Few films have experienced the frenzied internet marketing hype that Paranormal Activity has received in the last few months: sure, this year has also given us the phenomenal trailer to Mega Shark vs Giant Octopus (a far better experience than the film) and Neill Blomkamp’s debut feature District 9 proved that aliens could still rake in the cash at the box office. But the effortless success that Paranormal Activity has had in the US has kept the film riding high in terms of takings and hype. It’s even been a consistently trending topic on Twitter since even before its release.

Horror movies set in space are always a bit hit-or-miss: for every Alien, there's a Jason X, and a hell of a lot more in between. Pandorum, a US/German co-production from director Christian Alvart, might have a trailer that tries to sell it down the Alien-route, but having watched the film, you might be left wondering if you have to re-evaluate your opinions on what makes a bad horror-in-space film.

If you haven’t already seen Alive In Joburg, the short movie on which District 9 is based, you might want to check it out before heading to the cinema to catch out this year’s most original feature, and possibly one of the best alien invasion movies to ever be committed to celluloid. But don’t think that you need to watch Neill Blomkamp’s short before hitting the cinema, as the film on its own is no less impressive.

Terminator: Salvation opened this weekend stateside, but won’t be hitting cinemas in the UK and Ireland (and Australia too) until the first week of June.

The Terminator franchise wasn’t necessarily something that needed such a drastic reboot: Terminator 3: Rise Of The Machines wasn’t a great film, but it wasn’t exactly the nail in the coffin that, say, Star Trek: Nemesis was to that franchise.

On the other hand, Terminator: Salvation just might be that last straw that it takes for the Terminator franchise to rust and turn to scrap metal. The most forgiving of fanboys and girls might be able to see past its flaws, but if the general reaction of the audience at the screening I attended is anything to go by, the rest of the cinema-going public might not be so forgiving.

“Coraline” has been a long time in the making, understandably so: an adaptation of Neil Gaiman’s 2002 novel (the man also responsible for “Stardust” and the “Sandman” comics series) the movie began production before the book was published, the latest stop-motion animation movie from Henry Selick, whose previous directing credits include “James and The Giant Peach” and the Tim Burton-scripted “The Nightmare Before Christmas.”