Alyson Richards

The Retreat is by no means incompetent: It’s well shot, acted and edited and manages to ratchet up the stakes in the third act, when many similarly set-up films are on cruise control and relying on escalating violence and gore to keep backsides in seats. But four decades after Friday the 13th codified the rules of stalk-and-slash it takes more than a pair of appealing lesbian protagonists to freshen up the formula.