Ava (2020, dir. Tate Taylor)

A troubled assassin returns to her home city, but complications arise. Neither full-on action thriller or character-led drama, Ava works best simply as a star vehicle for its producer Chastain. A decent if typecast set of supporting players helps, but there’s little fresh brought to the table here.

Here’s the trailer.

Arkansas (2020, dir. Clark Duke)

Two low-level drug dealers find themselves in a new state, working for a new boss. Low-key, novelistic drama (adapted from the John Brandon book) with thriller elements. Its gentle pace and lack of narrative drive may infuriate some, but there’s plenty to appreciate if you go with it.

Mile 22 (2018, dir. Peter Berg)

An elite anti-terrorist squad battles to get an asset across a hostile city. Clunky actioner mistaking thuggishness for badassdom; unlikeable characters don’t help, and the wasting of Uko Iwais is nigh unforgivable. Fourth and least of the Berg/Wahlberg flicks to date.

Bird Box (2018, dir. Suzanne Bier)

After an apocalyptic event, a woman battles to get her two children to safety. Initially interesting though ultimately very straightforward survival yarn with some good supporting performances.

And here’s Xussia’s review.

 

Bullet Head (2017, dir. Paul Solet)

Three criminals hide out after a bungled heist, but find they’re in the disused warehouse lair of a dog-fighting gang. Decent little thriller, with plenty for its decent cast to do; a competent job all around with some arty moments.

Deepwater Horizon (2016, dir. Peter Berg)

Drama based on the true story of a drilling rig disaster. Another effective Berg/Wahlberg collaboration after Lone Survivor (and the subsequent Patriots’ Day) that tells a true-life tale with an emphasis on ordinary people, camaraderie, and a little patriotism.

Unlocked (2017, dir. Michael Apted)

A CIA interrogator uncovers a terrorist conspiracy. Okay London-set thriller with a decent cast and some excellent location work; better at the nuts-and-bolts of tradecraft early in the flick than the last act move into big-stakes tomfoolery.