
Lorcan Finnegan's beach thriller gives Cage nothing but sand and hostility, and what he does with both is more controlled than anyone expected.

Luke Sparke's thriller is ninety minutes in a car with a hitman and a target, and the confinement is the point.

The score sits so far back in the mix you forget it is there, which is exactly how the threat in the film works.

The score does the emotional work that Joel Edgerton's blankness forbids, and the restraint in both is what makes the film unbearable.

Stan's backpacker thriller uses Byron Bay the way horror films use fog: it looks beautiful and you cannot see what is coming.

Robert Connolly's adaptation knows the difference between withholding information and withholding feeling.

The score is a heatwave set to strings: dry, persistent, and impossible to escape.