Alien: Covenant (2017, dir. Ridley Scott)

A deep space colony vessel investigates a strange transmission from an Earth-like world. More Prometheus than Alien, this series entry unevenly balances monster horror and teenagery philosophical musings. Odd, but not uninteresting.

Colossal (2016, dir. Nacho Vigalondo)

A woman returns home after a breakup and finds she can control a monster. Splendidly quirky black comedy about alcoholism, obsession, and childhood friendships. Oh, and kaiju. Well worth your time.

Pirates of the Caribbean: Salazar’s Revenge (AKA Pirates of the Caribbean: Dead Men Tell No Tales) (2017, dir. Joachim Ronning & Espen Sandberg)

Jack Sparrow is hunted down by an old ghostly enemy. The fifth entry in the series is tedious in the extreme, a laboured and unfunny recycling of story elements from previous episodes, with a plainly bored cast of veterans. Time to lay these bones to rest.

Wonder Woman (2017, dir. Patty Jenkins)

An Amazon princess journeys to the outside world to defeat the God of War. Superior superhero origin story, benefitting from freshness of its lead character, a generally light touch, and a well-realised World War 1 period setting.

’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.