Fantastic Fest 2025 Review: The Vile

There's something uniquely compelling about foreign-language horror films, how they blend culturally specific fears with those that are universally terrifying. In The Vile, an Arabic-language first for me, Emirati filmmaker Majid Al Ansari drives the audience to the edge of their seat from the very first scene and doesn't let go for the rest of the film.

Mother and daughter Amani (Bdoor Mohammad) and Noor (Iman Tarik) enjoy an afternoon of fun in suburban Abu Dhabi while waiting for husband and father Khalid (Jasem Alkharraz) to return home. Joy turns to horror in the blink of an eye when Khalid arrives with a pregnant second wife, both without the consent nor knowledge of Amani.

As Amani's sense of betrayal deepens, she becomes increasingly alienated in her own home and begins to suspect that something far more sinister flutters behind the seemingly innocent eyes of second wife Zahra (Sarah Taibah). Try as she might, her efforts to reach out to Noor fail as the teen, struggling with schoolyard bullying, finds solace in the younger wife's company.

Viscerally unsettling and deeply uncomfortable, The Vile is an intense reflection on gender and power, and the demons we let into our lives with our insatiable appetites for more.

A self-proclaimed "huge horror fan" Majid Al Ansari's passion for the genre is evident throughout this feature. Casting his eye on polygamy, which remains a cultural norm in the UAE, Al Ansari asks what happens when consent is removed from the equation and what monsters does this betrayal manifest?

The Vile rises on the strength of Bdoor Mohammad and Iman Tarik’s performances. There is one scene in particular, with Mohammad slowly turning her head to look backwards over her shoulder, which continues to haunt me long after the credits rolled.

With top marks for scares, acting and themes, it's the execution that trips The Vile up. For a film that so successfully blends psychological and paranormal horror, the resolution seemed a little heavy-handed, undermining the subtle tension built throughout. Nevertheless, it's a terrifying, thought-provoking and powerful film.

For an unsettling introduction to the world of Arabic-language horror, I give The Vile an excellent four out of five stars. I'll definitely be keeping an eye on what Majid Al Ansari, Bdoor Mohammad and Iman Tarik do in future.
★★★★☆

Following the World Premiere Screening at Fantastic Fest tonight, The Vile will enjoy a second screening at the Alamo Drafthouse on Wednesday 24 September before heading off to the BFI London Film Festival in October.

Trailer: The Vile (2025), dir. Majid Al Ansari

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Frightfest 2025 Review: Super Happy Fun Clown

Sometimes watching horror is remarkably like witnessing a high speed train wreck. You can see it coming from a mile away, the sirens in your head are blaring, and you’re desperately hitting imaginary brakes, but there’s nothing you can do to stop it. That’s the feeling I had in one particular scene in Super Happy Fun Clown (no spoilers, but it involves a spoon). I simply sat there with my mouth agape for a stupidly long time because I couldn’t believe they actually went there.

Directed by Patrick Rea, Super Happy Fun Clown is a carnivalesque exploration of revenge, rage and the search for infamy. It is full of moments that you may see coming but which are no easier to digest because of it.

Perpetual outsider Jen (Jennifer Seward) has been abused all of her life, by her mother who scapegoated her and favoured her sister, by her jealous classmates, and by her disgraced-now-unemployable loser of a husband. As a child, her only happy places were in her love of clowns and a healthy, growing interest in serial killers and classic film monsters.

Jen rises above it all. An anonymous office worker by day, she balances the mundane by moonlighting as children’s mime artist Jenn-O the Clown, a wholesome persona that is a tribute to the one shining beacon of her childhood.

But no matter how clever her disguises, she cannot make the most important people in her life see her. Asking herself what would John Wayne Gacy do?, Jen decides to turn that frown upside down.

What starts off slowly, almost reasonably, ramps up in the weeks leading up to Halloween as Jen prepares for one night of mayhem that will elevate her amongst those she most reveres.

"The idea of acquiring power through consumption, even if it means taking it from those you love"

Super Happy Fun Clown is a wild ride with fantastic performances from both Jennifer Seward (adult Jen) and Violet Rea (young Jen). Seward is magnetic and utterly convincing as the lovely, friendly, miming clown.

