The Unholy (2021, dir. Evan Spiliotopoulos)

A disgraced journalist stumbles across what appears to be a religious miracle. Autumnal modest adaptation of James Herbert’s novel Shrine, transplanted to New England. Fudges its approach: part investigative thriller, part jumpscare horror. One or other would have been better, though a solid cast does what it can.

Here’s the trailer.

Bill & Ted Face The Music (2020, dir. Dean Parisot)

The now middle-aged Wyld Stallyns have to travel the multiverse to save reality, their daughters, and their marriages. Unnecessary but still welcome threequel, with enough of a spin on the same plot as twice before to pass muster. Everyone’s having fun, and Winter is especially good.

Here’s the trailer.

Die Hard 2 [AKA Die Hard 2: Die Harder] (1990, dir. Renny Harlin)

John McClane intervenes to stop mercenaries from freeing a high-value prisoner from a snowbound airport. Messy serio-comic sequel that bends over backwards to link itself to the first film. It scrapes by on residual goodwill from its predecessor, but that’s about it.

Here’s the trailer.

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.

VFW (2020, dir. Joe Begos)

A group of veterans defend their bar from a violent drug gang. Gory, well-cast homage to early John Carpenter flicks (and by extension Rio Bravo). A game cast have fun, everyone’s in on the joke, and it’s good to see these vets have meaty roles. Doesn’t overstay its welcome, neither.

The Highwaymen (2019, dir. John Lee Hancock)

Two retired lawmen are recruited to hunt down and kill Bonnie and Clyde. Handsome but slow period thriller that can’t quite make up its mind if it wants to go for drama or action. Well-played, though, with a great Thomas Newman score, evoking Road To Perdition.

Demon Knight [AKA Tales From The Crypt: Demon Knight] (1995, dir. Ernest Dickerson)

A remorseless demon stalks an immortal holding the last key to humanity’s survival. Under-appreciated siege horror-comedy linked (vaguely) to the EC comics. A game diverse ensemble cast of character actors jolly things along, supported by excellent direction. Unpretentious fun.