Murder On The Orient Express (2017, dir. Kenneth Branagh)

Hercule Poirot must investigate a killing on a sumptuous cross-Europe train. Handsome and starry, this Agatha Christie adaptation struggles to showcase its cast or its plot, so while not-entertaining, feels a bit mechanical.

Miss Sloane (2016, dir. John Madden)

A ruthless Washington lobbyist goes against the pro-gun lobby. Initially intriguing though ultimately glib dramatic thriller with good performances and a sense of seriousness undone by an unbelievable third act.

Ghost House (2017, dir. Rich Ragsdale)

A young woman on vacation in Thailand is cursed, and has to fight off a demon intent on possessing her. Straightforward jumpscare horror with some interesting moments and a neat supporting turn from Mark Boone Jr.

Molly’s Game (2017, dir. Aaron Sorkin)

The true story of Molly Bloom, who ran high-stakes poker games in New York and LA. Excellent drama, balanced by a fine central performance and swaggering writing, chronicling a perhaps typical rise and fall-style story, but done with class and confidence.

Alternative view here

The Beyond (2017, dir. Hasraf Dulull)

A wormhole appears near Earth; a solo mission into the anomaly is planned. Found-footage/mock-doc low-budget SF which has impressive CG, but a talky script happy to recycle Interstellar, Arrival, Avatar and many others rather than tell a story of its own.

Singularity (2017, dir. Robert Kouba)

A couple search for a fabled post-apocalyptic human city, while a self-aware AI system tracks them and it. Secondhand SF with many borrowings: The Hunger Games, Nightbreed and later Terminator sequels principal among them. Poor.

Guardians of the Tomb [AKA 7 Guardians of the Tomb] (2017, dir. Kimble Rendall)

A search for a fabled elixir of youth reveals a network of hidden catacombs. Tatty mash-up of various Raiders, The Mummy, National Treasure and Alien sequels. Fun if you take a drink with each movie borrowing spotted, otherwise wholly avoidable.