Kim Newman

Clouzot achieves an analysis of the human condition at least as bleak as Huston's The Treasure Of The Sierra Madre but without the grandstanding speeches and with more subtle performances.

Though some of the interludes are surprisingly effective – Cong Cong’s playground romance is genuinely sweet – the downtime between disasters is mostly here to let the audience breathe. The draw of the film is its huge set-pieces, which easily best recent Hollywood essays in disaster such as Deepwater Horizon.

There’s quite a bit to admire in Motherless Brooklyn, but mostly in detail work — the hats, the cars, the join-the-dots conspiracy theory — but it doesn’t really catch fire as either a private-eye mystery or a study in Tourette syndrome savantry.

While the film stumbles and meanders, however, there’s no denying that it delivers enough set-pieces for three regular horror films.

King of the Monsters delivers what its genre requires. Truly awesome monster scenes fill the screen, often imbued with emotional resonance by music cues.

Showing more enthusiasm than aptitude, this earns ‘could do better if it tried’ on its report card — but it’s a strange enough genre mix to be vaguely worth a look.

A drama of upper-middle-class menace that can’t quite bring itself to be a full-on slasher movie, this has a few too many clichés but offers some creepiness and decent performances.

Despite lashings of bright red gore and the obvious enthusiasm of its gibbering hordes, Redcon-1 is a hard slog. Nearly two hours of grunts vs zombies feels punitive.

The hardest power to depict onscreen is the wisdom of Solomon, but Shazam! makes clever decisions, mixing middle school snark with disarming sweetness. And — yes — it delivers the requisite lightning-strike punch-’em-ups with considerable force.

A soft-spoken yet chilling domestic horror film that tells its slightly overfamiliar tale effectively, with strong performances, quietly disturbing atmosphere, one or two friendly clichés, and good, old- fashioned scares.

It may be a touch overlong – perhaps because everyone has to stop running to sing songs at regular intervals – and the emotional beats familiar, with moments of poignance, tragedy, gruesome comedy (a decapitated zombie in a snowman suit) and absurdity.

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.