Paycheck (2003, dir. John Woo)

An industrial spy leaves himself clues to solve the crimes of which he’s now accused. An SF twist on a Hitchcock plot (based on a Philip K Dick story), this lumpen chase thriller gets bogged down early and doesn’t relax into what Woo – when unrestrained – does best.

Sicario 2: Soldado (AKA Sicario 2: Day of the Soldado) (2018, dir. Stefano Sollima)

Graver enlists Alejandro once more; this time to start a war between cartels. A focus on people trafficking rather than drugs second time around; terrifically stylish and well-executed, if flirting with some reactionary ideas.

Gothika (2003, dir. Mathieu Kassovitz)

A criminal psychiatrist becomes incarcerated in her own asylum when her husband is murdered. Glossy-but-daft horror with a strong cast working with a weird mash-up of genre influences that don’t really gel here.

Tomb Raider (2018, dir. Roar Uthaug)

A bike courier/heiress follows clues left by her missing father to a forbidden tomb. OK series reboot with plenty of action, chases and the usual set-piece puzzle lair supernatural finale. Nothing new, but competently done, with a good central performance.

Another perspective required? Here’s Xussia’s review.

No Country For Old Men (2007, dir. Joel & Ethan Coen)

After stumbling across the proceeds from a drug deal gone wrong, a Vietnam veteran is pursued by an implacable hitman. Astonishing thriller about violence, randomness and fate, which works also as a contemporary (it’s set in 1980) borderlands Western.

Flatliners (1990, dir. Joel Schumacher)

A group of medical students investigate near-death experiences and come face to face with their guilty secrets. Glossy but stupid Brat Pack quasi-supernatural thriller, with some gothic touches. Remade in 2017.

Hold The Dark (2018, dir. Jeremy Saulnier)

A hunt for a child snatched by wolves is more complex than it first seems. Hugely impressive wintry contemporary Western, with perhaps a touch of the supernatural. Doesn’t give up its answers easy. Highly recommended.