Award-winning director Daniel Kokotajlo made a real impression five years ago with his fiercely distinctive debut feature, Apostasy, set in an enclosed religious world. Here is his diverting but frankly more generic follow-up, adapted from the novel by Andrew Michael Hurley. It is billed as contemporary folk horror but borders on film-school pastiche, and “contemporary” means set in the era of The Wicker Man in the early 70s – a British world of brown corduroy, Austin 1100s, no central heating, odd locals and a persistent, sinister encroaching gloom in the countryside. The movie teeters on a knife-edge between scary and silly, and yet without that weird flavour of silly, the scares wouldn’t mean as much.