10 to Midnight (1983, dir. J Lee Thompson)

A veteran cop is determined to bring a multiple-murder suspect to justice. Lumpen sub-Dirty Harry horror-thriller, blending police procedural with slasher pic. Despite an interesting approach to its villain, this is straightforward exploitation fare, its director’s and star’s former glories notwithstanding.

Mad Max: Beyond Thunderdome (1985, dir. George Miller & George Ogilvy)

Max Rockatansky encounters a fledgeling civilisation in the desert. The third (though chronologically fourth, after Fury Road) Mad Max flick is glossier, talkier and generally lighter than its predecessors, but nevertheless works as a hugely detailed action fantasy riffing on Peter Pan and Riddley Walker while delivering a fantastic chase sequence.

The Frighteners (1996, dir. Peter Jackson)

A conman psychic who can see the dead has to confront an undead serial killer. Fast, funny and inventive supernatural comedy, with a great central performance from Fox and still-effective (and then-groundbreaking) CG effects work.

Fractured (2019, dir. Brad Anderson)

A woman and daughter go missing in an ER. Crisp, clean paranoid conspiracy thriller engaging with the director’s recurring themes of guilt and paranoia. The kind of professional, lean, efficient movie they don’t make too many of any more. Recommended.

Joker (2019, dir. Todd Phillips)

A clown with mental health issues tries to be loved and recognised. Well-shot but superficial origin story, heavily reliant on its stylistic and plot inspirations (early Scorsese movies, Bernhard Goetz). Sometimes impressive, sometimes misguided, but anchored by a committed central performance nevertheless.

Monos (2019, dir. Alejandro Landes)

A group of Central American teenagers guard a kidnapped doctor. Part every jungle action flick ever, part Absurdist fable. Lord of the Flies meets The Emerald Forest with a seasoning of Predator, and more than a hint of Beckett. Hugely recommended, but not for everyone.

Ready or Not (2019, dir. Matt Bettinelli-Olpin and Tyler Gillett)

On her wedding day, a bride finds that the games dynasty she’s marrying into has an odd – and potentially murderous – ritual. Generally solid black comedy horror with a great lead performance from Samara Weaving. Bonus points for the gratuitous Kazuo Ishiguro shoutout.