The Hollow Point (AKA Desert Gun) (2016, dir. Gonzalo López-Gallego)

An Arizona sheriff finds his old hometown involved in a conspiracy to smuggle arms to Mexico. Straightforward borderlands thriller with a couple of good performances and aspirations to be No Country For Old Men, which is no bad thing.

’71 (2014, dir. Jann Demange)

An inexperienced soldier is trapped behind enemy lines in Belfast during the Troubles. Outstanding chase flick which wears its superbly-realised political context lightly to support its well-sustained and tense thriller narrative. Highly recommended.

Tomboy (AKA Tomboy: A Revenger’s Tale / The Assignment / (Re) Assignment) (2016, dir. Walter Hill)

A hitman is subjected to forced gender reassignment. A messy hotchpotch of bad taste, worse gender politics, and a standard pulpy noir payback yarn. Tomboy is never uninteresting, but not always for the right genre reasons. A future cult beckons.

Raiders of the Lost Ark (1981, dir. Steven Spielberg)

An American archaeologist races Nazis to a mystical artefact. Peerless action-adventure, expertly balancing thrills, romance, danger, comic moments, old-school stunt work and still-impressive visual effects. Still the state of this particular art.

War On Everyone (2016, dir. John Michael McDonagh)

Two bad cops try to snatch heist takings. After The Guard and Calvary, a disappointment from this writer/director. A stylized would-be comic thriller which gets as much wrong as it does right in mistaking context-free excess for fun.