Michelle breaks up with her boyfriend and, in a panicked drive interstate, ends up unconcious in her vehicle by the side of the road. Thankfully, Howard was driving by and took her to his nearby home where he put her on a drip and nursed her back to health - well, sort of. When Michelle comes to she finds herself in his cellar, in a locked room, handcuffed to the wall. Howard says an alien apocalypse is taking place but Michelle isn't so sure. What follows is a tense find out more...

After the disappearance of her scientist father, three peculiar beings send Meg, her brother, and her friend to space in order to find him.

We're a long way from Alien here as Michael Fassbender does some really strange acting and the story goes off in a ridiculous direction - picking up where Prometheus left off. The premise sees the crew of a colony ship - the Covenant - bound for a remote planet, discover an uncharted paradise, until everything goes a little bible wrong. Then it's all just ludicrous.

Gloria is a 'hot mess' who just can't get her s**t together. Kicked out by her boyfriend and without a dime to get by, she heads back to the small town she came from. Landing on one bad idea after another - she's an alcoholic and she gets a job in a bar - Gloria soon discovers that she is causing pain and destruction to lots of others, not just herself. A literal monster manifests and the result is somewhere between comedy and action. Unfortunately, watching it makes find out more...

Transfer (1966), Cronenberg's first film, is a surreal sketch of a doctor and his patient. From the Drain (1967) finds two men in a bathtub, which may be part of a centre for veterans of a future war. Stereo (1969), Cronenberg's first official feature film, stunningly shot in monochrome, concerns telepaths at the Institute for Erotic Enquiry where patients undergo tests by Dr. Luther Stringfellow. In Crimes of the Future (1970) Cronenberg worked in colour and with a find out more...