Now we've arrived at Saw 4, it's fair to suggest that most will be familiar with the conventions of the franchise. The dastardly, and really quite sick, Jigsaw (played, as usual, by Tobin Bell) has once again been devising a series of testing, intricate traps to test his human subjects, and naturally when these go off, there's a fair slice of the film's budget set aside for the requisite blood and gore. If you weren't already aware, Saw films are absolutely not for the squeamish. The twist with Saw 4 is that it digs into the backstory of Jigsaw, although it's fair to say that it soon becomes a platform to layer on some more deadly traps. Mixing in flashbacks and present day events, the formula is ultimately well worn and well obeyed. Surprises are in short supply, even if there is the odd jump from time to time. There is a law of diminishing returns with Saw 4, however, and as the franchise matures the tricks because less impressive and the blood and guts quotient increases to compensate. Furthermore, director Darren Lynn Bousman occasionally goes overboard with his flash cuts, proving a distraction from the carefully constructed scenarios that were the trademark of the original. Still, criticisms aside, Saw 4 is here to do a job, and it has little qualms about getting on with it. Firmly made in the `more of the same' mould of sequels, it's compact, grisly and absolutely not the last film in the series. [+]

The Return is a drowsy, mildly creepy and unexpectedly well-crafted supernatural thriller that lays off the cheap thrill and gore factor in favor of the slow build up to fright and a twist ending that, while effective, may hit viewers as mostly out of left field. The Sixth Sense it ain't, but there's enough texture, style and ladled-on art direction to keep the eeriness palpable even through some of the more labored dialogue and plot contrivances. A chocolate-haired Sarah Michelle Gellar (what was wrong with her natural goldilocks?) plays Joanna Mills, some sort of traveling sales rep in a big pickup truck who journeys from her nightmare-disturbed life in St. Louis back to a small town in Texas that she sort-of remembers. Demons from the girlhood she once knew there come fiendishly together in a mishmash of flashbacks and present-day creep-outs involving murder, self-mutilation and spirits that have haunted her more than she knows. Gellar has become a go-to for glossy Hollywood horrorshows like this, thanks to her work in the Grudge franchise and the remnants of our memories from her Buffy glory days. In spite of the handful of slipshod faults in story and directorial force, she holds her own against the vibrantly dilapidated set decorations along with a variety of other equally important characters. There's a creepy ex-boyfriend, a disgusting being stalking a phantom woman she recognises from her psychosis-induced visions, and a hunky guy who's facing down mysteries from his own past. (Do they all intersect? Hmmm. [+]

The secret to "getting" Tim Burton's Sleepy Hollow is appreciating that it's the film he's wanted to make his whole life. After the intimately expressive Edward Scissorhands, this is his most personal venture. Burton's Gothic style-apparent through all his work-stems from a childhood misspent watching the horror movies of Roger Corman, Hammer studios, and anything featuring his idol Vincent Price. For Sleepy Hollow Burton surrounded himself with his usual collaborators and friends; the production was almost entirely shot on location outside London to reunite him with key members of the crew he'd used a decade earlier in Batman, and also to capture the atmosphere of Hammer horror on its own turf. Johnny Depp's Constable Ichabod Crane warmly emulates the mannerisms and enunciation of Peter Cushing. In a prologue scene Burton plays out a long-held fantasy by pitting Depp against Christopher Lee. And it is fantasy that categorises the film throughout, from the mythical fireside telling of the Hessian Horseman's origin (a mesmerising Christopher Walken), to the bright spots of colour saturating Crane's childhood dreams (featuring Burton's real-life love Lisa Marie). These moments literally shine out amid a meticulously crafted look for the film, which underwent a bleaching process to tone things down to an almost monochrome hue. The Scooby Doo-like whodunnit plot, concerning family lineage and petty vengeance, is naturally secondary to what Burton is aiming to achieve through photography and performance, which includes expressive cameos from Michael Gambon, Michael Gough, Jeffrey Jones, and Iain McDiarmid. Yet despite all these subtleties, it's also his best action movie: the swordplay betters anything from his earlier work, while the windmill escape and subsequent coach chase is truly breathtaking in choreography and execution. [+]

John Carpenter's Ghosts of Mars attempts a productive combination of SF elements (a largely terraformed Mars with its long-lost civilisation) and horror (mass possession that turns the victims into rampaging, self-mutilating monsters that kill and burn). A police-force detachment turn up in a mining community to collect a bandit, whose last heist was uncharacteristically violent, and soon find themselves under siege from rampaging hordes who used to be solid citizens. This is a fairly simple set of variations on stock Carpenter elements-a hybrid between Assault on Precinct 13 and In the Mouth of Madness. However, there is some powerful chemistry between Nastasha Henstridge's icy, drug-abusing police lieutenant and Ice Cube's bandit, Desolation Williams, made stronger by the lack of sexual tension. Other characters, such as Pam Grier's tough commander and Clea Duvall's nervous rookie, are more or less defined by plot functions; the mobs never become more than faceless, or facially distorted, anonymous menaces. This is one for die-hard Carpenter fans only. On the DVD: Ghosts of Mars on disc comes with Dolby Digital sound and its original widescreen ratio of 2. 35:1. A sparky commentary by Carpenter and Henstridge is included, which is informative, but otherwise there are uninspiring documentaries on the musical score, the special effects and the difficulties of shooting at night in the Mexican desert, as well as filmographies and the theatrical trailer. -Roz Kaveney.