The Hollow Point (AKA Desert Gun) (2016, dir. Gonzalo López-Gallego)

An Arizona sheriff finds his old hometown involved in a conspiracy to smuggle arms to Mexico. Straightforward borderlands thriller with a couple of good performances and aspirations to be No Country For Old Men, which is no bad thing.

’71 (2014, dir. Jann Demange)

An inexperienced soldier is trapped behind enemy lines in Belfast during the Troubles. Outstanding chase flick which wears its superbly-realised political context lightly to support its well-sustained and tense thriller narrative. Highly recommended.

War On Everyone (2016, dir. John Michael McDonagh)

Two bad cops try to snatch heist takings. After The Guard and Calvary, a disappointment from this writer/director. A stylized would-be comic thriller which gets as much wrong as it does right in mistaking context-free excess for fun.

Jack Reacher: Never Go Back (2016, dir. Edward Zwick)

Reacher uncovers a military conspiracy. Second of the toned-down Lee Child adaptations, this again isn’t the character of the novels, but is nevertheless a largely-effective if somewhat low-key star vehicle.

Desierto (2015, dir. Jonas Cuaron)

A group of Mexican illegal migrants crossing into the US are hunted by a self-appointed border official. Stark body-count thriller which makes full existentialist use of its arid landscapes, slim plot, and light characterisation.

North by Northwest (1957, dir. Alfred Hitchcock)

A New York advertising executive is forced to go on the run. Sparkling mistaken-identity comedy-thriller, with both director and star at the height of their powers. Effortlessly entertaining, and supremely modernist in its design.

Sleepless (2017, dir. Baran bo Odar)

A rogue cop has his son kidnapped by drug dealers. A day-from-hell thriller which lifts from Die Hard and Snake Eyes (it’s a remake of Nuit Blanch) in working to sustain momentum; for the most part it holds itself together.

Unlocked (2017, dir. Michael Apted)

A CIA interrogator uncovers a terrorist conspiracy. Okay London-set thriller with a decent cast and some excellent location work; better at the nuts-and-bolts of tradecraft early in the flick than the last act move into big-stakes tomfoolery.

Locked In (AKA Monolith) (2016, dir. Ivan Silvestrini)

A mother and son are stranded in the desert in a hi-tech car. Well-shot but narratively thin, this simplistic thriller struggles to make the most of its Knight Rider meets Cujo premise, settling for the odd striking image over plausibility.