow culture while delivering plenty of gruesome set-pieces. Personally, I wish the gameshow angle had been pushed even further, the set, the challenges, the rules could have made the whole experience feel even more unique. I also think swapping around some of the characters to tie more directly into the host’s backstory would have strengthened the overall narrative.

That said, Your Host doesn’t hold back where it counts. This is a violent, blood-soaked gem that will satisfy fans of the torture horror subgenre. The kills are creative, the gore is plentiful, and there’s a twisted energy that runs through the whole film.

Spoiler chat (3, 2, 1…):

While the four friends work fine as our leads, I couldn’t help but feel the film missed a trick by not putting the host’s actual work colleagues (the ones who cost him his job) into the hot seat with Anita instead of them being a set up for the endgame. It would have made his revenge all the more personal and satisfying. Still, once the games begin, the brutality never lets up. From ear drills to skulls being crushed, the film doesn’t just dip its toes into gore—it dives headfirst and wallows in it.

Overall, Your Host is a nasty little crowd-pleaser that delivers on its promises with an amazing performance from Jackie Earle Haley (A Nightmare on Elm Street, Watchmen) . If you’re looking for something brutal, bloody, and unapologetically twisted, this is one worth checking out.

The world of influencers is an odd and scary place at times. Millions of people taking a look at a side of you which is usually very different to the personal you really are. This is something we saw in films like Sissy and in 2024 we have a different version of this premise with #No_Filter. #No_Filter is another solid horror flick for Shudder with a good performance from the films lead Hannah Mciver who plays the films' impressionable teen.
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The story itself is engaging but doesn’t break much new ground but you don't expect it to really. The film has a wonderful mix of slasher and supernatural horror in feel which mixes nicely. It’s a cautionary tale about the dangers of online personas and the murky lines between the virtual world and the real. While the setup and pacing work well, the narrative really comes into its own during the the climax, delivering some expected but well shot suspense.

My standout scene is the chilling moment Lauren, played by Jasmine Daoud, uncovers the truth about Anna with the chilling moment where Anna is live streaming, the way the film plays with perception is particularly effective here, as Lauren’s hand reaches into the frame of the live stream only to discover that Anna is not physically present. This eerie twist perfectly encapsulates the film’s exploration of blurred realities and the creeping horror of discovering the world is not as it seems. It’s a well-executed sequence that lingers in the mind long after the credits roll.

#No_Filter a worthwhile watch for fans of psychological horror. The lead actress's performance and standout moments elevate the film enough for it not to be to generic , even if the story doesn’t always stick the landing. If you’re in the mood for a film that blends modern digital anxiety with supernatural undertones, #NoFilter might just be worth adding to your queue.

In what promises to be a dark, atmospheric slow burn look into eastern European folklore,  The Vourdalak ends up much like its undead antagonist as it stumbles through the night in an uncoordinated shuffle.

Let’s start with the positives. The set design is genuinely well put together. The gloomy forests, decaying buildings, and misty fields evoke the right kind of Gothic unease that draws you into the eerie world of the film, at times giving to viewer that Hammer Horror vibe. If you're a sucker for atmospheric visuals then the sets will pull you in. However for all the visual appeal, the characters feel oddly lacking in life— which is ironic for a film the undead.

My big gripe of this film is the awful character design for Gourcha, the undead villain of the piece. His design feels uninspired and almost cartoonish, he’s supposed to be terrifying, but instead, he looks like a last-minute Halloween costume which undermines the tension and pulls the viewer out of what would have been a creepy affair. 

The acting, unfortunately, doesn’t do much to save things either. While the cast is certainly committed, the performances feel a bit stiff. It’s as if they’re going through the motions, but not fully inhabiting the characters they’re playing. 

In the end, The Vourdalak has the potential to be a chilling, atmospheric vampire tale, but it’s let down by poor character design and performances that fall just shy of bringing the story to life. If you're in it for the visuals, it might still be worth a watch—but don’t expect to be swept away by the drama.

Midas is a curious affair. The plot follows a college dropout who charms his way into an insurance company. He then sets out to steal from company and, naturally, discovers his target is much worse.

