Cabin Fever (2016, dir. Travis Z)

Five students rent a cabin in the woods and become exposed to a flesh-eating contagion. One splendid Grand Guignol moment aside, this is a duff remake of a not-especially-good recent horror, ticking off all the cliches TheĀ Cabin In The Woods subverted.

Nightbreed (1990, dir. Clive Barker)

A young man is troubled by visions of monsters, and of a place called Midian. Ambitious but confusingly-told fantasy/horror hybrid with plenty going on, and lots of ideas, though not all of them well-executed enough to make for a fully-coherent movie.

Paddington 2 (2017, dir. Paul King)

Paddington ends up in prison after being wrongly convicted of a treasure map theft. Machine-tooled sequel balancing community spirit, slapstick, musical numbers and a climactic train chase. Expertly done, with a fine cast, especially a gleeful Hugh Grant.

Wetlands (2017, dir. Emanuele Della Valle)

An ex-addict cop has a chance at redemption. Autumnal neo-noir with a good cast and some fine ideas and moments, but an overly-busy plot and some excesses muddy the waters. Not uninteresting though.

Happy Death Day (2017, dir. Christopher B. Landon)

A female student has to relive the day of her murder again and again. Sprightly campus-based slasher horror-comedy, fairly unashamed in its mashup of Groundhog Day and Scream. Pretty good, within its limitations.

You Were Never Really Here (2017, dir. Lynne Ramsey)

A hitman struggling with mental health issues accepts a contract to rescue a trafficked child. Deliberate, beautiful, and cryptic, this noir drama isn’t for everyone in its mix of arthouse and genre, but is nevertheless well worth your time. Recommended.

The Post (2017, dir. Steven Spielberg)

The Washington Post battles to source and then publish revelations about the Vietnam War. Effective journalistic thriller, which works as a prequel to All The President’s Men and as a contemporary allegory. Good performances all round, especially from Streep.