It’s unusual for a director to remake his own film, but not unheard of. The most famous example would probably be Hitchcock’s The Man Who Knew Too Much; he first made it in 1934 – a gritty British thriller shot in black and white, only to remake it in 1956 with a technicoloured, Hollywood sheen. He told Francois Truffaut that he felt his remake was superior to his original, which he deemed the work of a ‘talented amateur’.

It’s doubtful German-born director Michael Haneke feels the same way about his original version of Funny Games, which he made 1997, as this is virtually a shot for shot remake. The only difference is that of cast, location and language. So why bother remaking the same film you made ten years ago? His reasoning is simply that he felt the film deserved a bigger audience. Even in this day and age, there still appears to be this bizarre attitude towards subtitled films by English-speaking cinema goers. For many, words on a screen seem as welcome (or as necessary) as a Psycho remake.

White is the new black for killers this year.

Naomi Watts and Tim Roth star as Anne and George - an affluent couple who head off with their young son to their holiday home in the Hamptons. While unpacking, two well- spoken young men (Michael Pitt and Brady Corbet), dressed sportingly in all white, arrive at their door asking to borrow some eggs. At first they appear to be very polite and well mannered, however the family soon discover that appearances can be oh-so deceiving.

Haneke then – once again – delves into a very dark world where a family are viciously attacked by a truly unexpected source, that being fellow members of their bourgeoisie. It’s just as gruesome, unpredictable and terrifying as the original; the performances are excellent from the four leads, although the sustained menace conjured by both Pitt and Corbet as unwelcome guests Paul and Peter is chillingly affective.

If you can stomach visceral violence but reading subtitles give you the heebie-jeebies, this version is for you.