Mom and Dad (2017, dir. Brian Taylor)

An electronic virus drives parents to kill their children; one family home becomes a battleground. Brisk bad taste horror-comedy that gets in and out fast. Everyone is on fine form, and there’s the best use ever of a Erasure song in the movies.

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.

 

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.

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.

This Is The End (2013, dir. Seth Rogen & Evan Goldberg)

A houseful of actors face the Apocalypse. Dumb-but-fun gross-out comedy with a bunch of moderately-famous people playing versions of themselves. Self-indulgent, but everyone is in on the joke and no-one gets harmed. Fine while it’s on.

Between Worlds (2018, dir. Maria Pulera)

A bereaved truck driver is haunted by his dead wife. Oddball flick with great central performances from Cage and Potente but with no real sense of what to do with its story or its neatly down-at-heel characters. A bit of a mess, but not without its moments.

The House With a Clock in its Walls (2018, dir. Eli Roth)

An orphaned boy comes to live with his warlock uncle. Generally sprightly horror flick for children with good central performances and neat jumpscares from genre stalwart Roth. A bit busy, storywise; could have used some time to breathe. Fun tho.