Browse our collection of horror reviews and ratings.Showing 4 of 4 reviews.
This is a moody, psychological horror film from Australia that slipped under the radar for a lot of horror fans. The story revolves around three generations of women grappling with the disappearance — and sudden unsettling return — of the elderly matriarch. It uses a decaying house as a potent metaphor for memory loss, especially dementia, which gives the scares an emotional weight. What really stood out to me was how the film manages to be deeply unsettling without relying on over-the-top shocks or gore. The slow burn pacing, eerie sounds, and claustrophobic set pieces do most of the heavy lifting, and the actresses, especially Emily Mortimer and Robyn Nevin, sell every moment of dread and confusion. There are a few images in this movie that genuinely lingered with me for days. If you’re hoping for fast-paced frights, this might feel a bit too slow or atmospheric, but if you enjoy horror with emotional depth and a metaphor at its heart, I think you’ll connect with it. It’s perfect for fans of movies like The Babadook or Hereditary but who want something a bit quieter and more intimate.
If you like your horror dark, claustrophobic, and genuinely unsettling, “The Autopsy of Jane Doe” is a creepy little gem that mostly flew under the radar. It’s about a father-son team of coroners (played perfectly by Brian Cox and Emile Hirsch) who are working late one night to examine an unidentified woman’s corpse. The autopsy quickly devolves from routine to bizarre as they discover impossible injuries and eerie clues inside the body that make them—and you—question what’s really going on. What really stands out in this movie is the slow-burn tension and the way director André Øvredal uses the single location of the morgue to maximum effect. The sense of dread just keeps ratcheting up, and there are some truly hair-raising set pieces involving both supernatural scares and the gruesome, clinical details of autopsy work. There isn’t a ton of gore, but every sound and shadow is perfectly placed, and the movie gets under your skin with understated, confident horror instead of cheap jump scares. The ending might be a little divisive—some people find it a touch too ambiguous, while others appreciate that it doesn’t over-explain itself. For me, the atmospheric buildup more than makes up for any narrative vagueness. If you’re into psychological/supernatural horror that’s less about big effects and more about mood and mystery, this is a tense, chilly watch worth seeking out.
If you like horror that's more about atmosphere and creeping dread than jumpscares, Lake Mungo is a hidden gem worth seeking out. It's an Australian mockumentary from 2008 that follows a family grieving their daughter’s mysterious death, and it slowly unfurls layers of unsettling secrets through interviews, "found footage," and home videos. The documentary style really sells the reality, making the supernatural elements almost plausible, which gives everything a chilling edge. What stood out to me was just how believable and quiet the horror was. The scares are subtle and rooted in the family's sorrow, which makes them hit harder. There are no flashy effects — instead, the movie uses suggestion, lingering camera shots, and that constant, uneasy feeling that something’s not quite right. It’s definitely not for those looking for action or gore, but if you appreciate slow-burn psychological horror, the payoff is memorable. That said, the pacing does drag in the middle and a few red herrings feel repetitive. Some viewers might wish things were a bit more eventful, but honestly, the restraint is part of its unique charm. Fans of stuff like The Blair Witch Project or Noroi: The Curse will likely love it, especially if you prefer horror that sticks with you after the credits roll.
Get Out is a razor-sharp horror-thriller from Jordan Peele where a young Black man, Chris, visits his white girlfriend’s family for the weekend—only to uncover a web of sinister secrets. The film’s blend of suspense, social commentary, and jet-black humor makes it feel like a modern Twilight Zone episode amped up for the age of uneasy dinner conversations and coded racism. The thing that really sticks with me is how unsettling the atmosphere becomes almost immediately—every microaggression, every odd smile from the Armitage family, feels loaded with menace, and Daniel Kaluuya’s performance does so much with just his eyes and body language long before anything overtly scary happens. The Sunken Place sequence gave me chills, and Catherine Keener spinning that damn teacup is burned into my brain. But even in its wildest moments, Peele keeps things precisely calibrated so the social satire is never just window dressing—it’s the engine that keeps everything tense. If anything doesn’t fully land, it’s maybe the last reel, where the plot takes a sharp turn into B-movie territory and some of the tension gives way to more conventional horror beats. But honestly, it’s still gripping, and it’s the sort of movie I’d recommend to people who love horror, thrillers, or just smart, uncomfortable movies that make you want to talk (or argue) about them for hours afterwards.