The plot is slow and builds tension expertly, however, and is engaging. A true crime writer, who is admittedly disorganised, alcoholic and very emotionally affected by it, moves his family into a house where a murder has taken place to research and write about it. He finds the killer's home recordings of the murders; more that just the one he's researching. It's not immediately clear if the stress and whiskey are getting to him or if a paranormal entity is stalking him. Masterful use of light and dark give us the horror of unpenetratable shadow that could be hiding something while keeping the action itself well-lit. The jump scares are masterful, giving adrenaline spikes and breaking the tension without being treated as the horror itself. That being said, there are one or two that are scary in themselves.

As well as some amazing jumpscares, there is a beautifully theatrical sequence that would make the film worth watching even if it were bad. Luckily, it isn't bad, its brilliant. Who or what is behind the murders? Is he being stalked by the serial killer or is he sleepwalking and having night terrors like his son? The acting is superb, with believable anger and fear so real you'd be forgiven for fogetting it's fiction. While the marketing for the film plays heavily on the mythos behind the monster, "Mr. Boogie", and the idea that once you see him you're doomed, it doesn't come up in the film until at least four fifths of the way through.

Without spoiling it, the ending has a sense of closing the book on all the foreshadowing that came before. In this way it also turns seemingly aside moments into foreshadowing and answers all the fridge logic questions you hadn't realised you had. The moments that are for the audience only are what gives a lingering feeling of unease, and there is the posibility for a sequence without the obvious bait of a concept-milking series. 

The setting, a sprawling storage unit building, is a maze-like collection of corridors and storage units: A dingy and confusing location that fits perfectly into the liminal spaces that are popular in horror at the moment. In parallel to the seemingly endless and identical corridors is the constant building of tension. With the protagonist's racism, each other character seems like a potential problem. Will the black storage building owner snap after what is clearly years of disrespect? Will the Spanish-speaking woman who openly curses him get her revenge? Will the mysterious and shady German collector of the arcane betray him?

When the reveal finally comes, and with it the body horror, it hangs in the air for a moment, letting the audience really savour it. As the opening short in an anthology, it brings strong promise. A balance of what feels like an age-old cautionary tale with a very current setting, strong acting and incredible quality visuals bodes incredibly well for the shorts that follow. It is curated and introduced by the body-horror (and scales-forward) Guillermo del Toro, so while he isn't the director of any or the writer of most of the scripts and short stories, he is happy to put his name and face centre stage. Lot 36 is his script and his short story, and is definitely well worth watching for any horror fan.

When they discover a way to bring the dead back to life, their attempts to build their park in the land of the living pulls Kat into a quest to bring her parents back from the dead, the evil prison corporation into a plan to finally decimate the small town and build their ultimate school-to-prison pipeline. Thrown in are demon hunters, school cliques and possession-based super powers; this is not a film to just put on in the background. Hopefully the sheer amount of backstory and complex characters is enough for a sequel or a spin off.

Race and gender are core facets of the story, with the protagonist Kat being a black or African American girl. The prison system and anti-black racism in the US are inseparable, and Jordan Peele's groundbreaking debut as a director was the racism themed horror Get Out. Whilst the demons are Key and Peele and half of the villainous power couple is a black man, Kat being black is integral to the prison criticism theme. Likewise, the school is an all-girls school taught by nuns, and it's all but said that demon possession and the superpowers it comes with is a female-only experience. This centring of women in terms other than sexuality/relationships or stereotypically 'feminine' traits such as being supportive or cute, is still a bold and important decision, especially one for a mainly male writing and production team to have made.

Another powerful choice was made in regards to gender, and one that they could have easily not have included without any effect on the plot: Kat's friend and ally is her fellow pupil Raul. A boy at an all-girls school, there's a quick scene where the clique call him his old name and say its hard to get used to and one where his mother corrects an unheard voice on the phone that she has a son, but aside from that this canonically trans character is completely accepted as a boy called Raul by every single character. It's a lovely inclusive detail and a perfect example of trans characters not being defined by their gender, as he's an artist and one of the few characters not to have shady or conflicted motivations.

Of course, it's hard for an adult without children to judge a children's film. Will kids love it? Will it's important messages be lost on them or too much for them? I can't say, but I do know a lot of children's films are quick buck garbage full of toxic messages or simply advertising, so it's definitely worth trying it. It's a good child-friendly horror and entertaining for adults too. 

