The Woman in the Window (2021, dir. Joe Wright)

An agoraphobic and alcoholic psychiatrist believes she witnesses a murder. A strong cast and at-times confident direction can’t save this attempt to emulate a De Palma-ish emulation in turn of Hitchcock. A silly script is the main issue: good actors have little to do, though Amy Adams clearly relishes the chance to play vulnerable. Copycat did this better.

Here’s the trailer.

Next (2007, dir. Lee Tamahori)

A Las Vegas stage magician with the ability to see into the near future is hunted by both the FBI and terrorists. High concept SF fantasy loosely based on a Philip K Dick story. The plot doesn’t really hang together, but as a series of chases, bluffs, and timey-wimey tricks, this is more than passable escapism.

Here’s the trailer.

Hannibal (2001, dir. Ridley Scott)

Clarice Starling is helped by a former victim of Lecter’s to find the escaped Hannibal. Elegant sequel to The Silence of the Lambs with Lecter repositioned as an antihero. Lots to enjoy if you go with it, though it lacks the impact of its predecessor.

Psycho (1998, dir. Gus Van Sant)

Almost shot-for-shot remake of the 1960 Hitchcock classic of the same name. An odd thing to attempt, and one which flags up the uniqueness of the original, despite (and maybe because of) a solid cast and respectful treatment of the first movie.

 

 

 

 

 

 

Kingsman: The Golden Circle (2017, dir. Matthew Vaughn)

Kingsmen join with their American equivalent to battle a virus-wielding drug lord. Gleeful but over-stuffed, overlong and indulgent sequel, magnifying the first film‘s good points and its issues. Some fun to be had, tho, and Mark Strong gets a crowning moment of awesome.

The Lost World: Jurassic Park (1997, dir, Steven Spielberg)

A rescue mission to a second island – where the original film’s dinosaurs were engineered – goes awry. Patchy sequel to the original, stronger on set-pieces than on logic or story, with borrowings from a dozen monster movies.

Evolution (2001, dir. Ivan Reitman)

A pair of misfit science teachers find an Arizona meteor strike hiding an alien invasion. OK SF comedy modelled on Reitman’s earlier Ghostbusters, down to a gunge/giant monster/Dan Ackroyd finale. Julianne Moore on sprightly pratfall form.