Richard Jewell (2019, dir. Clint Eastwood)

An inadequate security guard becomes the focus of an FBI terrorism enquiry. A stately based-on-a-true-story drama which – despite some clunky telescoping of its story – delivers in character study terms, as well as acknowledging an unconventional hero. Not perfect, but recommended, and with a startling central performance from Paul Walter Hauser.

Tron: Legacy (2010, dir. Joseph Kosinski)

Thirty years later, Flynn’s son is scanned into the same computer universe his long-missing father found in the first film. Well-designed and with a super techno/disco soundtrack, this is a po-faced mess that can’t even sustain the daft people-as-programs conceit of its predecessor. Dull and overlong, though with OK support from a glam Michael Sheen.

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Booksmart (2019, dir. Olivia Wilde)

Awkward best friends decide to let go of their insecurities the night before their high school graduation. Splendid and funny reworking of well-trampled material; a coming-of-age / rite-of-passage / night-from-hell story done right, and both played and directed with a keen sense of the subgenres. Recommended.

The Incredible Burt Wonderstone (2013, dir. Don Scardino)

An arrogant and jaded Las Vegas stage magician has to find himself again after being sacked. Inconsistent but intermittently fantastic comedy; its perfunctory redemption arc story is bolstered with some great gags and a dark undercurrent throughout. Alan Arkin, as ever, steals the movie.

Year One (2009, dir. Harold Ramis)

Two neolithic losers stumble into Old Testament-era civilization. Patchy lowbrow comedy ticking off every genitals-related gag in the scrolls. Some funny moments; the always-welcome Oliver Platt steals the show as a lascivious high priest.

The Lazarus Effect (2015, dir. David Gelb)

Attempts to create a serum to reanimate the dead go predictably awry. Flatliners meets Lucy in this by-the-numbers lab-bound horror/thriller in which a decent cast try their best to get through a rote script.