The Circle (2017, dir. Peter Callow)

A university field trip to a remote Scottish island encounters a previously-unrecorded stone circle. Low-budget horror that starts well, and which looks great throughout, though which falls apart once multiple story complications are bundled in. A shame, as there’s promise here.

Here’s the trailer.

Big Legend (2018, dir. Justin Lee)

A bereaved veteran returns to the woods to hunt and kill the creature that killed his fiancé. Straightforward but solid low-budget Bigfoot feature, maximising decent locations and effective though sparse gore effects. A third act drawing on Predator and some fun cameos make this a decent, unpretentious flick.

Here’s the trailer.

The Manor (2021, dir. Axelle Carolyn)

A new resident in a nursing home believes the establishment has a horrifying secret. Brisk, unfussy supernatural horror with a Twilight Zone episode feel: maybe needs more meat on its bones, but it nevertheless tells a straightforward story with minimum fuss, while offering Barbara Hershey a welcome lead.

Here’s the trailer.

I Am A Hero (2015, Dir. Shinsuke Sato)

A gleefully gory and refreshing black comedy Japanese zombie film. Hideo the cowardly Manga artist needs to find his ‘hero’ mettle as a virus turns everyone into crazy killers. Refreshing, witty and sometimes poignant – this comes highly recommended.

I am A Hero (2015, Dir. Shinsuke Sato)

You’re Next (2011, dir. Adam Wingard)

A family reunion is interrupted by home-invading masked killers. Superior horror flick with touches of black comedy. Knows precisely what it is and works to fulfil expectations well: a brisk, bloody job well done.

Here’s the trailer.

Freaky (2020, dir. Christopher Landon)

An awkward teenager and a serial killer swap bodies. Superior horror-comedy, maximising the potential of its Freaky Friday-meets-high school slasher conceit, along the lines of Landon’s earlier mashup Happy Death Day. Plenty of fun, a few straightforward though relevant points made, and zippy lead performances help no end.

Here’s the trailer.

Prisoners of the Ghostland (2021, dir. Sion Sono)

A captured bank robber is forced to retrieve a kidnapped woman for a gang boss. A post-apocalyptic samurai/western hybrid, using a Mad Max/Escape from New York structure for all kinds of digressions. It doesn’t all work (the script is the culprit here), but it looks great in a neon Terry Gilliam kinda way, and everyone seems to be having fun.

Here’s the trailer.

Witch Hunt (2021, dir. Elle Carnahan)

In an alt-America where witchcraft is both real and outlawed by the Constitution, a family works to protect witches. Somewhat awkward allegory with some strong ideas that it doesn’t quite know what to do with. Worth your time, though not for everyone: not the genre pic it first appears.

Here’s the trailer.

47 Meters Down: Uncaged (2019, dir. Johannes Roberts)

Four schoolfriends are trapped in an underwater ruin. Passable teen-oriented thematic sequel. Doesn’t have the singular purpose of its predecessor, and too much is demanded of an inexperienced cast. No great shakes in the scares department, either, though subgenre fans will have an at least passable time.

Here’s the trailer.

47 Metres Down [AKA 47 Meters Down; Johannes Roberts’ 47 Metres/Meters Down; In The Deep] (2017, dir. Johannes Roberts)

Vacationing sisters who take a shark-viewing excursion become trapped underwater. Straightforward and effective survival thriller with horror elements. Does what it can to explore the boundaries of its premise: a sequel soon followed.

Here’s the trailer.