Amityville: The Awakening (2017, dir. Franck Khalfoun)

A dysfunctional family including a young man in a persistent vegetative state moves into a house with a past. Odd franchise reboot (plus a touch of Patrick) with an interesting meta approach and a strong cast. Some competent jump scares and one neat story idea make this worthwhile for genre fans.

Here’s the trailer.

Wrong Turn VI [AKA Wrong Turn 6: Last Resort] (2014, dir. Valeri Milev)

A young man and his friends arrive at a remote spa hotel: he has inherited the property, but it comes with family complications. A partial reboot that tries a few new things, though soon defaults to the boobs, blood, and inbreeds usual. A further reboot is promised for 2021.

Here’s the trailer.

Friday the 13th (2009, dir. Marcus Nispel)

Two groups of students spend weekends by a deserted summer camp; murders ensue. Clunky attempted series reboot/sidequel with perfunctory handling, and a focus on hunk/hottie/stoner soap operatics rather than story or logic. Not much good, to be honest.

Here’s the trailer.

Blumhouse’s Fantasy Island [AKA Fantasy Island] (2020, dir. Jeff Wadlow)

Five people arrive at an island resort where they are each promised their fantasy can come true. Horror-tinged revisiting of the 70s TV show, that plays initially like an Amicus/EC anthology. It doesn’t all work, but there’s plenty going on, and the cast of game character actors is a smart approach.

The Grudge (2020, dir. Nicolas Pesce)

A widowed detective investigates deaths linked to the same house. Well-made series reboot (set between the first two of the 00s US J-horror remakes) that delivers with scares, splatter, icky imagery, fine cast and direction, plus some interesting script work. More a series of vignettes than an actual story, but this is superior genre fare.

A Nightmare on Elm Street (2010, dir. Samuel Bayer)

A group of teenagers are stalked by a vengeful dream demon. A well-resourced series reboot – remaking the 1984 genre classic – that works well enough on its own terms, but which doesn’t add enough (a voguish focus on the villain’s backstory aside) to make it distinctive. Fine in itself, though, if hardly memorable.

Charlie’s Angels (2019, dir. Elizabeth Banks)

A young programmer teams up with an elite security agency to retrieve a valuable energy device. OK series continuation that does precisely what you’d expect with no surprises whatsoever. Passable while it’s on; its best jokes are in the end credits, though.

Godzilla (2014, dir. Gareth Edwards)

Earth is threatened by MUTOs (massive unidentified terrestrial organisms), awoken by human nuclear activity. Superior monster mayhem anchored by a fabulous visual sensibility, and by a genuine feeling of otherness between the creatures and us. Story-light, and a touch serious, but properly spectacular, nevertheless. Sequels ensued.

Hellboy (2019, dir. Neil Marshall)

Hellboy battles an ancient sorceress from Arthurian legend. Famously-troubled shooting and post-production bedevilled this fantasy horror series reboot, which as a consequence is all over the place. Some good stuff, but its awkward storytelling is patched with flashbacks, dubbed dialogue, variable FX, overlength; the works. A shame.

Halloween (2018, dir. David Gordon Green)

40 years later, Michael Myers escapes to track down Laurie Strode again. Decent-enough and respectful series reboot (ignoring all the sequels), albeit one which feels too restrained. Some awkward storytelling doesn’t help either, one lovely moment and one great child actor aside.