Encanto (2021, dir. Jared Bush & Byron Howard, with Charise Castro Smith)

A Columbian family fractures when their magical powers weaken. Great-looking but derivative animation with too much tickbox Disney stuff, saddled with dull songs. Moments amuse, and the small scale gives focus, but there’s nothing here that Moana or Coco didn’t do ten times better.

Here’s the trailer.

The Night Clerk (2020, dir. Michael Cristofer)

A hotel night clerk – who has an ASD – witnesses a murder via the recordings he makes of guests. Good performances aside, this is neither trashy enough to revel in its mashup of Rear Window and the likes of Vacancy, nor pacy and committed enough to its thriller elements to work in dramatic terms. Well-directed though, and not without its pleasures.

Chef (2014, dir. Jon Favreau)

A former high-flying chef finds himself again as a food-truck operator after being humbled. At once obvious and sentimental yet fun, sweet and charming, bolstered by great character actor performances, Chef is a treat if you go with it.

George A Romero’s Land of the Dead [AKA Land of the Dead] (2005, dir. George A Romero)

A gated community is threatened by an organising army of zombies. The slickest and most mainstream of Romero’s six zombie flicks, Land has some storytelling issues but also verve in its inventiveness and its writer-director’s trademark social commentary.

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.