Polish director Agnieszka Holland is best known for two Holocaust films, both based on remarkable true stories: the 1990 Europa Europa and the 2011 release In Darkness. Here she tackles horror of the supernatural kind. This NBC two-parter is an updating of Ira Levin’s best-selling 1967 novel rather than a remake of Roman Polanski’s 1968 classic film, though it wouldn't matter either way, for while Polanski remained faithful to the book, this version of Rosemary’s Baby revises significant details.

Adapted from the cult novel by Joe Hill (son of Stephen King) and directed by Alexandre Aja, Horns can't keep itself on an even tonal keel for more than a few minutes. Part policier, part doomed romance and part gothic nightmare, I suppose it might even have created its own nano-genre.

Mother love is mangled, yanked inside-out and tested almost to destruction in Australian writer-director Jennifer Kent’s heartfelt horror debut. The Babadook enthusiastically fulfils its remit to scare, but finds its fright in the secret corners of maternal instinct, where frustration, grief and violence meet.

We all romanticise the olden times. Those we think of as belonging to them are no different. The Castle of Otranto – by common consent, the first Gothic novel – was published a quarter of a millennium ago. “Otranto ‘lost its maidenhead’ today,” wrote its author Horace Walpole. To him, if not to us, the 1760s reeked of modernity so he claimed that this was a true story plucked from a cobwebbed Neapolitan library in 1529 – that is, a quarter of a millennium before.

The iconic monster is back in a far more successful way than Prometheus. The first-person, stealth game Alien: Isolation largely successfully returns us to the creeping horror and claustrophobic environments of the original film.

“Are you going to be to Canada what Ingmar Bergman is to Sweden?” “Oh, I think so.” David Cronenberg’s response to a TV interviewer at the time of Shivers’ release must have seemed like unwarranted boastfulness in 1975, but he did indeed become one of cinema’s most significant filmmakers and remains such. After his first full-length feature had hit screens, Cronenberg’s chutzpah was enviable.

Zombies have feelings too. That's the message at the heart of writer-director Jeff Baena's debut Life After Beth, which begins its life as a sensitive indie comedy with a winning deadpan shtick and ends up salivating and snarling after developing an appetite for riotous, blood-splattered slapstick. Parks and Recreation's Aubrey Plaza bags the bizarro role of a lifetime and this quite brilliant comedienne attacks it like a man-eater tearing flesh from bones with only its teeth. She also quite literally does that.

Dan Stevens puts Downton behind him to become a CIA-built killing machine laying low in a New Mexico small town, in Adam Wingard’s bonkers new thriller. He looks all the better for it. Aristocratic English charm translates into Southern civility as his character David insinuates himself into a family grieving for a son he served with in Iraq. David’s just here to help.

A detective ghost story with virtually no violence – Murdered: Soul Suspect is an odd construction. It is part point-and-click adventure game, part interactive fiction and part stealth-adventure – none of which are massively successful elements.

While investigating The Bell Killer, a serial killer working his way throughSalem,Massachusetts, your clichéd cop comes off the worse for an encounter. Thrown out of a high window, then shot, you come to as a ghost. Now, in order to be head off into the light, you must find out who your killer is.

Karen Gillan’s first Hollywood leading role finds her in the surely unusual position of not liking what she sees in the mirror. After five years as Doctor Who’s regularly killed and resurrected companion Amy Pond, life doesn’t get any easier for the now LA-based actress in this low-budget horror, as her character Kaylie Russell tries to outwit the malevolent mirror which caused her parents' death a decade earlier.