TJ Noel-Sullivan’s film takes on a lot in its modest running time, struggling to hold on to much of it. On the surface this is a fun work, with a strong turn from the likes of Laquan Copeland, Preet Kaur, Federico Parra and Lucy Powers. At times the audience gets caught up in the shenanigans. But then, given its subject matter nestles firmly in the American health care, one can’t help but spiral and ask questions the film doesn’t feel capable of asking. It’s all fun and games until you really try and wrap your head round health insurance.

Midas falls down in that really there isn’t a single likeable person on screen. Even Ricky and his group, while sympathetic in motivation, are just a bit dislikeable. The film seeks to be a breezy heist movie, wanting to ram itself past all the more complexities of its own plot. It gives cinematic whiplash and never really recovers. There are antics but Midas feels unwilling to embrace the criminality taking place. It’s probably why the best turns are the out rightly villainous, Erik Bloomquist’s spiky supervisor and Bob Gallagher’s slippery boss.

Modern American healthcare is a tough nut for cinema to crack, often struggling between heisty antics and the essential immorality that surround the people who are part of it. Bigger films have failed but Midas is one that will likely leave viewers frustrated.

There’s something to be said for the great expanse that makes up America. And at its best this is what Peak Season captures, a laid back, subtly charming work that almost finds its way into something profound.

Chronicling two souls move together in friendship, Peak Season follows Loren and Amy as they come together in the Wyoming mountains. Loren (Derrick Joseph DeBlasis) is a fishing instructor, living mostly off-grid in the wilderness around him. Amy (Claudia Restrepo) is a soon-to-be-married woman, internally adrift and invisible to their prospective husband. Together they explore the natural world around them as well as the depths of their new friendship.

Steen Kanter and Henry Loevner directorial hand is a gentle one, taking their time. Peak Season’s modest runtime doesn’t mean it ends up rushed and it may even be too slow for some. But those who stick with it will find a film that is kind, complicated and with a keen eye on the world around us.

Part of the films charm is certainly DeBlasis and Restrepo who envelop their characters in subtle levels of warmth and wit, beautifully playing the complexities of their characters without falling into melodrama and farce. Even Ben Coleman as the would be husband manages to retain our sympathies. And the occasional presence of Fred Melamed is a delight; the seasoned performer used just the right amount.

Peak Season is a charming little indie, one that takes its time and opens an audience up to touches of the profound, aided by a pair of terrific performances.

The much memed adage of there being two wolves in someone feeds into The Beast Within, the latest in a string of horrors that seek to add classy touches to our beloved genre.

The film follows a young girl by the name of Willow, whose father is up to odd things in the middle of an English forest. It soon becomes apparent that what we’ve got here is a reappraisal of the werewolf story, playing out as a metaphor for horrors that are more domestic.

The big draw is Game of Throne’s Kit Harington as the man with the beast within. And Harington is strong if somewhat anonymous in the role. Ashleigh Cummings’ maternal figure is heartbreaking but somewhat stifled by the film’s narrative. And there’s a terrific turn from the season performer James Cosmo. But the most commendable turn is from Caoilinn Springall, who brings a rich, nuanced turn as Willow that feels far beyond their years.

Handsomely mounted, director Alexander J. Farrell has a keen eye in capturing the sprawl of the wilderness round us. They tease out tension and I’d be curious where they go next as they surely have a great horror in them. And yet, how The Beast Within develops will mostly frustrate genre fans. Horror, in general, feels a bit stuck in a place where metaphor and symbolism gets in the way of what really want – a darn good monster movie.

There’s much to admire here, particularly when Springall is on screen. I just wish the movie clicked together more successfully and was, perhaps, more willing to be a straightforward monster movie.

The Boy and the Heron is nothing short of a mesmerizing journey into the world of dreams and imagination. Directed by the legendary Hayao Miyazaki, this film is a perfect blend of his signature storytelling and breathtaking visual artistry that takes you back to watching Miyazaki's other classics such as My Neighbour Totoro and Princess Mononoke.

The story itself is an emotional, magical ride that beautifully weaves together themes of loss, growth, and discovery. Mahito'’s journey through this strange, surreal world guided by a mysterious heron is like a vivid dream you don’t want to wake up from. It has that classic Miyazaki touch – equal parts whimsy and deep emotional resonance.