The clown that steps over the line

As a horror film, this one is not so much about the scares and more about the gore; it is gratuitous and disturbing in the most violent of ways.The soundtrack was very well chosen too, elevating the mayhem of the film and underlining Jen’s descent into chaos.

It is wish fulfilment at its darkest and the message here is clear: if you’re going to snap, you may as well ensure the world never forgets it. But it is also what will make Super Happy Fun Clown controversial. This film opens up a whole lot of questions, especially around why we love Jen so much. With her little smiley faces and cute-as-a-button makeup, she is almost impossible to hate.

It is also impossible to ignore that this film is heavily influenced by Joker (alongside countless other pop culture references), and the undertones inevitably brought to mind the 2012 Aurora massacre.In that tragedy, the perpetrator was quite rightly reviled and universally despised. It is a disturbing contradiction, and one that Super Happy Fun Clown leans into unapologetically.

For sending me down an unexpectedly self-reflective rabbit-hole of why I enjoyed this gratuitous and violent film so much, I give Super Happy Fun Clown an excellent four out of five stars. It is clearly my kind of horror and I look forward to seeing what the future holds for Patrick Rea, Jennifer Seward and Violet Rea.
★★★★☆

Super Happy Fun Clown enjoyed its international premier at London’s Frightfest on Sunday 24 August

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Horror Film Review: Dead Mail (2024)

Have you ever wondered what happens to letters that can't be delivered? Probably not, snail mail is a relic of the 80s along with other horrifying concepts such as fax machines, shoulder pads and permanent waves. The producers of Shudder's Late Night With the Devil deliver Dead Mail, a chilling study of obsession, possession, and captivity. What begins as a desperate letter dropped into a USPS mailbox soon spirals into a nightmare, with the Dead Letters team battling to locate a kidnap victim.

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Horror Film Review: The Dead Thing (2024)

In a deliciously atmospheric nod to Dario Argento, director Elric Kane’s Shudder Original, The Dead Thing, plunges us into the bleak world of internet dating, with a twist of horror that’s equal parts stylish and sinister.

Night after night, Alex drifts through a parade of fleeting internet dates, each encounter as transient and hollow as the last. These ephemeral moments of contact are the only sparks in a relentless routine: a slow, almost ritualistic waltz from dimly lit bars to the antiseptic hum of her nightshift as an office document scanner, before she retreats into the cold glow of her SAD lamp and finally, into sleep.

But everything shifts when Kyle enters the scene - a spark that cuts through the monotony and ignites a connection on a profoundly unexpected level. Almost instinctively, they find themselves tangled in a web of raw emotion, baring their souls before the night even draws to a close.

And then the inevitable happens. Kyle ghosts her.

The insidious thing about ghosting is this: you might not even particularly like somebody, but the moment they ghost you, the power shifts, control slips through your fingers, and obsession takes the wheel, accelerating into overdrive.

As Alex’s obsession tightens its grip, she starts crossing lines that should never be crossed. Then she makes a terrible discovery. Can she find her way back to Kyle? And more importantly, should she? For Kyle is harbouring a dark secret and will stop at nothing to reclaim his life.

The Dead Thing is a beautiful film. Elric Kane has captured Argento's visual aesthetic with lurid colours and deep shadows that accentuate a film set mostly at night. The signature violence takes its time to appear, but when it finally erupts, it’s as jarring as it is disorienting.

This isn’t your typical gore-fest or jump scare parade. Instead, it’s a slow-burning exploration of rejection, the loss of control when you let someone in, and the obsessive aftermath when it all unravels. The plot may appear deceptively simple at first, but a cleverly placed twist midway transforms the narrative into something both haunting and unexpectedly captivating.

Blu Hunt (The Originals) delivers a standout performance as Alex, perfectly matched by Ben Smith-Petersen’s enigmatic Kyle. The pair share undeniable chemistry, though in this film, they seem to spark with everyone they encounter.

I give The Dead Thing an excellent four out of five stars and recommend it for fans of lurid and slow-burning horror. I'll be interested to see what Elric Kane delivers next and whether he continues his dedication to Argento.

★★★★☆

A Shudder Original, The Dead Thing premieres 14 February 2025.

