Jason Zada directs Natalie Dormer,  Taylor Kinney and Yokiyoshi Ozawa in this weak horror about a forest in Japan, infamous for its suicides. 

The kind of flick that does absolutely nothing wrong except fatally forgets to be scary. There are a few scenes with the potential to have been more intense, a few clumsy jump scares that sit safely within the PG-13 remit of nasty (Uggghhh! Old people…. Aaaarrggghh! Foreign people….) but really all this boils down to is mucho treading of watero until a rushed twist finale that has all the emotional weight of a dry leaf. A waste of Dormer, who I’d bet most Game of Throne fans would like to see breakout into better things. A nothing film.

3

Nicolas Roeg directs David Bowie, Candy Clark and Rip Torn in this tale of an alien visitor who becomes a reclusive capitalist, a captive of the state and alcoholic lover while all age around him. 

A unique yet frustrating mixture of esoteric connections, dull longuers and visually exciting bonking and commerce, this represents the very best and worst of Roeg’s distinct style. For example he gets a fine performance from the normally wooden yet hammy Bowie – he can milk gold top cream from a pop star like few can. And taken as a quirky sex film (there be a lot more craftily edited fucking than rocketships or rayguns) then the writhing shots of the enigmatic protagonist and a lovely Candy Clark have a winning charm and energy. Alienating but intentionally so, if you are in the right mood there’s enough to explore but trad sci-fi fans take heed, Star Wars this ain’t.

7

Fred Zinnemann directs Paul Scofield, Wendy Hiller and Robert Shaw in this tale of the state persecution of Thomas More, who refused to comment on Henry VIII’s second divorce. 

Fans of Wolf Hall will absorb this classy earlier take on that cracking true drama. The bonus here is the breadth of the playbill – with tons of great parts (maximum weight Welles, a terrifyingly young John Hurt, a gregarious yet vicious Robert Shaw) all orbiting the ever marvellous Scofield. His calm, stately performance warps the rhythm of the events and machinations. He quietly dominates, determining that this aged Oscar sweeper actually still feels really valid.

8