Despite being spoiled on the poster, DVD cover or streaming thumbnail, one of the two major reveals still packs a punch with the sheer body horror. Not for the squeamish, there are some very gross deaths and injuries. Don't think too hard about them, they're already unpleasant enough! And, on the topic of warnings and things that are unpleasant, the racism is pretty heavy. The sister and dad have some terrible blanket ideas, but the granddad ramps it up with overt slurs. They're more along the mispronounced generics, with a complaint about "Johnny Bongo-Bongo" than the n-word, but it's still some heavy-handed writing.

This is one half of the theme: the granddad is an abusive ex-military man who spouts hatred, and his abused son is the repressed, uptight head of the household. The sister, pregnant and outspoken, is to be protected and revered, with her husband the second in command. The mum, too old to be in the protected role of baby-making, is the unloved caretaker. The main couple are the failure of the family - a son who dares to not follow the authority and toe the line, coming back from a period of estrangement with a (insert shocked gasp) a "middle eastern" girlfriend who thinks dares to be more educated than them!

The dad becomes more and more unhinged as things get worse, needing so badly to prove that his belief system is correct and that following the rules will solve things. The sister and brother in law have little glimmers of redemption, the chance to stand up to the white supremecist patriarchy, but their relapse is immediately followed by punishment. This is where a horror staple slips away: while repugnant granddad does die first, second-in-line dad makes it to the finale and angelic mum doesn't. Waiting for that perceived poetic justice is frustrating.

Some haphazard Christianity comes crashing in with the dramatic peak, with a Son of Sam style God-in-the-TV and some second coming of Christ that comes entirely out of left field. This does almost link the other theme, which is the less interesting cliche of TV is bad and brainwashing us all. It's a bit overdone and hypocritical coming from a television screen itself, but could have been an interesting critique of the place of TV in the family if it had been properly explored. There's also a completely unacknowledge hallucination or dream of a wide open field, adding more mess to the symbolism.

Overall, mediocre characterisation and confused conclusion aside, the horror elements and racial points are enjoyable. Not an instant classic by any means, but the suspence had me hooked until the end, even if I did forget the characters names.

While the first group declared less valuable are the elderly, a pregnant woman and young girl are soon singled out as either most important or most sympathetic, and the group divides into two factions. One side want to work together to ensure at least one of the two reach the end, ensuring one may potentially survive. The other, lead by a bearded man, argue that they should be killed, as they aren't actually any more important than anyone else in the room and the sympathy for them condemns everyone else. It's a morally complex film, uncomfortable to watch. What would you do in that situation? What is the correct outcome? Are you making your decisions based on stereotypes or your own prejudices?

In what could have been a heavy handed moral moment, one black man calls on the other black people in the group. He says they will be killed by the white people, who immediately get heated and insist race is meaningless. The other black people refuse to engage, saying that whether or not he is correct, drawing negative attention to himself will just get him killed. It's put aside, but he is the last black person alive and in one last second redirection one white person literally says "Kill the black guy!" and he is zapped. Vocal male characters are only voted off for enraging everyone else; the rich jerk guy only faces the killer beam after an intense homophobic rant and the scruffy guy only after a blatent series of lies that are a blatent attempt to get everyone to kill the woman next to him.

In the moment, these deaths aren't even satisfying beyond shutting the ranter up. All but one is earmarked for death, and it's clearly going to come down to the pregnant woman and the girl. The question of why comes up a lot. The scenario is apparently the aftermath of alien invasion, mass panic and fleeing the city, and potentially random abduction. Staying in the circle right until the last scene, we not only do not see the aliens but also do not find out the answers to any of the questions posed. Why these fifty people in particular? Why are they voting each other off in a contactless battle royale? Is there a correct way to play, is it a judgement of humanity or is even anyone even watching? Unanswered and unimportant; the film is not about the motivations of the aliens, but the behaviour of the people.

As the cast slowly lowers in number and the conflict becomes the sole focus of the discussion, the outcome becomes more and more certain. The tension stays high and the 'leader' of each faction continues to outlive their groups. A last second twist leaves one survivor, released as it was guessed (or hoped) into the desolate city. Walking along a tunnel to echoes of their most effecting quotes, the survivor joins a small group of children and adults, and they all stand and watch one of the many giant circular spaceships over the city.