Trailer: The Dead Thing, dir: Elric Kane

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Horror Film Review: Street Trash (2024)

Cape Town, The Future: social problems, energy crises, daily curfews and rising instability. The rich are getting richer, the middle class is shrinking, and only those in bed with the government are getting anywhere. In Street Trash, Ryan Kruger's follow up to Fried Barry, a ragtag group of homeless misfits stumble upon a horrifying conspiracy: a ruthless plan to exterminate every homeless person in the city. Thrown into a desperate fight for survival, these outcasts must band together, outsmart their hunters, and live to party another day.

There's just one thing (and if you've seen Fried Barry, you will know this): things are going to get weird.

Based on the 1987 film by Roy Frumkes and J. Michael Muro, Street Trash is part horror, part damning indictment of the rich, and part psychedelic trip into Cape Town's seedy underground.

Street Trash is not for the faint of heart; in the opening scenes you will see some of the worst body horror ever seen on screen. It certainly not safe for people with emetophobia, or people with whatever the fear of skin-melting-off-bodies is called. If I’m honest, this isn’t my usual kind of horror. But with Ryan Kruger attached, I had to watch. His brand of irreverent, subversive chaos never fails to deliver a hallucinogenic trip through urban mayhem.

I say this because I suspect Street Trash isn't going to be everyone's cup of Klippies and rooibos tea. You're either going to love it or hate it and it definitely helps if you can speak street South African.

Ryan Kruger has a bold, anarchic vision for a dystopian South Africa, one that instantly earns its place alongside District 9 and Chappie as a new sci-fi cult classic. He doesn’t just craft a grimy, neon-soaked future; he fills it with unforgettable characters.

Fried Barry alumni Sean Cameron Michael and Gary Green return as Ronald and 2-Bit, bringing their signature weirdness to the mix. Donna Cormack-Thomson (Catch Me a Killer) is a standout as the fierce and compelling Alex, while Joe Vaz brings mystic hilarity as Chef. But it’s Shuraigh Meyer and Lloyd Martinez Newkirk as twins Pap and Wors who steal every scene with their comedic brilliance, injecting moments of twisted levity into the chaos.

Street Trash is an absolute blast. Sure, it’s not winning any awards for narrative complexity, but who needs a sophisticated plot when you’ve got over-the-top absurdity, gloriously grotesque set pieces, and enough belly laughs to keep you hooked?

I give Street Trash an excellent four out of five stars and recommend it to fans of trippy, psychedelic, comedy horror. Bonus points if you're a fan of body horror and red paint. Extra bonus points if you get South African humour. Ryan Kruger is definitely on my to-watch list now.

★★★★☆

Street Trash will be available on limited edition Blu-ray from 17th February. Pre order on HMV & Amazon here

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Trailer: Street Trash (1987), dir. Ryan Kruger

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Horror Film Review: Companion (2025) ★★★★★

There was never any question that I’d be watching Companion. As a massive Yellowjackets fan, much of my love for the show comes from Sophie Thatcher’s incredible performance as Natalie. So when Showcase Cinema announced mystery horror screenings, I had a strong suspicion that Presence and Companion would be on the lineup, and I didn’t hesitate to book my tickets immediately.

In Drew Hancock’s feature directorial debut, Josh (Jack Quaid) and Iris (Sophie Thatcher) first cross paths in an ordinary grocery store encounter before heading off for a weekend retreat at a secluded lakeside cabin. Hosted by Sergey (Rupert Friend), the billionaire boyfriend of Josh’s friend Kat (Megan Suri), the getaway quickly takes a tense turn as it becomes clear that not all of Josh’s friends welcome Iris.

The situation escalates when Sergey is murdered, but this shocking event is only the beginning. As secrets unravel, each guest is forced to confront unsettling truths, turning the weekend into a nightmarish descent into chaos.

Companion is a visually striking film, with every detail meticulously crafted — from the stunning cinematography and breathtaking scenery to Iris’s impeccable costumes and the seamless special effects. I almost let my guard down, questioning whether this was truly a horror film, until the moment a certain characters was bathed in blood, in scenes that instantly evoked memories of Carrie.

