Blu-ray

Don’t Look Now has often been called one of the best films in the history of British cinema – and with good reason. Adapted from a short story by Daphne du Maurier, director Nic Roeg’s film is more than a mere horror film – although it’s certainly not short on scares – rather it’s a remarkable psychological study of grief centred on a married couple (played by Donald Sutherland and Julie Christie) who lose their daughter in a freak accident. And while the story that unfolds is itself gripping, it’s visual elements and symbols that Roeg brings into play that allows the film to transcend the limitations of genre and become something truly special.

These two mid-'60s Doctor Who flicks scrub up very well indeed in high-definition. Meticulously restored from 35mm interpositives, the AVC 2.40:1 1080p encodes are awash with vibrant colours and heavy grain that showcase their Techniscope origins. The LPCM 2.0 mono soundtracks have had similar work done on them, resulting in crisp and clear presentations that are extremely sympathetic to the source material.

Universal's ongoing struggle to reinvent its 'Classic Monsters' franchises for modern cinema audiences  hits another snag with this curiously anaemic origin story for the king of the vampires.

Four English tourists get more than they bargained for when they take a trip to Karlsbad castle – former home to the late Count Dracula. One bloody resurrection later and he’s on the prowl again, draining the blood of innocent women.

Disowned by director Jim Sheridan and stars Daniel Craig and Rachel Weisz after being re-edited by producers, it’s hardly a surprise that Dream House is a nightmarish movie. But who knew it would be such a prime piece of car crash cinema? Thanks to its muddled tone, off-kilter performances and breathtakingly inane mid-film twist you just can’t help but keep watching, no matter how grotesque it all seems. A fascinatingly awful film.

Brian De Palma's 1980 thriller is the kind of utterly bonkers cinematic confection that only a truly gifted filmmaker could actually get away with. Angie Dickinson stars as a frustrated housewife whose casual afternoon liaison with a stranger ends in murder. What follows is a deranged spiral into sex, death and transgender issues, which mixes together the very best of Hitchcock and '70s Italian slashers to outrageous effect.

Drive Angry is a very, very silly film. But it’s one that fully embraces its inherent stupidity and is probably the closest we’ve come to a modern version of grindhouse cinema. Indeed, it’s much more in keeping with actual examples of that specific film ghetto than anything Tarantino or Rodriguez for their 2007 double-feature.