Billie Walker

Despite the heavy metaphors and emotionally weighted hauntings, there’s nothing new here – it’s all painfully dull and familiar horror territory.

Despite Boon matching Graham’s quiet intensity and Riseborough’s low frequency depression with a gnashing rebellious streak, the three performances can’t lift The Good Boy from the limitations of its own tethered melodrama.

Ultimately The Strangers: Chapter 3 offers no redeemable qualities and is so vacuously unremarkable that it is already in the process of being forgotten.

Though not beyond salvaging as The Carpenter’s Son offers some moments of biblical horror, including an Hieronymus Bosch-like depiction of hell, it doesn’t succeed in pushing past mild discomfort. There is still not enough to drag it down into truly blasphemous depths.

Stuckmann’s debut may borrow from the found footage boom of noughties horror, but like many of today’s horror films, it suffers from explanation-fatigue.

While other horror directors are busy chasing their tails trying to create genre defining moments, Ben Leonberg has succeeded creating a thrilling mid-budget horror that goes beyond pandering to animal lovers or tugging at our heartstrings.

In order to fill the measly 96-minute run time, there are many flashbacks, both from Maya’s perspective and from the killers as children, arguably making them ​‘strangers’ no longer. These flashbacks repeatedly hamper the film, knocking the thrill out of its pace and entertainment.

Despite all its layers The Life of Chuck is nothing more than a set of Russian nesting dolls made entirely of borrowed brilliance.