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.

Maniac (2012, dir. Franck Khalfoun)

A mother-obsessed mannequin restorer goes on a killing spree. A proficient and times stylish remake of the 1980 original, though it adds little except a tidier narrative and well-handled use of subjective camera; not enough to justify its existence.