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.

Brave (2012, dir. Mark Andrews & Brenda Chapman, with Steve Purcell)

A headstrong tomboyish princess battles with her mother when she is to be betrothed for political reasons. Perhaps the most Disneyish Pixar movie to date, Brave benefits from its focus on mother/daughter relationships and from a dark magical turn that sits awkwardly with the knockabout stuff elsewhere.

Here’s the trailer.

Playhouse (2020, dir. Fionn Watts & Toby Watts)

A writer and his daughter move into a remote castle, but their presence awakens old demons. While it doesn’t really work as a whole (more story needed, basically), there’s effective location work and one lovely creepy moment delivered, plus some interesting ideas and images evidenced. It’ll be good to see what the writer/director brothers can come up with next.

The Vanishing [AKA Keepers] (2018, dir. Kristoffer Nyholm)

A mismatched trio of lighthouse keepers turn on each other. Lean, austere psychological thriller that – while not quite landing all of its story and character moments – offers meaty roles for its central characters, and a welcome change of pace for its star. The movie’s premise is based on a real-life incident.

Outlaw/King (AKA Outlaw King) (2018, dir David MacKenzie)

Robert the Bruce rebels against Edward I. Straightforward historical action drama in the Braveheart mould, with plenty of detail, production values aplenty and some gusto in the playing. Blood, mud and a trebuchet/mangonel device.

Calibre (2018, dir. Matt Palmer)

Two friends on a hunting holiday in the Scottish Highlands fall foul of the locals after a tragic accident is covered up. Incredibly well-made and tense thriller, with loads to recommend it, not least in its handling of suspense and of quiet (and not so quiet) menace. A must-see!