Fresh scares in short supply

repercussions of their foolish actions.

In fact, the similarities between Blair Witch 2016 and 1999 are so frequent this almost feels more like a remake than a sequel; foundfootage trappings, things going bump in the night, creepy stick figures and terror-stricken straight-to-camera confessional are all recycled.

But nostalgia is quickly rivalling comic book adaptations as the most common slice of in-vogue cinema and, as Star Wars: The Force Awakens and Jurassic World proved, there’s nothing wrong with rebooting a tried-andtested formula – if it is entertaining in its own right.

And Blair Witch is never anything less than an uncomfortable, tense journey of terror and at its best presents scares that unsettle even more than anything in the original.

Barrett also expands the mythology of the Blair Witch and cleverly connects James and his camping buddies’ experiences with those suffered by Heather, Josh and Mike 17 years ago.

Technology has moved on considerably since the first visit to Burkittsville and Wingard’s use of modern gadgets and camerawork is both hugely effective (intercut head-cam footage) and unnecessarily forced (overhead drone).

It all builds towards a chaotic finale that revels in its unabandoned carnage before ending in – surprise, surprise – a similar abrupt fashion to the original.

Solid scares and laudable respect for its predecessor there may be, but Blair Witch could’ve done with casting a few more new spells.