Triangle (2009, dir. Christopher Smith)

A single mother becomes trapped in a temporal loop on an abandoned liner. A smart little thriller that plays fair by its premise, doesn’t over-explain, and takes a rigorous approach to its plotting. A couple of genuinely nasty ideas embedded as well.

The Woods (2006, dir. Lucky McKee)

A rebellious teen with latent psychic powers finds herself in a sinister all-girls boarding school. A well-paced 60s-set supernatural tale that does what you might expect, but with some class and style.

The Town That Dreaded Sundown (2014, dir. Alfonso Gomez-Rejon)

A serial killer re-enacts the true-life killings immortalised in a 70s drive-in movie. Well-directed horror flick with a neat premise (the 1976 film of the same name features throughout) and a decent cast of character actors, though the whodunnit climax is underwhelming.

Office Uprising (2018, dir. Lin Oeding)

Nerdy colleagues band together after co-workers become murderous via a weaponised energy drink. Okay-while-its-on comedy-horror with a Larry Cohen-esque conceit and a whiff of The Belko Experiment. No real surprises or scares, but some nice lines and action details.

Death Trench [AKA Trench 11] (2017, dir. Leo Scherman)

In the last moments of WWI, a team go behind German lines to investigate a mysterious compound where chemical weapons may be being developed. Okay addition to the period military zombie subgenre: the 1918 setting is a bonus. The usual infighting, mad doctor, odd alliances plus marauding infested shenanigans ensue.

Look Away [AKA Behind The Glass) (2018, dir. Assaf Bernstein)

A bullied teen starts to think she has a doppelganger. Low-key and wintry chiller that cribs bits from the genre – Carrie, Damien: Omen II – though offers some pleasures of its own, not least in its Cronenbergian look and some good, if muted, performances.

Mama (2013, dir. Andy Muschietti)

Two girls, feared lost for five years, are found feral in an isolated cabin. Generally effective jumpscare horror, impressive in its first acts, though increasingly awkward in plot event terms and tone as the melodrama develops. Some very neat moments, though.