Martyn Conterio

For a debut feature, it’s impressive and thoroughly committed to its vision of Hell on Earth. The atrocities, bleak tension and stomach-churning imagery are unstoppable, the director deeming them necessary for maximum impact.

The Vatican using VR technology to seek out victims of the demonically possessed is an intriguing and weirdly logical progression for the 21st century (move over exorcists, now we have techxorcists), but what generally lets the movie down is its bland dialogue, bland casting, and routine approach to frights.

Sono throws everything at the screen – samurai battles, shootouts, Cage shouting and threatening to karate chops the locals – but it rarely provides anything but the sense you’re watching bizarre performance art in place of a good film.

The tradition of star-worship and auteur theory has unnecessarily diminished the key roles of others. Thankfully, Making Waves gives these genius-level background figures their well-earned due.

Zombi Child is a stirring and highly peculiar piece of work.

Some actors can play anything, but asking super-posh and glamourous Seydoux to play dirt poor is an ask too far.

This might not be the film you’re quite expecting from the director of arthouse dramas focused on modern life in Brazil, but it fits right in as a variation and continuation of Mendonça Filho’s pet themes.

Gonzalez can be masterful in conjuring sexy imagery, febrile moods and erotic frissons, but his grip on the storytelling here is weak. Knife + Heart struggles to regain its initial momentum, falling flat until a lively climax.

Serebrennikov...has a great eye for composition and crafting a set piece, but the meandering pace and loose approach to storytelling makes his second feature akin to an album front loaded with banging tunes and the rest is filler.

Involving and well made, rather than something flat-out great and essential.

Cruise rides the Breaking Bad and Narcos train, only not as well as either.

Anderson's comic slasher doesn't quite earn its wings as a potential future classic, nevertheless it's very funny and another welcome indicator that antipodean genre cinema is where it's at right now.

Challenging, daring, provocative, disgusting - We are the Flesh is all those things and then some, but also superbly crafted and always visually compelling.

Abattoir doesn't have a jaw-dropping...shock scene, but the ending does pack an emotional punch, of a type so few and far between in the annals of horror cinema.

Tod Williams, a journeyman best known for Paranormal Activity 2, has managed to transfer King's very popular brand of horror with a good deal of success.

Displaying an exemplary commitment to knuckle-biting tension, director Serra has made a riveting B-movie.