The number of good, or at least successful, horror films that don’t have a sequel is about as long as the list of satisfied clients recommending the Michael Myers Babysitters Agency. So in 2012, when The Woman in Black, adapted from Susan Hill’s popular 1983 novel (and subsequent long-running West End play), became the biggest British horror hit of the past 20 years, a new chapter from the revamped Hammer Films was pretty much nailed on. Horror sequels, perhaps more than most franchises, are generally the epitome of a quick cash-in.