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.
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.
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.
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.
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.
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.
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.