Apostle (2018, dir. Gareth Evans)

A vengeful brother tries to rescue his kidnapped sister from an island cult. Splendid British Western/The Wicker Man hybrid, parts folk horror and grand guignol. Not for everyone, that’s for sure, but great if you go with it.

Want a second opinion? Here’s Lemonsquirtle’s point of view.

 

Bean [AKA Bean: The Ultimate Disaster Movie] (1997, dir. Mel Smith)

A lowly museum attendant is mistakenly sent to Los Angeles as an art expert. Awkward expansion of the TV series, relying on embarrassment and slapstick in equal measure. Inevitably, some moments work (the supporting cast is great), but too much of this is simply unfunny sentimental gurning.

The Night Eats The World (2018, dir. Dominique Rocher)

A man wakes up to find he’s the last survivor of a zombie apocalypse. Fine addition to the subgenre, focusing on character and heart rather than on horror thrills; though there’s not much more to say about zee, this fills in a few gaps pleasantly enough.

Safety Not Guaranteed (2012, dir. Colin Trevorrow)

A reporter and two interns investigate a classified advert promising time travel. Lo-fi comedy that doesn’t outstay its welcome. Charming enough, with just a hint of sci-fi, and with fine performances all round.

The Bleeder [AKA Chuck] (2016, dir. Philippe Falardeau)

The rise and fall of 1970s heavyweight contender and Rocky analogue Chuck Wepner. Well-judged biopic that despite featuring every one of the usual story and character beats, hits every one of them with unassuming skill.

The Whiskey Bandit [AKA A Viszkis] (2017, dir. Nimrod Antal)

Biopic of Hungarian/Transylvanian serial bank robber Attila Ambrus. Overlong but hugely entertaining and well-crafted story, with a great visual sensibility, that takes its time to get to the meat of its purpose. Well worth sticking with.

The Silence (2019, dir. John R Leonetti)

After a swarm of ravenous creatures who hunt by sound is released, a family runs to stay alive. Patchy road movie/horror hybrid from the Tim Lebbon novel. Comes across – a touch unfairly – as an opportunistic grab-bag of bits from Pitch Black / The Birds / Straw Dogs and the more recent Bird Box / A Quiet Place.