Aladdin (2019, dir. Guy Ritchie)

A street thief falls for a princess; a magic lamp offers the opportunity to win her hand. Okay-as-far-as-it-goes live-action/CG remake of the 1992 Disney animation. A couple of new songs, Will Smith brings some pizazz as the genie, and a nice magic carpet gag; otherwise this is a product rather than a movie, and feels it at times too.

Dumbo (2019, dir. Tim Burton)

A failing circus buys a pregnant elephant; her baby has huge ears, allowing it to fly. Ambitious but mostly soulless attempt to make a non-musical live-action/CG remake of the 1941 original. Some heart, but this is mostly anodyne and clean, lacking the dark inventive touch of early Burton.

Miss Bala (2019, dir. Catherine Hardwicke)

A young woman caught up in a nightclub shooting has to go undercover against a cartel. While its focus on people rather than action is perhaps commendable, this US remake of the 2011 Spanish-language original isn’t dramatic enough to deliver suspense, or feisty enough to please gunplay fans, despite a committed central performance.

Point Blank (2019, dir. Joe Lynch)

A trainee doctor is forced to go on the run with an escaped prisoner. Straightforward chase thriller that holds itself together via its lead performances. The usual double-crosses and switches, though the movie undercuts its committed leads with some awkward comedic juxtapositions and musical cues.

Cold Pursuit (2019, dir. Hans Petter Moland)

A snowplough driver seeks revenge on the drug dealers who killed his son. Black comedy English-language remake of the director’s 2014 In Order of Disappearance/Kraftidioten. Lacks the transgressive edge of the original; a good cast doesn’t have much to do.

Superfly (2018, dir. Director X)

A Georgia drug dealer tries for one last score to get out of the life. Okay remake/reprise that’s more style than substance, too often simply presenting the genre tropes than doing much useful with them. Some interesting moments, though, and a good Morris Day joke.

Suspiria (2018, dir. Luca Guadagnino)

A dancer joins a troupe that’s a front for a coven. Startling remake of the Argento original that while not having the bravura dream logic of the original is nevertheless an unsettling and well-sustained piece of work. Respectful enough to pay homage, but different enough to be its own beast.