All posts by Jamie Carruthers

Jamie is a writer, critic, and all-round genre fan who lives in Liverpool with his two cats, Lucifer and Goblin.

Most Horrible Things

Fails to find the level of wit necessary, yet in spite of so much, Most Horrible Things is compelling, exciting and surprising.

/ November 15, 2022
Malachi Pullar-Latchman

Hounded

Throwing subtlety aside, Hounded is a straight-up lampoon of the kind of snooty toffs that believe the world is their birthright.

/ October 26, 2022

Stephen King: A Complete Exploration of His Work, Life, and Influences

With sleek production and sheer enthusiasm peppered throughout, this is an excellent companion to King’s own words on his craft.

/ October 12, 2022

The Witch

Commitment to authenticity creates a genuinely foreboding, oppressive climate that engulfs The Witch and its characters.

/ July 25, 2022

Friend of the World 

Packed with big ideas that outshine its minimal budget, this Troma is daring, interesting and resolutely not for everyone.

/ June 17, 2022

The Prey: Legend of Karnoctus

For fans of action with a twist of gore and a knowing wink, the laugh-out-loud Prey has a genuine sense of fun at its heart.

/ June 6, 2022

Night Caller

Both authentic and reverent of the genre’s greatest hits, Night Caller is as gleefully distasteful as the films that inspired it.

/ May 13, 2022

We’re All Going to the World’s Fair

A delirious trip into the culture of the terminally online, with a sense of unease that's repellent and deeply relatable.

/ April 29, 2022

The Sacred Spirit

Interesting and intense directorial choices find the sweet spot where absurdity, anxiety and satisfaction coexist in harmony. 

/ April 13, 2022

Agnes

Peppered with deadpan comedy, Agnes is a film of two halves that examines faith, loss, and what it truly means to be possessed.

/ April 4, 2022

The Exorcism of God

Creepy set pieces compound sequences that build to crescendo and do not relent, while quiet moments offer little solace.

/ March 27, 2022

The Beta Test

A cautionary tale for the post-Weinstein generation that lampoons the futility of Hollywood’s facile approach to money-grubbing in all of its glory.

/ March 18, 2022