And the art design? Absolutely stunning! Each scene is crafted with the kind of detail and care that only Studio Ghibli can deliver. From sweeping landscapes to the most intricate character designs, every frame feels like a painting. You’ll want to pause just to take it all in. The animation flows with such elegance, drawing you deeper into this world of wonder.

Of course, this is all made possible by Miyazaki, whose vision and storytelling continue to captivate audiences worldwide. His ability to create rich, layered stories that speak to universal emotions is what makes him such an important figure in animation. The Boy and the Heron is yet another reminder of his genius – a film that feels both fresh and timeless.

In short, it’s a must-watch for any fan of animation or just great storytelling. You’ll laugh, you’ll cry, and you’ll definitely want to watch it again.

​The Boy and The Heron is available to rent and buy on digital from today, 16th September; on 4K UHD,  Blu-ray, and DVD from 23rd September; and with a limited edition Steelbook available from 7th October.

Ever since watching Spirited Away as a child I have always loved Studio Ghibli films, and I will even say that they are much better than Disney! but one film tops the list of my top three Ghibli films and that is My Neighbour Totoro and you can devour this film on the big screen as it returned to cinemas this month .

Watching Totoro on the big screen is like discovering my childhood memories all over again, but this time with a little more magic sprinkled in there for good measure. This film has always been a gentle hug for the soul, and seeing it in such stunning detail just deepens that feeling.

The first thing that strikes you watching this on the big screen is how breathtaking it is. Everything pops with a vibrancy that makes the world of Totoro feel even more alive as you join Mei and Satsuki as they explore this beautiful new world filled with adventures, soot sprites and the big squishy boy that is Totoro. But it’s not just about the visuals. The score is beautiful with every note feeling richer, more immersive, perfectly complementing the beauty of the story that unfolds on screen taking me back to the first time I watched this masterpiece.

My Neighbor Totoro in the cinemas made me feel like a child again. It’s comforting, whimsical, and a pure joy. Whether you’re watching it for the first time or the hundredth like myself Just sit back, relax, and let Totoro take you to that happy place. You won't want to leave.

Considering director Jason Arber and writer Harry Boxley have named their feature after the famous nursery rhyme, it is no surprise that Mary Had A Little Lamb includes a character singing the very tune. It pops up as Mary (Christine Ann Nyland) tries soothing a bloodied woman, an act which does not work as the captive witnesses her boyfriend’s murder before a frenzied escape attempt. Any hopes of freedom are short-lived, as the frightened woman is found by a murderer dressed as a lamb.

The film then cuts to an episode of a radio show, where host Carla (May Kelly) discusses cold cases. She is startled upon discovering that listener figures are down, with her boss believing the cause is the coverage of old cases. Carla is instructed to find a recent cold case within a week, or the show is cancelled. Inspiration hits the host as she discovers an unsolved case in Warp Woods about a missing couple and takes her team to investigate. As the group become lost in the woods, they stumble across Mary’s house.

The nights sequences leave the team creeped out by Mary and her unseen son, although Carla spies an opportunity. Driven to prevent the loss of her team’s jobs, the host wishes to pin the missing persons case on the residents. Through this convoluted means, the team soon discover that the flippant suspicions are right, as Mary and her son are murderous.

Inspirations are clear throughout, from shades of Psycho as a mother stresses the importance of her son following her word, to Friday the 13th where the mother resorts to horrific lengths to protect her “different” boy. The most apparent one is The Texas Chain Saw Massacre, as parallels line-up with the group intruding upon a remote home and discovering the rural nightmare involving a non-speaking masked man. The biggest difference is appearing in daylight did not shatter the terror of Leatherface, while the bright scenes just make the lamb look unfortunately laughable.
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That is a symptom of this film’s biggest issue, where tension and scares feel non-existent. Not helping matters is the tiresome characterisation, with the bulk of characters being underdeveloped blank slates with a lacklustre synopsis (spare a thought for the pair relegated to “horny couple”). As they are trapped delivering generic lines, it becomes clear that there is little to care for on-screen through the dull proceedings. When the final moments explicitly rip off the haunting ending to 1974’s The Texas Chain Saw Massacre, one would be forgiven for wishing you rewatched Tobe Hooper’s nerve-shredding masterpiece instead of this uninspired guff.