Kim Newman

This isn’t an atrocity on the level of, say, Rob Zombie’s Halloween — but it is a horror designed to test your patience rather than your nerves.

Some will find this impenetrable and irritating, but audiences willing to tune into Hosking’s off-kilter style will be moved by the ridiculous love stories and relish the hilarious eccentricity.

The real nun in the movie is the heroine, played by a spirited Taissa Farmiga, and the dramatic weight falls on her able shoulders.

Winning and confusing in equal measure, this Japanese animated feature is likely to attract devout admirers but also baffle a significant number of viewers.

Suspenseful and thought-provoking, The Cured is a serious, engaged horror movie. More upsetting than scary, it ratchets up the tension unsettlingly. There’s life in zombies yet.

By no means a conventional horror film, yet several degrees more twisted and gruesome than the average indie relationships drama, this is likely to appeal to more adventurous cult film fans.

The Endless is a demanding, rewarding picture with moments of unusual terror and awe, offering a science fiction/horror scenario on a literally cosmic scale which boils down to a study of a complicated sibling relationship.

A bravura monster movie which just doesn’t let up, ratcheting tension with nary a word uttered on screen. It also boasts great creature design and a breakthrough performance from young Millicent Simmonds.

Burke — perhaps best-known as the grown-up version of the scary baby in the last films in the Twilight saga — is outstanding as the fragile, yet determined heroine who is terrorised beyond the bounds of sanity but has to remember that she might be doing all this to herself.

It’s an entertaining, engaging, colourful picture in its own right with decently-handled action-adventure set-pieces and sly comedy, detouring from the expected thrills and spills into body-hopping comedy drama.

An ordinary, if effective horror picture, is predictable fare with two big ticks to its benefit: a penchant for creep-out scares involving its looming spectre; and a committed, sympathetic performance from Macdonald.

If you don’t like Saw, this isn’t going to change your mind – but it’s skilful, satisfying schlock and respectful of its fanbase. And the final death is a show-stopping coup de grace.

Well-acted, it lacks the standout performances or star presences which propelled the tonally-similar Ex Machina to more than cult success. While it will play to fans of cerebral science fiction, it may be less grabby for general audiences.

Though it could do with being weirder and wilder, this high-concept mash-up — what if crooks robbed a haunted bank? — features fine work from a brace of rising stars.

A production line effort with an eye on cashflow rather than the demented work of art Hooper loosed on the world, this eighth entry is above average for its attenuated series. Gore levels are as high as expected and, naturally, the finale leaves things open for further instalments.

A worthy — if chilly and difficult — addition to the sadly extensive filmography of American mass murder. The soundtrack from Canadian singer-songwriter Maica Armata adds some much-needed heart.

A little reticent in gore gimmicks for the Final Destination crowd, but considered as a middle school between Goosebumps and Clive Barker, it’s just the haunted lottery ticket.

Deliberately uncomfortable viewing, this is nevertheless a compelling exercise in gritty psycho-noir with outstanding performances and real dramatic weight. Director Ben Young is a name to watch.

Full of character-based suspense, it’s dramatic and ramped-up with tension. Existing between a Sundance and a FrightFest film, this is a challenging, horribly plausible future vision.

Given that this is the first whacky comedy to come out of the Gulf War it’s a shame the whole enterprise isn’t a lot more tasteless, but the half-funny goings-on give that the script has been tailored not to offend a military machine on the point of massive war, perhaps at the expense of unpatriotic laughs. That said, it’s a pleasant enough time-waster, and doesn’t drag on too long.

One of Tom Hanks' overlooked performances because this bizarre thriller-comedy ends so strangely but there's much to like here.

Though stuck with stretches of guff and looking all too convincingly like video-era rubbish TV, Mindhorn delivers regular proper laughs and eventually wrings just enough drops of pathos to scrape by.

This is a harsh, unsentimental science fiction film, though the performances suggest small surviving flames of empathy and yearning amid the tough, practical attitudes.

More "Moonlight" than "Twilight," The Transfiguration is a defining vampire film of the mid-2010s. An acutely observed study of social/emotional deprivation, but also a gripping, disturbing horror movie. And, yes, it’s ‘realistic’.

A classy French-Belgian horror with an unusual female perspective on monstrous taboos. Shocking but not sensationalist, this is a strong cannibal movie worth chewing over.

It is, however, creepy, suspenseful and nerve-wracking - and marks Gillespie and Kostanski as genre auteurs in the making.

Featuring excellent work from grandstanding Cox and just-lying-there Kelly, The Autopsy Of Jane Doe creates a successful feeling of mounting dread punctuated by crashing thunder and surgical viscera.

A trim, evenly-paced 80 minutes, XX is one of the more consistent contemporary horror anthologies.