Hungerford (2014, dir. Drew Casson)

A group of teens witness an alien invasion. Ambitious zero-budget semi-professional found-footage zombie/alien invasion mash-up with good moments but an inability to sustain coherence through iffy script and acting. Followed by The Darkest Dawn.

The Dark Tower (2017, dir. Nikolaj Arcel)

A fatherless boy is hunted as both the potential saviour and destructor of the multiverse. Impressively-designed and well shot, this is nevertheless an oddly perfunctory and rushed movie, cherrypicking 90 minutes of action from the Stephen King fantasy cycle.

Fancy another point of view? Here’s Lemonsquirtle’s review.

Ghostbusters II (1989, dir. Ivan Reitman)

The Ghostbusters have to reunite to battle another supernatural threat to New York. As much a remake of the 1984 original as a sequel, this passable reprise lacks the first film’s freshness, but has a few good lines and performances nevertheless.

Shin Godzilla [AKA Godzilla: Resurgence] (2016, dir. Hideaki Anno, Shinji Higuchi)

A giant creature invades Tokyo. Effective reboot of the long-running monster movie franchise. Godzilla 2016 draws on contemporary concerns, offering a satire of governmental bureaucracy alongside good-looking man v monster mayhem.

Star Wars: The Last Jedi [AKA Episode VIII: The Last Jedi] (2017, dir. Rian Johnson)

The last remnants of the rebellion flee the First Order. Superior eighth instalment of the space opera, daring to ring a few changes on the template re-established by its predecessors while bringing new characters further to the fore.

Other opinions? Here’s Lemonsquirtle’s, and here’s Xussia’s.

 

The Colony (2013, dir. Jeff Renfroe)

Survivors of a new ice age find a neighbouring colony has been taken over by feral cannibals. Patchy SF/horror which can’t decide which old story it wants to tell (base under siege, cannibal zombies, epidemic, road movie) so has a bash at several.

Firefox (1982, dir. Clint Eastwood)

A Vietnam veteran pilot is tasked with stealing a high-tech Soviet fighter plane. Slightly clunky Cold War-meets-SF thriller, though with strength in depth in its casting, and with then-groundbreaking visual effects, plus a splendid Maurice Jarre score.