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The Twilight Zone: Season 1 does a spectacular job of demonstrating why this 50-year old TV series had such a lasting impression on all who watched it. Hosted by creator Rod Serling, this half-hour sci-fi anthology series lived up to its promise of transporting its adult viewers to ‘a fifth dimension beyond that which is known to man… This is the dimension of imagination’, one where anything could happen and usually did. What stands out today (about from how well made the show was) is how marvellously subversive it all was, mixing its thrills and chills with liberal doses of social criticism that somehow bypassed the TV censors of the time.

Away from the multiplayer arena, fans of first-person shooters have had a pretty tough time of it recently. The short-lived campaign modes served up by high profile releases like Call of Duty: Black Ops and Homefront have failed to live up to expectations and felt more like developers going through the motions rather than pushing the genre in either exciting or interesting new directions. Thanks heavens then for games developer Crytek, which has delivered the shot-in-the-arm this withering genre so desperately needed with its latest offering Crysis 2.

The Chronicles of Narnia: The Voyage of the Dawn Treader finds the fantasy franchise setting up a new home at 20th Century Fox after Disney dumped it following the disappointing box office performance of Prince Caspian. Sadly, this third film in the saga doesn’t offer a bright new beginning for the series. What should be a rip-snorting adventure concerning Lucy (Georgie Henley), Edmund (Shandar Keynes) and annoying cousin Eustace (Will Poulter) helping Caspian (Ben Barnes) rescue the seven Lords of Narnia, proves to be a fairly dull and episodic slice of fantasy hokum dripping with heavy-handed Christian overtones. Yawn.

Monsters is in many ways a remarkable film. Shot entirely on location for less than £500,000 with a tiny crew, two unknown actors and visual effects knocked up by writer/director/cinematographer/etc. Gareth Edwards on his home computer, Monsters is a testament to just what it’s possible for a filmmaker to do with such limited resources these days. However, Monsters is also notable for the way it was knowingly mis-sold to audiences, with promises of epic sci-fi spectacle rather than the road-movie-cum-immigration-allegory it actually delivered. On its own terms Monsters is a success, but it’s one that audiences expecting more traditional sci-fi thrills may find difficult to engage with.