A guide to Manchester’s cinemas, festivals and events for 2019

Film Editor, Tobias Soar, reviews the horrifying sequel movie to Stephen King’s ‘IT’ – Don’t worry there’s no spoilers

The Grimmfest crew paid homage to two of the best alien invasion films at the Plaza, Stockport

If one word could describe Peele’s impeccable second venture into the cinematic world of horror, it’s clever, writes Tobias Soar

A story that follows the three days leading up to the murder by the Manson family, The Haunting of Sharon Tate fails to deliver the thrills it promises, writes Madeleine Peden

Grimmfest’s double-bill of Japanese horror films Ringu and Battle Royale at The Plaza in Stockport

Twenty years onward, Hideo Nakada’s iconic existential video horror remains just as powerful, substantive and terrifying as ever

Alien has thrilled audiences for 40 years and is a testament to challenging the status quo and achieving brilliance even with limited resources.

Does Kristen Roupenian’s debut collection live up to the hype of Cat Person? Lucy Downing finds out…

A February dumping ground horror sequel that seems to meander in uniqueness only to lose its way and not really know what to do next

From indie success in Japan to international adoration, One Cut of the Dead reanimates the horror-comedy genre with a wholesome tale

Looks can be deceiving

Escape Room is a confused, poorly written mess of a horror film that’s also glorious to watch for its ridiculousness and bizarre imagination.

After eight seasons, AHS still is as scary as it always was

Carl Fitzgerald reviews a disappointing The Possession of Hannah Grace

This new indie slashfest, Hell Fest, proves entertaining and creative, but is held back by tedious leads, dull set pieces and predictable deaths.

Assassination Nation is incredibly visually stylish and a clever film which features some of the finest cinematography of 2018.

An excellently performed, visually stunning art-house horror, Suspiria is another success for its acclaimed director, despite it’s lengthy run-time.

The highly successful producer blames female invisibility behind the camera on lack of participation. But, is he right? (Spoiler alert: no, he isn’t).

This Halloween film isn’t like the other sequels to the 1978 original: it’s good