The Company You Keep (2012, dir. Robert Redford)

A long-underground former radical has to go on the run when his new identity is revealed. Well-made, intelligent political thriller with a cast of character actors to die for. A little low-key for some, maybe, but this is a movie that delivers well on its own terms. Recommended.

The Big Short (2015, dir. Adam McKay)

Drama-documentary explaining the 07/08 financial crash. A chirpy well-cast explainer taking a fourth-wall-tastic approach to explain itself as it goes. Ever-so-slightly pleased with itself, this is nevertheless, fun, entertaining and actually shows how and why what went wrong.

21 Bridges (2019, dir. Brian Kirk)

A detective shuts down Manhattan to find two cop-killers who’ve stumbled across a cocaine stash. Superior action thriller that – while having no real surprises – manages to work both in dramatic and in gunplay terms. A neat sense of scale, a fine cast, plus good direction all support a solid lead performance.

Black and Blue (2019, dir. Deon Taylor)

A rookie New Orleans cop – an Army veteran – witnesses crooked cops committing murder; she has to run. A straightforward but effective action thriller that touches on race, gender, class and deprivation as issues, but still tells its story. Solid genre entertainment for grown-ups.

Charlie’s Angels (2019, dir. Elizabeth Banks)

A young programmer teams up with an elite security agency to retrieve a valuable energy device. OK series continuation that does precisely what you’d expect with no surprises whatsoever. Passable while it’s on; its best jokes are in the end credits, though.

The Gentlemen [AKA Toff Guys] (2019, dir. Guy Ritchie)

A London-based drug dealer’s empire is threatened by rival forces and a blackmailer. Fourth and about the best of Ritchie’s gangland comic fantasies. Familiar ingredients and approach, but handled with verve throughout. Everyone’s in on the joke, not least standouts Colin Farrell and Hugh Grant.

Black Christmas (2019, dir. Sophia Takal)

Sorority members are attacked over Charistmas break. This second remake of the 1974 giallo/slasher classic takes only its setting, adding a new story. Unfortunately, it’s really not a good one. A shame, as the film wants to say something, but can’t find a way to. The cast – especially the reliable Poots – do what they can.