Berlioz wanted to make the first arrival of his demon onstage unforgettable, with an extreme sound effect - violins and violas marked sul ponticello, strettissimo, starting fortissimo, with interjections from three trombones snarling in minor seconds. In last night's performance of La Damnation de Faust that moment was glossed over. It flashed past as if it had never happened.

Common sense indicates it’s a rare film which retains the impact it had on first exposure. Films can often reveal new depths and fresh detail with repeated viewing, but that initial effect is tough to duplicate. This new release of FW Murnau’s Nosferatu, eine Symphonie des Grauens actually captures the thrill of the first-time experience. Partly, that’s due to the extraordinary restoration. It’s also because experiencing the film in the cinema is utterly unlike seeing it at home.

In the age of big data where nothing escapes retrieval and the afterlife is a matter of cloud storage, the whole idea of "lost BBC tapes" seems about as inconceivable as a hunter-gatherer climbing out of an Iceland freezer cabinet. Dead of Night was broadcast in 1972 and has since become the object of a considerable cult. Thankfully, with this BFI release, it proves to be as odd, as arresting and as eerie as the best weird programming of the decade.

Stunningly good entertainment, interesting art, rubbish game. Beyond: Two Souls does more than any other videogame around to further the cause of interactive narrative fiction – sadly, by jettisoning most of the "interactive" bit.

Created in a time when we could be shocked, The Wicker Man shows its power by being shocking still. Conceived by its director Robin Hardy, writer Anthony Shaffer and star Christopher Lee as a reaction to New Age-ism, The Wicker Man delights, thrills and horrifies in this latest version, restored to the American theatrical cut.

A mine haunted by spriguns, an orphan menaced by a stranger who vanishes at will and the shadow cast over a village by the Black Death. Each is the backbone for the three films gathered on Scary Stories, the BFI’s fourth collection drawn from the archives of the Children’s Film Foundation (CFF). Although aimed at children, around an hour long and made with limited budgets, these subtle, well-crafted films sold no one short. All three are packed with shocks – and still pack punches for children of all ages.

Roky Erickson & the Aliens: The Evil One

Roky Erickson: Don’t Slander Me, Gremlins Have Pictures

I can’t have been alone in my struggle to keep the two of them straight in my head: there’s the one set in the east end of London, in which a former BBC Spook tries to track down Jack the Ripper; and then there’s the one set in the east end of London, in which a former BBC Spook tries to track down a modern-day killer inspired by Jack the Ripper.

“Hannibal Lecter meets Jason Bourne”: that’s how director Ryuhei Kitamura unbeatably sells No One Lives’ indestructible serial killer hero. But his film is at its most interesting before it’s clear who Driver (Luke Evans, pictured below) is, or where we stand with anything that’s happening.

You’re Next has chutzpah. It’s a home invasion horror made with the vigorous energy and imaginative violence of a Warner Bros cartoon. Feeling like a record that starts at a stately 33 rpm and finishes at 45, it becomes progressively more crazed and comic, even as the screen swims in gore.