True Romance (1993, dir. Tony Scott)

A pop-culture geek finds true love and a suitcase of cocaine. A modern fairy story, an ode to the movies, and a movie nerd’s fantasy script come together; riffing on Malick’s Badlands and wearing its references on its sleeve, True Romance stands up well to this day, and has a cast of up-and-comers and veterans to die dor.

Domino (2019, dir. Brian De Palma)

A Copenhagen detective tracks down the terrorist responsible for his partner’s death. By-the-numbers thriller with a few flourishes typical of its director (a Vertigo reference here, a fascination with screens and technology) but also a flat script and a lack of enthusiasm for its rote story and characters throughout.

Inside Man: Most Wanted (2019, dir. MJ Bassett)

Hostage negotiators work to resolve a heist-turned-hostage situation at New York’s Federal Exchange building. Slick DTV sequel with an all-new cast of comparatively unfamiliar faces, and a few shout-outs to the original. Not bad within its limitations, though the likes of Denzel Washington are inevitably missed.

Bad Samaritan (2018, dir. Dean Devlin)

A petty thief disrupts the life of a sadist and possible serial killer. Well-sustained medium-budget thriller with horror notes that plays fair, and which engages with contemporary technology in interesting ways. Of its modest type, quite elegant.

Dragged Across Concrete (2018, dir. S. Craig Zahler)

Two suspended detectives needing money plan to hijack the proceeds of a crime. Slow-burn minimalist neo-noir procedural thriller that takes time with its characters, allowing you to understand – if not agree with – their actions. Long, but enthralling, and brutal at times. Recommended.

Night Hunter [AKA Nomis] (2018, dir. David Raymond)

An obsessed detective and a former judge work together to track an abductor of young women. Messy blend of a hundred different thrillers, bolstered by a great cast doing good work in wintry conditions. Watchable, but curious; the script on paper must have been greater than the end result.

The Irishman [AKA I Heard You Paint Houses] (2019, dir. Martin Scorsese)

A now-aged mob hitman reflects. A stunning revisiting of themes preoccupying Scorsese throughout his career; gang life, organised crime, Catholic guilt. Sombre and melancholy, and Ellroy-like in its alt-history approach to the American 20th century. A technical, dramatic and stylistic marvel, with fine performances all around, none less than from Pesci, who’s revelatory here. Hugely recommended.