Cut & Run Film Reviews

*This post contains spoilers*

In a recent conversation about horror movies, I noticed that many of the horror films that I have found especially impactful have come out of Australia. Most of these movies have little to nothing in common thematically, but for some reason, they have staying power for me. I watch a lot of movies. Like, a lot. And because I have crammed so many movies into my skull, I’m always intrigued when something about a movie lodges itself into my memory.

Below is a list of of all of the Australian horror movies I could think of at this exact moment that have made an impact on me in one way or another. It might be the premise, a technical aspect of how it was filmed, or a particularly chilling scene, but each of these movies has something about it that stuck with me. A few of the movies on the list are some of my all-time favorite horror films that I’ve watched many times. A few are movies I watched once years ago but never forgot. I plan to revisit each of these films to see if any clear patterns emerge to identify what it is about Australian horror that just hits different. Let’s embark on this journey together and see what we find.

Talk to Me (2022)

One sentence summary: A group of teens acquire an embalmed hand of a mysterious origin and use it to conjure spirits at parties.

The first time I ever watched Talk to Me I was so shocked by the opening scene that I forgot I had been making popcorn and left it in the microwave for the entire movie. I was completely transfixed and entirely consumed by the film. I’ve watched it many times since that first viewing, and even though I know what is going to happen, the near perfect pacing and great cinematography pull me in every time. I’m also impressed by how fleshed out and believable the characters are. So often in movies that focus on teens, the characters feel like crude caricatures of what adults think teenagers are like. The teenagers in Talk to Me are incredibly well acted and genuine. The thing that struck me the most about this movie is how the horror feels secondary to the complex relational aspects and interpersonal conflict throughout the story. It’s a horror movie through and through, but it has a depth to it that isn’t nearly as well executed in American supernatural horror films. It also has one of the best endings I have ever seen in a scary movie.

Relic (2020)

One sentence summary:  After Edna, who is presumed to have dementia, mysteriously disappears and reappears without explanation, her increasingly erratic behavior leads her daughter and granddaughter to suspect something sinister may be affecting her.

The opening scene of Relic shows a bathtub overflowing. The camera follows the water as it moves across the bathroom floor, into the hallway, and down the stairs. It’s a simple moment but there’s an element of beauty to the way it’s filmed. Initially there is no context provided for this scene which makes it especially intriguing. Relic is an eerie and atmospheric slow burn in a way that some might find boring because most of the movie isn’t necessarily scary in the traditional sense. It isn’t clear until the very end if we are witnessing a woman being overcome by dementia or if there is something supernatural going on. Once again, this is a movie where the horror feels secondary to the interpersonal dynamics. We see the results of strained familial relationships across three generations, but the cause of this tension isn’t ever explicitly stated. There is a sense of anxiety and unease throughout the movie that never really lets up until the powerful and somewhat symbolically ambiguous ending.

The Babadook (2014)

One sentence summary: A single mom and her young son are terrorized by a strange pop-up book that appears in their home.

I think this might be the scariest movie I’ve ever seen. The first time I saw The Babadook, I was a junior in college and decided to watch it on a whim. I didn’t expect much because I had never heard of it and the premise seemed a little silly. This movie was so profoundly terrifying that I couldn’t sleep that night, but it wasn’t the monster that stuck with me. The Babadook himself is creepy, but the few moments when we see him in clear view are actually the weakest parts of the film. He pales in comparison to Essie Davis’s performance as an exhausted, grief stricken mother pushed to her absolute limit and Noah Wiseman’s portrayal of a young boy who only knows how to express his big emotions through defiance and anti-social behavior. The Babadook is an absolutely chilling horror film, but it’s also a beautiful, symbolic exploration of the ways in which grief can turn us into versions of ourselves that we don’t recognize.

Run Rabbit Run (2023)

One sentence summary: A single mother’s life begins to spin out of control when her daughter begins exhibiting strange and concerning behaviors.

Unfortunately, Run Rabbit Run was a bit of a flop in terms of critical acclaim. The premise isn’t particularly unique and it has a very similar vibe to The Babadook, which was just an all around better film. Run Rabbit Run also had the misfortune of being a straight-to-Netflix film with pretty terrible marketing, so it has a lot working against it. It isn’t a perfect film by any means, but I do think it deserves more credit than it has received. Sarah Snook gave a phenomenal performance as a single mom white-knuckling her way through life in the midst of her daughter’s increasingly disturbing behavior and Lily LaTorre is absolutely chilling as the daughter in question. I found this movie to be even more impactful after the second watch, because I was able to pick up on a lot of little things I had missed the first time around.

