Evan Almighty (2007, dir. Tom Shadyac)

God chooses a new senator to build an ark. Bland sequel to Bruce Almighty which scrapes by on slapstick, some decent supporting turns, and on Steve Carrell doing his best against iffy CG backdrops. No surprises; one for the unquestioningly faith-friendly.

The Hitchhiker’s Guide To The Galaxy (2005, dir. Garth Jennings)

Decent-enough adaptation of the Douglas Adams radio series/book/TV show which suffers – inevitably – from over-familiar┬ásource material; the new stuff works best. The cast works hard, production design is great, and there’s a sense of affection for the material and Adams throughout.

At The Devil’s Door [AKA Home] (2014, dir. Nicholas McCarthy)

A realtor finds that the property she is trying to sell is host to a malevolent entity. Its odd structure and unwarranted ending aside, a reasonable entry in the possessed property jumpscare sub-sub-genre. Some neat moments among the standard shenanigans.

Die Another Day (2002, dir. Lee Tamahori)

Bond teams up with an NSA agent to uncover the truth about a conspiracy involving conflict diamonds and North Korea. Fourth, last, and least of the Brosnan Bond flicks. The central performance is good, but the script is a lazy series of puns and there’s an over-reliance on iffy CG throughout.

The Assassin (2015, dir. Hou Hsiao-hsien)

In 9th century Japan, a young female assassin is ordered to kill her cousin; the man she was once betrothed to. Visually-stunning wuxia arthouse (martial arthouse?) flick, more interested in painterly scenes than in traditional action thrills; still, a wonderful thing to behold. Recommended.

National Treasure (2004, dir. Jon Turteltaub)

A treasure seeker is in a race against time to find a fabled hoard. Daft but hugely enjoyable chase and puzzle-based comedy-thriller, riffing off Dan Brown, Indiana Jones, and Mission: Impossible equally. Lots of fun if you’re in the mood.

Live By Night (2016, dir. Ben Affleck)

The rise of a hoodlum during Prohibition. Handsome, lovingly made, but slow, baggy, and uninvolving gangster pic. Clearly a labour of love, but too indebted to its source novel’s structure to make an engaging movie, despite good moments along the way.