Predators (2010, dir. Nimrod Antal)

A disparate collection of human killers find themselves prey in an alien game reserve. Efficient series reboot that rings enough engages initially to distinguish itself from the 1987 original, though by the end defaults to remake rather than continuation setting. The best of the sequels though.

Porndemic (2018, dir. Brendan Spookie Daly)

A documentary about AIDS/HIV and the ways in which the Los Angeles porn industry was affected by the issue over time, focusing on an outbreak among performers in 1998. A fascinating doc that’s simultaneously a thriller, an industry expose, a narrative history, a time capsule, and an apologia.

Vice (2018, dir. Adam McKay)

A satirical biopic of GW Bush’s vice-president Dick Cheney. Soberer than The Big Short, this thematic sequel offers an accessible overview of Cheney’s rise to silent power and his ultimate betrayal of himself. The film doesn’t get inside its protagonist, but is revelatory nevertheless.

Captain Marvel (2019, dir. Anna Boden & Ryan Fleck)

An alien warrior works to prevent a rival species from gaining a foothold on 1995 Earth. Slow-starting but generally entertaining superhero origin flick, wisely not overdoing its nostalgic comedy; the film’s hampered somewhat by the low-stakes storyline.

Peelers (2016, dir. Sevé Schelenz)

A strip-club owner has to defend her business and her co-workers against zombies. Awkward horror-comedy that delivers in terms of gore, but manages to mishandle what should be a gleefully tasteless B–movie; the result is too-often tacky and nastily exploitative.

Daughter of the Wolf (2019, dir. David Hackl)

A mother trackers her son’s kidnappers across a snowy wilderness. Okay DTV thriller with some decent production values but a perfunctory plot and awkward action direction. Richard Dreyfuss offers up some enjoyable supporting ham.

Point Blank (2019, dir. Joe Lynch)

A trainee doctor is forced to go on the run with an escaped prisoner. Straightforward chase thriller that holds itself together via its lead performances. The usual double-crosses and switches, though the movie undercuts its committed leads with some awkward comedic juxtapositions and musical cues.