Roman J Israel, Esq (2017, dir. Dan Gilroy)

A socially-awkward lawyer faces troubles when he has to engage with the wider legal world. Though it doesn’t quite work as drama, there’s a lot to appreciate here, not least fine playing from its leads, and a bag of perhaps-unfashionable ideas about social justice.

Escape From LA [AKA John Carpenter’s Escape From LA] (1996, dir. John Carpenter)

Snake Plissken is compelled to rescue a gadget from what is now the island prison of Los Angeles. Campy though large-scale reprise of the 1981 predecessor. Some moments work, but this is lesser Carpenter, and a film blighted by woeful CG.

Escape Room (2017, dir. Will Wernick)

Four friends visit an escape room; except they’re trapped with a malevolent entity. Low-budget horror that riffs neatly on a current trend, and works well to hide its many borrowings (everything from Hellraiser to Saw). Not great at all, but some interesting moments.

Swordfish (2001, dir. Dominic Sena)

A brilliant ex-hacker is coerced into a heist being orchestrated by a paramilitary group. Glossy but dumb-as-rocks tech thriller with the usual hacking visual cliches and an eye on spectacle (Bullet-time explosions! Nudity! A bus in midair!) over logic.

Bright (2017, dir. David Ayer)

A veteran LA cop partners with the first orc officer; they find themselves in the middle of an ancient magic war. While the procedural and mismatched partners stuff is great, Bright is saddled with too much backstory and a daft third act. Feels like a big-budget TV series pilot.

Crash (2004, dir. Paul Haggis)

A dozen people’s lives are linked by a chain of events. Impressively-structured and at times well acted, Crash is nevertheless simplistic and moralising, reducing difficult subject matter to trite obviousness. Best picture¬†winner 2005.

The Omega Man (1971, dir. Boris Sagal)

After a biowarfare apocalypse, one man survives in a standoff against the remaining infected. This second version of Matheson’s I Am Legend is very much of its time, with blaxploitation, Hammer horror and counterculture elements, plus Heston in messiah mode.