All The Devil’s Men (2018, dir. Matthew Hope)

A manhunt for a rogue CIA operative. Utterly rote action flick that aspires for grittiness, but is hampered by a clunky script more focused on working around a meagre budget than on being inspired into creativity by it, and by a po-faced lead performance. A guesting Bill Fichtner enlivens things early on.

Willow (1988, dir. Ron Howard)

An apprentice sorcerer has to protect a prophecied infant saviour from an evil witch. A patchy grab-bag of fantasy tropes enlivened by some spirited playing, a keen visual sense, and some then-groundbreaking effects work. No classic, but OK for undemanding genre fans.

Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019, dir. Martin Scorsese)

A quasi-documentary (archive footage, plus new interviews and other – fabricated –  material) about Bob Dylan’s 75-76 US tour. Splendid and slippery attempt to capture/deconstruct a party on wheels masterminded by a playful set of hosts: Dylan, then Scorsese.

Aladdin (2019, Dir. Guy Ritchie)

Lavish live action remake of classic animation. Effective enough, when it follows the original, more lacklustre when it deviates. Will Smith makes a good genie, but there is a lingering feeling that its all been done better before.

Superfly (2018, dir. Director X)

A Georgia drug dealer tries for one last score to get out of the life. Okay remake/reprise that’s more style than substance, too often simply presenting the genre tropes than doing much useful with them. Some interesting moments, though, and a good Morris Day joke.

Wolves At The Door (2017, dir. John R Leonetti)

A group of friends are attacked in their LA home. Odd recreation of the Manson Family murders. Though technically competent, it barely stretches to an hour’s running time and does little except an extended stalk-and-slash sequence rendered pointless and tasteless by its real-life contexts.