The Happytime Murders (2018, dir. Brian Henson)

A puppet PI and his former partner team up to solve a series of murders. It nearly works, but the emphasis on gross-out humour instead of playing the Roger Rabbit-ish concept means that some good moments, decent playing and undoubted technical expertise all get lost.

Shaft (2019, dir. Tim Story)

A preppy junior FBI agent teams up with his estranged and unreconstructed PI father. Shaft 2019 is a scattershot culture-clash comedy, with action beats, a predictable plot, and a late nod to the 70s original trilogy. Tries to do everything, and ends up not meaning anything.

Incoming (2018, dir. Eric Zaragoza)

Escaped terrorists take over the ISS, now a CIA black site. High-concept low-budget prison escape movie with an SF twist. Unfortunately, despite Adkins’ professionalism and some ambition, this is a tatty effort that doesn’t even deliver in its fight sequences.

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.

Spider-Man: Into the Spider-Verse (2018, dir. Bob Persichetti, Peter Ramsey & Rodney Rothman)

Miles Morales is bitten by a radioactive spider and gains superpowers, but he’s not the only Spider-Man. Visually impressive and engaging (though overlong) comic book story that emulates the reading experience as well as offering both fan service and deconstruction. Huge fun for the most part, though.

John Wick: Chapter 3 – Parabellum (2019, dir. Chad Stahelski)

Wick, now excommunicado, seeks a way back. Part 3 expands on the series mythology and develops both the character’s backstory and the action choreography. Not all of the plot makes sense, but for the main part, this is exhilarating physical entertainment with some dark humour.