The Kid (2019, dir. Vincent D’Onofrio)

A brother and sister, on the run from their vengeful uncle, cross paths with both Pat Garrett and Billy The Kid. Deliberately-paced Western focusing on character playing, landscape, and on actorly performances as much as on its narrative approach to an oft-told bit of genre history.

Death Wish (2018, dir. Eli Roth)

After his wife is murdered in a home invasion, a mild-mannered doctor turns vigilante. Tonally-inconsistent remake of the 70s Bronson flick. Horror and black comedy elements along with the violent action, and flirtation with Willis/Kersey as psychotic. Not uninteresting in its way.

Want another opinion? Here’s Xussia’s take.

 

Men In Black (1997, dir. Barry Sonnenfeld)

An NYPD cop is recruited into a secret anti-alien taskforce. Brisk SF comedy-thriller with some good moments and neat odd-couple playing from its leads, but too concerned with sub-Ghost Busters slapstick than with exploring the potential of its premise.

Rings (2017, dir. F. Javier Gutiérrez)

A VHS tape yields an odd film; an investigation reveals that it comes with a curse. Belated third film in the US Ringu retelling, this time with a different backstory from The Ring Two. Lots of ideas, none of them very good. A mess.

Don’t want to take my word for it? Here’s Lemonsquirtle’s opinion.

The Magnificent Seven (2016, dir. Antoine Fuqua)

A band of hired guns seek redemption by protecting a town from a robber baron. An enjoyable nth version of Seven Samurai, this throwback western references Tombstone and Pale Rider as much as its nominal source material; all involved seem to have fun.