Props to Schumacher for the light show.

Schumacher has had a chequered career but one thing he brings to his darker films is a wonderfully haunting atmosphere.

Nelson’s apartment is almost from a David Lynch film. It’s all white, almost entirely empty, yet gothic with its arch windows and ornate panelling... and then Schumacher turns on the lights - the oppressive blues really take you into Nelson’s state of chilling isolation.

The autumn hues are also great. That shot of Bacon repelling down a brick wall covered in massive graffiti, bathed in the yellow glow of magic hour, is pure Schumacher. It didn’t need to be filmed that way, it’s an early scene in the film, but it builds that dreamy mood so that when the hallucinations appear you’re never quite sure if the characters are seeing real spirits or they’re all going a bit crazy.

Lastly is the slo-mo. He never overdoes it, but a well placed slow motion moment takes you out of reality and into something more dreamlike. Nelson throwing his overcoat on at night as he walks into the alleyway of burning fires and cryptic bums is shot slow - he’s about to descend into his own private hell, where Billy Mahoney waits for him in the abandoned tunnels.

Creepy stuff, brought brilliantly to life by Schumacher’s technical genius.