Killing Ground (2016)

One sentence summary: A couple goes camping and they become increasingly concerned when they discover that the campsite next to theirs has been abandoned. 

This one is a little different than the other movies on this list because, in general, I didn’t like it. There are a lot of themes that make it difficult to watch and the ending is pretty weak. However, I remember being intrigued by the way the story was presented in a non-chronological way, and I feel similarly after rewatching. The jumbled timeline isn’t immediately apparent, but there are little clues throughout to tip you off to the fact that the events being shown happen on two different days. The premise is not at all unique (people go camping and get terrorized for no apparent reason) but the intertwining stories and the way they play with time is what made this movie memorable to me. It also is genuinely really disturbing and I don’t think I’ll be watching it again, but it deserves some recognition for the creative filming.

Picnic at Hanging Rock (1975)

One sentence summary: A group of students and their teacher from an all-girls private school go missing during a Valentines day picnic.

This movie is all vibes. Yeah, there’s a plot in there, but the filming is just so lush and dreamy that it almost doesn’t matter. Picnic at Hanging Rock is probably more appropriately classified as a mystery than a horror film, but it’s Australian and I love it so it’s going on the list. It really isn’t all that spooky, but it still has a beautifully haunting quality to it. The atmosphere is what makes this movie stand out more than anything else.

Lake Mungo (2008)

One sentence summary: A family recounts a series of potentially supernatural experiences following the sudden drowning of their daughter Alice.

Lake Mungo isn’t really a film that feels scary in the moment. It has more of an uncomfortable creeping feeling that continues to linger after you’re done watching. I love mockumentary style horror movies, and Lake Mungo is really effective at using this format to enhance the story. The interviews with the Palmer family and their community allow us to step into their world and see how each person has been uniquely affected by Alice’s death. Each character deals with their grief differently and as the story unfolds, we begin to see that everyone has secrets that continuously reshape our understanding of what happened to Alice. Everyone becomes an unreliable narrator and the lack of definitive answers leave you feeling unsettled.

Sissy (2022)

One sentence summary: At her childhood best friend’s bachelorette weekend, a wellness influencer is reunited with the girl who bullied her as a child.

A good horror-comedy is campy and over the top. The subtlety that I love from a well-executed horror doesn’t translate to this particular genre, and that’s okay. Right away, Sissy lets you know that it will not be an elegant film. From the get-go, we’re greeted with an ultra-saturated color palette and a tongue in cheek portrayal of a wellness influencer whose only qualification is good vibes. The social commentary on performative authenticity and vapid internet culture can be a bit ham-fisted at times, but Aisha Dee’s performance as Cecilia provides the balance needed to keep Sissy right on the line between campy and cheesy. As is tradition, the horror component of this horror-comedy is supplied through increasingly gratuitous kills, but the film manages to maintain its charm in the midst of being an absolute gore-fest. Plus Cecilia is just so likable that it’s pretty had not to be on her side.

Snowtown (2011)

One sentence summary: Based on a true story, a teenager becomes involved in a series of brutal murders committed by his mother’s charismatic but sadistic boyfriend.

The unrelenting bleakness of Snowtown makes it extremely difficult to watch. Every scene is steeped in a sense of hopelessness. Even in the slower, more mundane moments of the film, it’s clear that there will never be a reprieve from the ugliness and despair of this story. There are long stretches where seemingly nothing happens, but these scenes of daily life are deliberate, because they establish a contrast that makes the few scenes of actual violence and brutality feel unbearable to watch. I had to rewatch this movie in two sittings because it was too much for me to stomach in one go. Most horror movies have some sort of positive qualities that balance out the tension to make the experience more enjoyable. The thrill of being scared, the satisfaction of watching the Final Girl survive against all odds, and the morbid delight of watching a truly over-the-top kill in a slasher movie infuse a sense of fun into the viewing experience. Snowtown is not fun or enjoyable. It’s confrontational and refuses to try to comfort the viewer. It’s a stronger, more effective film because of this, but it leaves you feeling exhausted and drained by the end.

The Loved Ones (2009)

One sentence summary: When Brent turns down Lola’s invitation to a school dance, Lola’s father kidnaps Brent to give his daughter the prom of her dreams.

