Cruella (2021, dir. Craig Gillespie)

An orphan seeks revenge on the fashion maven who killed her mother. Confident, stylish, though thin and overlong prequel to 101 Dalmatians. Basically a supervillain origin story (Cruella is Tim Burton-era Batman, plus Joker and Catwoman here) though borrowing from all-sorts, including The Terminator. MVP is Paul Walter Hauser, though everyone is in on the joke.

Here’s the trailer.

Revenge (2017, dir. Coralie Fargeat)

A young woman, left for dead in the desert by three misogynist hunters, seeks revenge. Tremendous lean horror/thriller with arthouse elements. Confident, thrilling and both subversive of and working within subgenre tropes throughout. Recommended.

Here’s the trailer. And another review.

Without Remorse [AKA Tom Clancy’s Without Remorse] (2021, dir. Stefano Sollima)

A special forces soldier seeks revenge on the agents who kill his wife. Sub-par military actioner intended to be a franchise-starter. A terrible script, lacklustre action, and variable playing (only Jodie Turner-Smith stands out) plus that European backlot aesthetic. A couple of visually-interesting moments, but that’s it.

Here’s the trailer.

Promising Young Woman (2020, dir. Emerald Fennell)

A med school dropout seeks revenge on those who failed her best friend. Uneven black comedy with plenty to address about consent, bystanders, and those who pretend that they’re good guys. It doesn’t all work, but it’s worth your time, plus Mulligan is great.

Here’s the trailer.

Sentinelle (2021. dir. Julien LeClercq)

A combat veteran struggling with PTSD seeks to avenge a near-fatal assault on her sister. Lean, austere, minimalist thriller with interesting lead character notes and brisk action. An effective star vehicle that reemphasises the qualities of both its lead and its writer/director.

Here’s the trailer.

Becky (2020, dir. Jonathan Milott & Cary Murnion)

A disaffected teenager takes revenge on the neo-Nazi prison escapees who take over her family’s holiday property. Slightly too clever for its own good, the movie nevertheless gets going once its plot is clear, and delivers in terms of splattery grue, even if it’s unsure what to do with loose ends.

Here’s the trailer.

Ma (2019, dir. Tate Taylor)

A middle-aged woman seeks revenge on those who tormented her as a teen by targeting their now-teenage children. Interesting slow-burn take on the psycho-thriller, with a decent sense of ordinariness to it and some clever casting and playing throughout. Perhaps doesn’t push its core idea to the limit, but well-executed nevertheless.

Gladiator (2000, dir. Ridley Scott)

A famed general, condemned to death in a coup, seeks revenge on Roman emperor Commodus for the murder of his family. Vivid and muscular historical drama, with excellent performances, solid action, and a keen visual sense. A Hollywood history; the inspirations are less actual events than the epics of the 1950s and early 1960s.

Rambo: Last Blood (2019, dir. Adrian Grunberg)

A Vietnam veteran seeks revenge on the cartel that kidnapped a daughter figure. Hints of a more elegiac contemporary Western linger, but the released cut is a lumpy body-count flick with linear plotting and an oddly perfunctory attitude to the staging of its many kills. Best thing is the end credits, which strike the right tone.

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.