Despite boasting a comedy duo that worked so well on The Other Guys, Daddy’s Home is a little short on laughs, and feels like a missed opportunity as a result.
Mark Herman tackles the daunting subject of the holocaust from a completely different perspective; that of a young German boy. The handling of such a sensitive subject here is excellent, and it offers a fascinating insight into one of the most horrifying periods in human history.
Once again Shane Black proves to be a dab hand at both penning scripts and shooting flicks. The Nice Guys is a bright and colourful buddy comedy that wades through some dark themes but still comes out smelling of roses.
A surprisingly underwhelming horror, IT almost redeems itself by being an enjoyable coming-of-age film. Almost.
Just when you think you know what you’re in for, Drive shifts gear on you and gives you something completely unexpected. Something you didn’t even know you wanted. Something better. Here is a super-stylised visual treat from Nicolas Winding Refn, the same director who turned Tom Hardy into Bronson.
A sub-standard slasher flick that spends more time admiring its unnecessary poker metaphors than it does developing characters.
Director Ruben Fleischer once again teams up with Jesse Eisenberg, the star of his previous film Zombieland, for 30 Minutes or Less. The outcome of this partnership is an amusingly farcical thriller that doesn’t outstay its welcome.
Dripping with both style and blood, Lucky Number Slevin is a super cool but surprisingly violent crime caper that takes great pleasure in wrong-footing the audience.
A collection of borrowed ideas makes Automata a visually interesting tale, but not a very memorable one.