The performances are top-tier across the board. Sophie Thatcher is phenomenal as Iris, but it’s Jack Quaid and Megan Suri who truly excel at making Josh and Kat almost unbearably loathsome.

More than anything, it was just great to watch a horror film with a solid, well-thought-out plot. I won’t lie, I spent most of the night after watching Companion running it over in my head, not just caught up in the twists but totally unsettled by the moral dilemmas it dredges up.

As always with horror films, I made sure to go in knowing as little as possible, and I firmly believe that this is the best way to experience Companion. The twists and revelations hit hardest when discovered in real time on the big screen, completely free of spoilers.

Blending elements of sci-fi, horror, and dark comedy, Companion explores themes of artificial intelligence, morality, and the darker aspects of human nature. An excellent five out of five stars. Director Drew Hancock already has another horror film in the works—here’s hoping it delivers the same thrilling originality and sheer entertainment as this debut.

★★★★★

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Trailer: Companion (2025), dir. Drew Hancock

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Horror Film Review: Steven Soderbergh's Presence (2024) ★★★★★

Steven Soderbergh famously talked about the three-shot rule in a 2017 interview with Amy Taubin. "After the first three shots, I know whether this person knows what they’re doing or they don't", he explained. I was reminded of this as I watched the opening scenes of Soderbergh's latest film, Presence; this film is masterful.

Presence kicks off in an eerily vacant house. The camera moves through its empty rooms, gliding from floor to floor, lingering at windows just long enough to hint at what’s going on outside. It took me a minute to catch on, but by the second scene, it hit me: these shots are long. Really long. Characters drift in and out of view, and conversations are captured almost by accident, like the camera’s just there, quietly eavesdropping.

An estate agent arrives, followed by a family of four who buy the house. Slowly, it transforms from a barren shell to a cozy, lived-in space. Everything seems perfectly normal... except for Chloe (Callina Liang, Tell Me Everything), the teenage daughter. She keeps staring directly into the camera, wide-eyed and visibly unsettled. There’s also a painter who refuses to step foot in one of the rooms.

A creeping unease settles in as it becomes unmistakably clear: the camera is no mere observer. It’s a silent participant, a character in the film with its own fears, its own motives. And as the story unfolds, you can’t help but feel that its gaze is anything but neutral - its intentions are rooted in a darker and more disturbing truth.

Presence taps into fear on multiple levels. It’s got the familiar ghost-story thrills - jumps, creaks, that creeping tension - but it’s also something deeper, the insidious sense of the true potential for evil that resides in ordinary human beings.

The cast is small, with a core cast of just five people, but it’s a powerhouse ensemble. Lucy Liu and Chris Sullivan, as Rebecca and Chris Payne, bring a perfect contrast. Their characters are polar opposites: different personalities, opposite moral compasses, wildly conflicting parenting styles. It’s a subtle but brilliant dynamic that anchors the tension in the film.

Callina Liang owns the screen as Chloe, and it’s impossible to look away. The young actress commands every moment, effortlessly blending a haunting sense of innocence with the heavy weight of grief. It’s clear from the start that Chloe figures everything out long before anyone else does, and Liang nails that subtle shift perfectly. She doesn’t need to say much, her facial expressions say it all, capturing that eerie awareness that they are not alone in the house.

For a while, I thought I had the mystery figured out, but there was something oddly satisfying about getting it wrong. I was close but Soderbergh succeeded in concealing his final hand.

As the credits rolled, I realised one final thing, and I was totally fine with it. Fine with all the unanswered questions, the plotlines left to wither. I wouldn't call them 'red herrings', but there were many threads left up to the audience to answer on their own. It was a subtle message that much of what happens inside our homes is noise, that we need to focus on what truly matters, because life’s way too short to add more to our burden.

With impeccable direction (and some clever misdirection), stunning camerawork, strong performances, and enough scares to keep you on edge, Presence has it all. Consider this my enthusiastic five-star rating, along with a full mea culpa, because I genuinely didn’t think Steven Soderbergh had it in him to nail a ghostly horror film with this much finesse. I was wrong, and I’m here for it.
★★★★★

Trailer: Presence (2024), dir. Steven Soderbergh

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