Doctor Who: The Day of the Doctor (2013, dir. Nick Hurran)

The Tenth and Eleventh Doctors face their past, personified. Splendid movie-length episode made in 3D and cinema-released to celebrate the show’s 50th anniversary. A witty time-travel adventure typical of its then-showrunner, made with both love and a keen sense of the show’s heritage. Recommended.

1917 (2019, dir. Sam Mendes)

Two soldiers are given orders to deliver an urgent message to prevent a massacre. Works better as a race-against-time action movie than as an anti-war flick, but sustains itself impeccably and looks great throughout. The single-shot/more-or-less real-time aesthetic just about justifies itself, though can be distracting in quieter moments.

Harry Potter and the Deathly Hallows – Part 2 (2011, dir. David Yates)

Matters converge: a final stand at Hogwarts against Voldemort. The last part of the eight-film cycle delivers in terms of epic action sequences, resolutions for characters followed over multiple movies, and a decent coda; no real surprises, and nothing for outsiders, which is perhaps as it should be.

Godzilla (2014, dir. Gareth Edwards)

Earth is threatened by MUTOs (massive unidentified terrestrial organisms), awoken by human nuclear activity. Superior monster mayhem anchored by a fabulous visual sensibility, and by a genuine feeling of otherness between the creatures and us. Story-light, and a touch serious, but properly spectacular, nevertheless. Sequels ensued.

Matrix Revolutions [AKA The Matrix: Revolutions] (2003, dir. The Wachowskis)

Neo’s battle against Smith and The Machines comes to a head. Third and final part of the Matrix trilogy (a part four is on its way). For series completists only by this stage, though the finale delivers in terms of slightly-humourless comic-book spectacle and epic battles aplenty.

Paradise Now (2005, dir. Hany Abu-Assad)

Two Palestinian friends are recruited for a next-day suicide mission into Tel Aviv. Intelligent drama with a few darkly comic touches; everyone has their reasons. The film works hard not to moralise, focusing on depiction and explanation, without asserting wider truth-value to its characters’ actions and beliefs.

Terminator 3: Rise of the Machines (2003, dir. Jonathan Mostow)

John Connor, now a troubled young adult, is again pursued (and protected) by machines from the future. A slightly tongue-in-cheek threequel – apart from the pleasantly downbeat ending – which is heavy on chase-based action, though light on violence and plot. It’s entertaining enough, if a step down from its predecessors.