Both more menacing and meditative than its predecessor, Nia DaCosta’s darker follow-up is a formidable horror film that takes commendably big swings. There’s a satanic drag performance, Ralph Fiennes singing Duran Duran to a zombie, and an excruciatingly tense scene involving a Teletubbies dance. It’s an enticingly bizarre film, but DaCosta delicately handles the disparate elements of Alex Garland’s (who penned the original 28 Days Later and Years Later) script. And despite serving as a direct continuation of Danny Boyle’s threequel, with DaCosta bringing her favoured composer, Holder Guðnadóttir, and cinematographer, Sean Bobbitt, aboard (this one’s no longer shot on iPhones), The Bone Temple feels like a standalone film.

At the heart of this gnarly, off-centre film are two sensational performances. In the span of a single year, Jack O’Connell has given us two of the great villains in modern horror cinema. If his toe-tapping antagonist in Sinners was laced with a disarming devilish charm, his maniacal cult leader in The Bone Temple is a masterful, terrifying portrayal of unmitigated evil. Meanwhile, after his scene-stealing appearance in 28 Years Later, Ralph Fiennes is front and centre in the sequel. Singing and dancing to 80s synth-pop and heavy metal when he’s not squaring off with O’Connell, Fiennes delivers a wild, moving performance as a man staying in touch with his humanity under the worst circumstances.