Birth of the Living Dead [AKA Year of the Living Dead] (2013, dir. Rob Kuhns)

The making and impact of George A Romero’s 1968 horror film Night of the Living Dead. Genial documentary, focused on an interview with Romero himself plus genre stalwarts such as Larry Fessenden, making some straightforward though nevertheless valid points about the film’s counterculture origins and its social commentary, as well as on its genre status.

The Dead Don’t Die (2019, dir. Jim Jarmusch)

Zombies take over a small US town. Deadpan comedy-horror with a few meta touches. Not all of it works, and the approach is wry rather than outright funny, but there are some good ideas and images, and everyone involved seems to be having fun.

Pod (2015, dir. Mickey Keating)

Siblings journey to the family’s remote holiday home where their brother may be going mad. Not-bad psychological horror which takes an SF/military experiment route than the usual haunting or serial killer options. Falls apart in act 3, tho Larry Fessenden pops up.

In a Valley of Violence (2016, dir. Ti West)

A US Civil War veteran swears revenge on the men who killed his dog. Lean spaghetti western homage, equal parts John Wick and Pale Rider, with lots to enjoy if you’re a genre aficionado. Nothing too original, but diverting nevertheless. The cast plainly has fun.

Stake Land II (AKA The Stakelander) (2016, dir. Dan Berk & Robert Olsen)

After his family is killed, the adult Martin seeks out Mister. Autumnal but impressive sequel to Stake Land, this second part is better on atmosphere than on its lean revenge plot, but is watchable nevertheless.

Stake Land (2010, dir. Jim Mickle)

A teen and a grizzled hunter journey across a post-vampire-apocalypse America. An episodic but imaginative spin on the genre, wth plenty of ideas, some clever spins on old tropes, and a fun central performance.

Darling (2015, dir. Mickey Keating)

A housesitter is driven mad by her new job. Light on plot, but heavy on black and white style and with moments of jumpy weirdness, Darling is a tidy and minimalist psychological horror that makes the most of its limited resources.