What does it all mean? It isn't clear. Just like the point of the game, the morally correct thing to do, and the truth of any of the people, the film is not here to give us any answers. With more courage, the film might have something to say about human nature, prejudice and selfishness, but it leaves it all up to the viewer. There's a missed opportunity for an amazing ending, if it had turned out that the fallen people were unconscious and they all had to face their victims. Interesting but ultimately unsatisfying, its worth watching if just for the concept.

With literally just two cast members, Patrick Brice as Aaron and Mark Duplass as Josef, the film itself is very pared back. With no gore, monsters or high action sequences, Creep instead relies entirely on the acting and interplay between the two characters. The result is brilliant. Josef is both a scary and pitiful man, seeming entirely genuine or completely deceptive from second to second. Aaron is a competant everyman, making mostly sensible decisions and reacting in a normal way to strange and scary things. 

The found footage genre is not for everyone, putting severe limitations on the way the plot is presented and what can be included. The filmmaker premise works very well, and Aaron's rising fear gives good reasoning for the expanding scope of what he records. Josef's desperate attempts to befriend him and erratic stalking work well. There are some suprises, red herrings and minor jump scares along the way, all adding to the atmospheric horror more than any special effects could. 

The pace and real-world setting plant Creep firmly in the psychological horror camp. While my heart raced and my hair stood on end, it was not anyone in-film I was afraid for. Dangerous people who may or may not want to kill you are real, and the possibility that you are in danger with zero evidence to take to the police is the kind of logical adult fear that worries you in the early hours of a sleepless night.

When all the character driven tension is eventually resolved, the fact that things are actually resolved is more shocking than the jump scare. There's a little wrap up that confirms your suspicions and makes space for the sequels. Watch in the afternoon, and follow it up with some kitten videos, or watch it late at night with the window open to keep you from sleeping.

When the name of the film itself is a reference to two others (the book Slaughterhouse-Five and the film The Cider House Rules) it's practically a Where's Wally of references. References to Harry Potter abound, and the dialogue references Goodbye, Mr Chips, 300, Freaks, Braveheart. and even Fifty Shades of Grey.

The plot is simple and classic; working class boy goes to public school, and his fish-out-of-water story is disrupted by a monster attack. Three doomed romance subplots, some character rivalries and a Chekhov's lighter; Pegg, Frost and Sheen are having a whale of a time under writer and director Crispian Mills. 

It's pretty funny, it's a little bit scary, and it's exciting. Well worth an afternoon.

Alma, picked up as a clumsy waiter and turned into a model and girlfriend, ignores danger sign from the first date. The foreshadowing of the poisonous mushrooms is so obvious it's painful, and the awful behaviour of Reynolds had me saying "kill him!" out loud on multiple occasions. The lack of consquences that any character faces for their abuse of each other is frustrating.

Reynolds treats everyone around him like garbage and Alma especially. The times that she is gaslit, dismissed and treated like a stranger increase, even as their relationship strengthens. A glimmer of romance is dangled in the New Years party, but instead of his character having growth or redemption, Reynolds drags Alma away like a naughty child. Kill him, I urged. But no, lackluster plot and horrifying romance prevailed, and she seeks to make him fall in love with her. Unsatisfyingly, we sort of stumble to an end.

Feeling very unfinished, we are told that he is okay with her Munchausen's plan and also they somehow live happily ever after. Forgotten is the rivalry with Reynold's sister, forgotten the chance of death, and forgotten the fact that his good behaviour post-poisoning was far from permanant. A barely-romanticised abusive relationship and an abrupt ending, and I wonder how this film got all the accolades it did. 

Where the film fell down on some of the original's unknowable aspects, it also excelled. Instead of a protagonist who can't comprehend what they saw or a witness too traumatised to explain, we have some truly disgusting body horror and the fate worse than death that comes with it. With this comes quite a lot of gore, and perhaps falling into the trap of mistaking gruesome for scary. These bloody moments are in stark contrast with the brilliance of the colour and framing; the moments that are not nauseating are a delight to see.

Keen eyes will enjoy the slow shifting in colour palette and distracted eyes will really enjoy the scenery and the house. The characters are developed far better than HP Lovecraft's stories often manage, and once the film has its fun with the red spray effects the ending really relies on the viewer caring about the fates of the characters. A tale with minimal "cosmic" in the "cosmic horror" the Cthulhu writer is known for, the visuals of the titular colour and visions lay the foundations for the cosmic elements of the mythos.

A thriller for fans of the story and newcomers alike, be sure there are adaptions to come.