Cage fighting summons up images of the most brutal hand-to-hand combat. Two fighters, an octagon cage, punches, kicks, submission holds, and the trademark "ground and pound" when an opponent drops to the floor and his rival goes in to finish him off. Not very tasteful, is it?

Dario Argento’s Suspiria was confirmed as one of horror’s great fever dreams on its 40th anniversary re-release last year. The Cat o’ Nine Tails (1971) and Phenomena (1985) are lesser book-ends of the director’s peak period, when his global genre influence was vast.

The last time we saw Christian Bale in a western, he was playing the downtrodden rancher Dan Evans in James Mangold’s punchy remake of 3.10 to Yuma. No doubt it was valuable experience for his role in Hostiles, Scott Cooper’s smouldering flashback to the last days of the Frontier, where Bale plays veteran US Cavalry captain Joseph Blocker.

It’s not the first time that James Norton has kicked off BBC One’s New Year primetime celebrations in Russian style. Two years ago, he was costumed up as the courageous Prince Andrei, in illustrious ensemble company for Andrew Davies and Tom Harper’s War and Peace.

As we reach December, the year of Stephen King comes to a close with this 4K Blu-ray restoration of his very first film adaptation: Carrie. It was the first major success for Brian De Palma, Sissy Spacek and John Travolta, but how does the original high school horror hold up in the 21^st century?

War is morally acidic: it dissolves social rules, loosens inhibitions and gives permission to men to behave like animals. And the people who have to put up with this deluge of amorality and abuse are, of course, women.

This is not a movie to see in the front row – intrusive close-ups, hand-held camerawork, colour saturated night shots and a relentless synthesiser score all conspire to make Good Time a wild ride. An unrecognisable Robert Pattinson plays Connie Nikas, a nervy con artist who enlists his intellectually disabled brother Nick in a bank robbery. The heist goes horribly wrong and the camera clings to the brothers and their nightmarish fate over the next 24 hours. Directed by real-life brothers Josh and Benny Safdie (the latter also plays Nick), Good Time sometimes plays like an extended homage to the early films of Martin Scorsese, Michael Mann and Abel Ferrara.

There’s a touch too of Dog Day Afternoon, particularly in the role of Nick. I’m always wary when able actors "play crip": it’s tantamount to blackface and shouldn’t be necessary when there are plenty of talented disabled performers. But in this case the amount of violence and degradation inflicted on the character of Nick would make it hard for a director to ask an actor with intellectual disabilities to endure without accusations of exploitation.

Casting major actors like Robert Pattinson and Jennifer Jason Leigh as his train-wreck girlfriend is a significant step up from the Safdies’ previous film. Heaven Knows What (2014) featured unknown non-professionals as actors playing versions of themselves, homeless heroin addicts trying to get their next fix. Buddy Duress (pictured above) was one of the Safdies' street discoveries and he gets a key role in Good Time.

Having done time himself, Duress is wholly convincing as the chaotic Ray, another desperate chancer caught up in Connie’s machinations. Ray has had his face bashed up in a drug deal gone wrong; he looks like a Francis Bacon portrait made flesh. There’s a cameo too from Barkhad Abdi (Oscar-nominated for Captain Phillips) that obliquely highlights the institutional racism of the NYPD.

But it’s getting a big star like Robert Pattinson and giving him a dark, meaty role that has amply paid off here. By this point, he's well and truly escaped from the languid vampire of the Twilight films. Connie is a superbly ambiguous character. Is he just an opportunistic thug duping everyone around him, or is he genuinely protective of his disabled brother? Good Time would make an interesting double bill with Rain Man, another tale of brotherly exploitation with a major star choosing to play against type. But unlike Rain Man, there’s very little moral redemption in the Safdies’ nightmarish vision especially in the third act, which includes the ruthless manipulation of an underage girl (Talia Webster, pictured above with Pattinson). All neon and nastiness, Good Time is both exhausting and exhilarating.

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@saskiabaron

Overleaf: watch the trailer for Good Time