Blood is spilled on Valentine’s Day once more as a mismatched couple find love and fight for their lives as a masked slasher hunts them across town in bloody fashion. Read Iain MacLeod’s review to see if he was won over or left cold by Josh Ruben’s slasher/rom-com mix-up.

Director Marcus Dunstan shifts his focus from the SAW saga to a group of social media obsessed teenagers.

An iconic cult classic and its divisive sequel get the 4K treatment: The Slumber Party Massacre blends sharp satire, dark humour, and slasher thrills, while Slumber Party Massacre II struggles with cheesy antics but offers a rare unrated cut for fans of the genre.

A struggling rock band takes up an offer for a music video that seems to be good to be true. Is there a catch? Of course there is.

TERRIFIER 3 - Art the Clown returns in the eagerly awaited sequel. Is it one of the goriest films ever made or is this more of the usual hype?

It all begins with an idea.

It all begins with an idea.

It all begins with an idea.

Second Sight carry on their sterling work in bringing key works of the small movement of what came to be known as “New Extremity.” This debut film from directors Maury and Bustillo has lost absolutely none of its disturbing or relentless edge in the time since its original release in 2007. The premise of a pregnant woman grieving for her husband only to come under severe threat from a mysterious woman takes absolutely no prisoners, sadistically playing on the audience's sensitivity with several cinematic sacred cows.

It began with a Freudian script by Poe fan, playwright and cryptographer Leo Marks, who considered his role as a (famous) WWII codebreaker a highly voyeuristic one. It was such a personal project for director Michael Powell that he cast himself and his son as (abusive) father and (disturbed) child. It was famously condemned by critics of the time: Sight & Sound’s Derek Hill likened it to concentration camp atrocities, while, in 1994, Dilys Powell boldly admitted it was a masterpiece, reversing the hatred she expressed decades earlier.

Released as HAUTE TENSION in its native France in summer 2003, Alexandra Aja’s calling card modern slasher enjoyed huge festival buzz en route to its U.K. release as SWITCHBLADE ROMANCE and (censored) U.S. bow as HIGH TENSION. This intense, stripped-down cat-and-mouse game between brutish, relentless killer Philippe Nahon and repressed, resilient Cecile de France heralded a cycle of “extreme”, ultra-violent French horror films that would peak with the despairing MARTYRS in 2008. These, of course, ran parallel to America’s own post-9/11 hard-R splatter movie trend, itself including Aja’s Hollywood debut – a savage reworking of THE HILLS HAVE EYES.