Wrong Turn (2021, dir. Mike P Nelson)

Six friends hiking in West Virginia come up against a self-isolating pre-Civil War community. The backwoods franchise takes a folk horror turn away from cannibal shenanigans towards something that’s uneven but interesting in a Midsommar/Welp kinda way. All this plus old hands Matthew Modine and Bill Sage in support.

Here’s the trailer.

The Monster Squad (1987, dir. Fred Dekker)

A group of monster-obsessed pre-teens have to face off against a gallery of Universal Studios villains. Straightforward and very contrived sub-Spielbergian kid adventure post-ET/The Goonies. Some of it works well, and the creature effects evidence love, but too much is perfunctory tick-box stuff that’s being rushed through.

Here’s the trailer.

Rogue (2020, dir. MJ Bassett)

A hostage extraction team is hunted across the East African savannah by vengeful kidnappers, and by a lion escaped from illegal breeders. Efficient DTV actioner with horror elements maximising location shooting production values while cheerfully stealing bits of business from all over: plus a Backstreet Boys running gag.

Here’s the trailer.

Becky (2020, dir. Jonathan Milott & Cary Murnion)

A disaffected teenager takes revenge on the neo-Nazi prison escapees who take over her family’s holiday property. Slightly too clever for its own good, the movie nevertheless gets going once its plot is clear, and delivers in terms of splattery grue, even if it’s unsure what to do with loose ends.

Here’s the trailer.

The Domestics (2018, dir. Mike P Nelson)

A dysfunctional couple travel across post-apocalyptic America through territory populated by rival murderous gangs. Interesting small-scale action/horror hybrid with an unusual focus on character development and on telling detail. Plenty to appreciate despite the familiarity of its Mad Max-meets-The Purge setup.

Here’s the trailer.

Frozen (2010, dir. Adam Green)

Three friends are trapped on a ski-lift. And that’s it: a well-sustained little horror/suspense piece that looks great throughout and makes the most of its outdoors spin on the trapped-in-a-lift premise. Some fine tense sequences, and genuine eeww moments, too.

Here’s the trailer.

Saint Maud (2020, Dir. Rose Glass)

A pious nurse becomes dangerously obsessed with saving the soul of her dying patient. Some initial promise soon falls into dull territory. There is an interesting tale in here somewhere and some nice ideas and imagery. It just lacks the conviction to be the film it attempted to be.

Saint Maud (2020, Dir. Rose Glass)

Outland (1981, dir. Peter Hyams)

A new mining post security chief on a Jupiter moon investigates a series of deaths. A weak script and iffy science undermine this great-looking SF thriller (emulating Alien and clearly influential on early James Cameron). Doesn’t really deliver on its High Noon in Space promise.

Here’s the trailer.

What Lies Below (2020, Dir. Braden R. Duemmler)

Back from summer camp, a girl finds her mother has a perfect new boyfriend, who is probably just a little too interested in the denizens of the lake by which they live. Creepy, atmospheric and a little bit squishy. Or fishy. Take your pick.

Want another take? Here’s Xussia’s review and here’s the trailer:

Hunted (2020, dir. Vincent Paronnaud)

A female executive is kidnapped by two men: she escapes and a pursuit begins. Thrilling, fascinating riff on Red Riding Hood with folk horror and mythic as well as more straightforward night-from-hell elements. Well-sustained and managed throughout, with a handful of moments of genius. Recommended.

Here’s the trailer.