Friday, 6 March 2026

FrightFest Glasgow 2026 Review: Bone Keeper

So there's a mythical monster lurking in a cave and your father vanished trying to prove it existed. Thirty years later, your mother goes looking for it and disappears too. You decide to gather a few scientist friends to mount a rescue and naturally, one of them invites a vlogger known as the Bitch Hiker. What could possibly go wrong? Quite a lot, as it turns out, in Howard J Ford's Bone Keeper.

Bone Keeper still

It does not begin badly. The opening scenes boast genuinely striking cinematography and intriguing effects work. With visual effects supervisor Giorgio Anita and prosthetic makeup effects Max van de Banks credited early on, my expectations rose sharply.

But there is also some really disorienting camera work, perhaps warning of what is to come. From that shaky foundation, Bone Keeper begins to unravel.

The characters in Bone Keeper know they are in a horror set up. They comment on the tropes, they clock the warning signs. And yet they still do exactly what they should not, most notably splitting up. Even if you're exploring caves without a legendary monster, you do not leave people behind. Honestly, the scariest thing here is the arrogance and stupidity of the characters.

Well, not quite. There are some deeply terrifying and grim scenes, credit again to the effects department and to the sound and music team, but you're rarely given enough time to fully take in what you are seeing.

Until you are.

That nest. That bone shrine. Those tentacles.

Ultimately, Bone Keeper earns few points for originality. The music and the cinematography are beautiful at times, shaky at others, but there is nothing particularly fresh about the plot. It is scary, of course it is, it is a monster horror. But it's also a monster horror that's uncomfortably aware of itself, and that makes the characters’ poor decisions harder to forgive.

To the cast's credit, they do a great job of portraying some thoroughly dislikable characters. John Rhys-Davies was criminally underutilised but I did like Nadia and Ravi, played by Sophia Eleni and Danny Rahim. Their scientific analysis, and what they uncover under the microscope, are genuinely compelling.

In the end, Bone Keeper wasn't wrapped up in a particularly satisfying way and, without giving anything away, it also made me want to scream, "That's not how things work here!"

As excited as I was to see a British monster horror premier at Glasgow Film Festival this year, Bone Keeper earns a slightly disappointed three out of five stars from me.

Tiffany Hannam-Daniels is Annabelle in Bone Keeper

★★★☆☆

Scares ★★★☆☆| Love ★★☆☆☆ | Design ★★★☆☆ | Acting ★★★★☆ | Plot ★★☆☆☆

Bone Keeper will have its World Premiere on 6th March at FrightFest Glasgow, followed by a UK Digital Release on 6th April

Trailer: Bone Keeper (2026), dir. Howard J Ford

SHARE:

Frightfest Glasgow 2026 Review: Bury the Devil

Dawn Ford is Evelyn in Adam O'Brien's Bury the Devil

Now I lay me down to sleep. I pray for all the souls I keep

I love it when a film takes me by surprise. I went into Bury the Devil with modest expectations, shame on me, but it quickly became clear the film was something special. Adam O’Brien’s one-shot possession horror Bury the Devil is a standout at this year’s Frightfest Glasgow festival and comes from the team behind the 2024 festival favourite Mom.

On a dark and stormy evening, young hospice nurse Julia (Emmanuelle Lussier Martinez) helps her client Evelyn (Dawn Ford) prepare for bed for the night. Evelyn is slightly strange, but that is nothing out of the ordinary for someone with dementia. Following a visit from her estranged husband Randall (Bill Rowat), Evelyn's behaviour takes a turn for the worse and Julia begins to realise that all is not well in the house.

As the evening descends into chaos and violence, Julia must fight to survive the night and protect Evelyn. But what is she fighting against? What does Randall want from Evelyn? And is he the most dangerous entity in the house?

Bury the Devil is an intensely creepy film, so much so that the old house and the storm outside deserve credits of their own at the end. As Julia and Evelyn navigate the house, with all of its creaking floorboards and disturbing knocks, we begin to learn more about Evelyn through her artwork and the knickknacks that she collects.

The dynamic between the two women is powerful, despite their having met only that evening, and Canadian-born Martinez is flawless as Julia. Julia’s compassion and Evelyn’s rare moments of clarity contrast sharply with the palpable fear that grows as the film progresses.

What makes the film even more impressive is how it is constructed. After watching both Presence and Bury the Devil, I think one-shot horror might be my new favourite subgenre. Director Adam O’Brien uses the technique to create a deeply claustrophobic experience, with the camera trailing the actors through every corridor and room of the house and rarely allowing either them or the audience a moment to breathe.

It is an exhausting watch, as you cannot lose focus for a second lest you miss the craft, but it is also exhilarating. I counted just two cuts in the camera work, one through a keyhole and another through a window. While Presence had the advantage of a larger budget and big names attached, Bury the Devil is a truly independent film with a tiny budget, which only adds to its charm.

Not satisfied with this technical feat, O’Brien takes it further through his use of sound. Even when the screen falls into darkness, what we hear becomes as important as what we see. Instead of flashbacks, the backstory emerges through recordings and illustrated diaries, revealing the narrative as the tension continues to build in real time.

Emmanuelle Lussier Martinez is Julia in Adam O'Brien's Bury the Devil

For a perfect performance from Emmanuelle Lussier Martinez and for blowing me away in terms of technique, sound and cinematography, I give Bury the Devil a resounding five out of five stars and name it the must-see film of Frightfest Glasgow 2026. In an interview with The Hollywood News, O’Brien shared that the film is the first in an intended trilogy. I very much hope that is the case!

★★★★★

Bury the Devil receives its world premiere at FrightFest Glasgow on 6 March

Trailer: Bury the Devil 2026, Dir. Adam O’Brien

SHARE:

Monday, 23 February 2026

Horror Film Review: Dolly (2025)

What is horror? Is it what scares us? Makes us uneasy? Or is it the thing that makes our skin crawl as we recoil with revulsion? With disembodied doll parts, swarming flies and an unmistakeably foul atmosphere, Rod Blackhurst’s Dolly opts firmly for the latter from its opening scene and doesn’t relent for 82 minutes.

Dolly (2025) poster

SHARE:

Sunday, 21 September 2025

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.

Bdoor Mohammad is Amani in The Vile (2025)

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.

Sarah Taibah as Zahra in The Vile (2025)
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

SHARE:

Monday, 25 August 2025

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.

Jennifer Seward as Jenn-O in Super Happy Fun Clown (2025)

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.

Jennifer Seward as Jenn-O in Super Happy Fun Clown (2025)

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.

Jennifer Seward as Jenn-O in Super Happy Fun Clown (2025)

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

SHARE:

Sunday, 13 April 2025

Horror Film Review: Dead Mail (2024)

Shudder Dead Mail (2024) landscape poster

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.

SHARE:

Friday, 14 February 2025

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.

Still from The Dead Thing

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

SHARE:
© 2005 - Mandy Southgate | Addicted to Media

This site uses cookies from Google to deliver its services - Click here for information.

Blogger Template Created by pipdig