An unassuming tailor finds himself caught in a war between rival mobsters. Deliberately stagey crime drama seemingly based on the pun in the title, with the kinds of twists one might expect: anchored by an immaculate Mark Rylance performance. Not especially filmic, but enjoyable on its own terms.
A disaffected software engineer rebels against his employer. Generally focused office comedy, good on the minutiae of cubicle life and on the personality types found in any large organisation. Almost a documentary in places, plus strength in depth in casting and performances. Recommended.
A misanthropic stage psychic is the victim of a home invasion. Grubby little comedy-thriller with a focus on making Les Dennis as authentically unlikable as possible. Some good lines sneak through, there’s an okay end-of-the-pier vibe to it, and a genuinely WTF ending that makes this a passable one-time watch.
A high-stakes poker game among old friends gets out of hand. It’s messy (takes an age to get going) and both sweaty but not quite sleazy enough. At 80 minutes plus credits, it’s only just a movie too. There’s a solid half hour in the middle though: Benedict Hardie is especially fun.
A murder occurs during a performance of The Mousetrap: an investigation begins. Ever-so-slightly pleased with itself mashup of allsorts – The Real Inspector Hound, Noises Off, Agatha Christie, even a Brian de Palma moment or two – that’s nevertheless brisk, funny, well-played, and looks great.
Assassin Fallon is lying low in Malta, but trouble follows from London. A superior sequel, its simple story a set-up for an escalating series of well-shot and choreographed fight sequences balanced with slapstick violence. Deliberately cartoony, foregrounding a keen stunt team and solid location work throughout. Recommended.
Danny Ocean and crew relocate to Amsterdam, having to steal a Faberge egg to repay a nemesis. Some over-confidence in plotting and approach that might grate, but this is nevertheless a slick, effortless sequel doubling down on the mix of heist comedy and New Wave stylings established in its predecessor.
A reclusive ex-cop is hired as a PI to help an alcoholic TV star accused of murder. Slightly baggy adaptation of Howard Michael Gould’s fun Hollywood comedy-thriller: casting is spot-on (though Mel Gibson could have done more to lean into his reputation), but flat direction means the zip isn’t there to make this fly.
A hitman with Alzheimer’s disease struggles to make things right. Odd mix of character drama and potboiler thriller: it doesn’t really cohere, but there’s pleasures along the way. A solid cast, efficient direction and cinematography, and very effective use of Nu Boyana production facilities all help though.
Multiple gangsters and assassins with varying motives are aboard the same shinkansen. Too-pleased-with-itself slapstick thriller, adapted from the novel Maria Beetle by Kotaro Isaka. Some early stuff works, but there’s little control over the premise, so it falls apart despite committed work from star Brad Pitt and others. A hack approach to Japan doesn’t help.