I love a teen girl villain and Lola is such a good one. The Loved Ones takes the classic prom queen fantasy and distorts it into a sparkly, feverish nightmare. The juxtaposition of Lola wearing a shiny pink dress while inflicting brutal torture is disturbing, but oddly funny. Moments before the horror begins, there’s a scene of Lola scrapbooking on her bedroom floor while listening to Sad Girl Music. It’s a scene that’s been used a thousand times over in other films and it shows us that Lola really is an ordinary teenage girl. My favorite thing about the film is that Lola’s girlishness isn’t a facade. She doesn’t suddenly turn into an evil, calculating killer. Her torture is clumsy and her father regularly needs to step in to clean up her messes. There’s a playfulness to the movie that increases the sense of discomfort. At one point in the film, Lola and Brent are slow dancing to Lola’s favorite song. She’s having her Main Character Moment, but we see the situation for what it really is. Lola’s dad is standing on a step ladder sprinkling glitter over the dancing couple, but he keeps dumping it directly on Brent’s head. Brent winces as he and Lola sway back and forth because his feet have been nailed to the ground so he can’t escape. The absurdity of the situation is laughable, but it’s more of a nervous laughter because its so horrifying. Lola is evil, no doubt, but she’s so charmingly unhinged that a part of me still kind of roots for her.

Cargo (2017)

One sentence summary: After losing his wife, a father tries to keep his daughter safe in the midst of a zombie outbreak.

Cargo is a rarity in the zombie genre because it is driven by emotional depth rather than cheap scares or gratuitous gore. Instead of sensationalizing a zombie outbreak, the film tells the intimate story of a father desperately trying to secure a future for his infant daughter in the midst of a pandemic. What makes the film stand out is the way it weaves aboriginal Australian wisdom into the narrative, offering a perspective on survival that is not just about endurance but about harmony with the land and community. The interpersonal dynamics are what drive the film forward at a steady pace. There is a sense of urgency, but the story never feels rushed and we’re given enough time to really connect with the characters. Cargo is technically a zombie movie in that the backdrop of a zombie outbreak is what drives the narrative forward, but it’s really a tender, heartbreaking story of a father trying to give his daughter a better life. There is a level of compassion, humanity, and depth that is rarely seen in this type of film, making Cargo one of the most touching and memorable zombie movies I have ever seen.  

Hounds of Love (2016)

One sentence summary: A young women tries to escape the emotionally volatile couple that abducts her.

Hounds of Love is a brutal and claustrophobic film. While the horror stems from a young woman, Vicki, being held captive by a violent couple, the film complicates the narrative by drawing us into the fraught relationship of Evelyn and John, the captors. There is a level of depth in how Evelyn is portrayed that puts the viewer in an uncomfortable spot. She displays moments of vulnerability, jealousy, and even kindness toward the victim that make you feel reluctantly sympathetic for her. As the movie progresses, we begin to see Evelyn as a whole person whose actions have been motivated by desperation, manipulation, and a desire to be loved. This is in sharp contrast to how John is portrayed. He has no backstory and no clear motive for his horrific actions, making it easy to view him as nothing more than an evil sadist. At the same time, the film never lets Evelyn off the hook. We know she is complicit, and the terror persists because she chooses to enable cruelty rather than push back against John. Both Evelyn and Vicki are, in a sense, trapped in the same house. One is physically restrained and the other is bound by psychological manipulation and emotional dependence. This dual sense of imprisonment heightens the tension and makes the interactions between the women the most compelling aspect of the movie. Hounds of Love is more than a typical abduction story. It examines the ways in which manipulation, fear, and dependence can keep people trapped in horrific situations. 

After revisiting and reflecting on these films, several recurring themes emerged for me. While they contain recognizable horror conventions, the genre elements of these films are often secondary to deeper, more human stories. The horror isn’t so much about the spectacle, but rather functions as a lens through which we can examine grief, trauma, and complicated social dynamics. At their core, these films are about relationships in all their complexity. Moral ambiguity plays a significant role and villains are rarely one-dimensional. They are humanized, complex, and often trapped in cycles of their own pain. This makes the films unsettling in ways that set them apart from other horror films. Stylistically, many of these movies emphasize atmosphere over cheap scares. They are patient, deliberate, and narrative-driven. They use striking opening scenes to immediately establish mood and draw the viewer into their world. Instead of relying on flashy effects, they lean on subtle worldbuilding, progressive anxiety, and meticulous pacing to build up the story. What ultimately makes them stand out is their originality. Each film feels distinct, but they all resonate in some way. These stories make you feel something profound and take an emotional toll. Overall, Australian horror is emotionally rich, character-driven, and atmospheric. These films blur the line between horror and drama by exploring the complexities of the human condition.