Manhunt (2017, dir. John Woo)

A framed lawyer and a maverick cop team up to expose a medical conspiracy. John Woo blends Hong Kong heroic bloodshed with his SF-underscored US actioners in this enjoyably overwrought chase movie. Guns, trials bikes and doves all present and correct.

Baywatch (2017, dir. Seth Gordon)

A disgraced Olympic swimmer becomes a lifeguard. Patchy and overlong reprise of the 90s TV show. Some funny moments, but they’re spread over a thin plot, iffy CG and a reliance on beach bodies and grossout/insult humour to carry the day.

Want a second opinion? Here’s Xussia’s take.

Day of the Dead: Bloodline (2018, dir. Hèctor Hernández Vicens)

A military leader clashes with an idealistic doctor in the aftermath of a zombie outbreak. This second loose remake of Romero’s Day of the Dead adds little but a photogenic cast and some reasonable gore FX among the usual tropes and poor character decisions.

The Sweeney: Paris [AKA The Squad; Anti-gang] (2016, dir. Benjamin Rocher)

An elite anti-crime squad faces internal pressures and a new gang of bankrobbers. Superior French remake of the Nick Love/Ray Winstone Sweeney reboot, with an emphasis on strong action and humour. No classic, but efficient and brutal.

Beauty and the Beast (2017, dir. Bill Condon)

CG-tastic live-action remake of the 90s Disney musical animation. There’s a couple of new songs, but all this really adds is running time; a soulless moneyspinner that despite good performances does nothing that the original didn’t do a lot better.

Another opinion? Here’s Xussia’s thoughts!

Always (1989, dir. Steven Spielberg)

A dead pilot returns to allow his former partner to move on with her life. A patchy and sentimental piece (remaking 1943’s A Guy Named Joe), happier in its flying, comic and firefighting action sequences than with the emotional scenes; some pleasures to be had, tho.

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.