Nicolas Roeg's third film--after the brash PERFORMANCE (1970) and meditative WALKABOUT (1971)--is a haunting thriller that confirmed the director's status as a true visionary. Based on a story by Daphne Du Maurier, DON'T LOOK NOW follows a grieving English couple to Venice, where the past continues to plague them. John Baxter (Donald Sutherland) and his wife Laura (Julie Christie) are in mourning for their young daughter, who drowned tragically near their home. John takes a job in Venice so that the couple can leave the past behind, but, unfortunately, the past is not easily forgotten. While John begins to see unsettling visions of a young girl in a red coat running through the Venice streets, Laura learns from an elderly psychic that her husband is in grave danger. What follows is an eerie, erotic mystery that builds to a shockingly horrific climax. DON'T LOOK NOW is one of the most daring and influential motion pictures of the 1970s. From Pino Donaggio's atmospheric score to Graeme Clifford's elliptical editing (exemplified in the film's notorious sex scene), Roeg's film is a stylistic achievement. Sutherland and Christie are their typical phenomenal selves playing the bereaved, devastated couple.

In this third installment of the Final Destination series, a student's premonition of a deadly rollercoaster ride saves her life and a lucky few, but not from death itself which seeks out those who escaped their fate.

When Mary (Kate Dickie) and her teenage son, Fergal (Niall Bruton), move to yet another new home, it soon becomes clear they live their lives on the run, hiding from someone or something, terrified of being found.Trying to make new friends or connections wherever they go, Fergal finds himself caught between the affections of his beautiful and feisty neighbour Petronella (Hannah Stanbridge), and his fiercely protective mother, who will stop at nothing to protect her precious son. Mary has strict rules that govern Fergal’s life without which chaos and terror threaten to ensue. Their hunter is Cathal (James Nesbitt), a dangerous and terrifying man, intent on tracking down and killing Mary and Fergal. What’s more, he is using a dark form of magic to find them. Mary’s only defence is to use the same ancient form of magic in order to protect her son. But how long will it be before Cathal manages to outsmart her? When local residents begin to be brutally murdered by an unknown life force, the sense of fear escalates. Is Cathal the beast responsible for the killings? Or is it the beast that he is trying to destroy?

Set during the time of the first outbreak of bubonic plague in England, a young monk is tasked with learning the truth about reports of people being brought back to life in a small village.