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These are ideas movies, and for that alone deserve praise, but this writer would urge you to disregard critical consensus and view both pieces with an open mind.

This offers the picture a welcome lashing of paranoia, but even that's only good for one or two sequences, before fading in order for the sub-Halloween gumption to resume. On the other hand Unfriended totally embraces the possibility of the internet, tapping into the social-networking facade, and calling out the lack of accountability online presence promotes.

The frights unfold like a gory, punchy game of spin the bottle, but the articulation of this lost generations' refusal to face reality, hiding behind screens, adds a serious dash of intelligence to the violence.

The films are bound because they centre on adolescent experience.

On the surface It Follows might appear the more universally resonant work, courting the primal emotions and guilt which surround teen sexuality, a narrative aspect that pre-dates cinema itself.

The lead, Blaire, never takes time to moodily style her hair or fret, instead she leaps from one form of communication to the next and combats the deathly possibility of silence with an indie playlist.

Unfriended never pauses for breath, it pulls deep at the start, then shoots for the finish line.

In that time, screenwriter Nelson Greaves, uses broad but sufficiently vibrant strokes to set his cast apart from each other, to convince an audience that they interpret, feel and react to terror in different ways.

The sullen, unmotivated teens at the heart of Mitchell's work bleed into one, a selection of deliberately pretty-downed and insular Midwestern grumps who - for me at least – fail to project tangible empathy.

Both works are deserving of academic excavation and engagement, but only one stands out as multiplex hit worth inhaling.

Unfriended, whilst never jeopardizing its conscience,provides a nastier more immersive narrative experience, as opposed to the clinical yet cold beauty that seems to be Mitchell's utmost concern.

Played entirely over the desktop of High-School senior Blaire (Shelley Hennig), the picture observes a Skype conversation between friends descend into a breeding ground for terror, the ghost of a suicidal buddy emerging to haunt the digital soiree.