Films: March 22 - 28

Chain Reaction (1996)

The Claim (2000) 

The Mist (2007) 

The Commuter (2018) 

Jolt (2021)

No Way Out (1950)

Monster Hunter (2020) ///

Chain Reaction (1996) Everyday scientists Keanu Reeves and Rachel Weisz are part of team who discover world-changing energy source before government and industry violently swoop in. Social politics similarly consumed within thriller chase plot and action set pieces, solidly made even as suspense flattens.

The Claim (2000) Always involving, impressively scaled tale of pioneer Peter Mullan's corroding guilt over abandoning wife Nastassja Kinski and daughter Sarah Polley. Yet despite harsh and poetic visuals, gritty emotion is subdued by unconvincing characters and bleak stylings that meander to icy close.

The Mist (2007) Lovecraftian creatures unleashed from army experiment terrorize captive consumers in coastal town's market and provoke social and religious monsters. Solid cast and precise visuals, yet lingering pace and uneven vfx soften impact. Ending bracingly prolongs horror.

The Commuter (2018) Ex-cop and just sacked insurance salesman Liam Neeson is thrown into conspiracy on commute home when approached by cryptic Vera Farmiga. Uncovering plot machinations and dizzy technique maintains momentum even as fights and action become more farcical than thrilling.

Jolt (2021) Spiky Kate Beckinsale's anger issues can result in physical retribution, held in check only by dubious doctor Stanley Tucci's self-administered electrical shocks. Self-aware tone piles on whiplash jokes and violence without surprises or logic, spirited performers left grasping.

No Way Out (1950) Snarling racist Richard Widmark whips community into race riots when he blames fresh doctor Sidney Poitier for brother's death. Inflamed emotion sees story cut in broad strokes and aligns characters to narrative beats. Effective melodrama reflects ugly social commentary,

Monster Hunter (2020) Confoundingly incoherent narrative throws army captain Milla Jovovich through storm portal to desert land of monsters, surviving with Tony Jaa before joining Ron Perlman and his ragged band of hunters. Occasionally impressive and eerie imagery amid numbing vfx.

Films: March 15 - 21

Bridesmaids (2011)

The Young Savages (1961)

The Spy Who Loved Me (1977)

Mr. & Mrs. Smith (2005)

Knight And Day (2010)

Head Above Water (1996)

Our Man In Havana (1959) ///

Bridesmaids (2011) Winning blend of appealing character study and broad, raucous comedy, as jittery Kristen Wiig's life unravels when she tries to organize best friend Maya Rudolph's wedding and faces the scheming perfection of Rose Byrne. Energetic ensemble sparks empathy and laughs.

The Young Savages (1961) Bluntly effective social drama provokes rather than illuminates with overly schematic story as New York DA Burt Lancaster finds more difficult cultural motives and prejudices behind vicious gang stabbing. Gritty urban visuals and ragged pace add to drama.

The Spy Who Loved Me (1977) Crafty mix of fluid action, knowing humour and bouts of violence, told on expansive international locations and epically conceived sets. Confident Roger Moore and tenacious Barbara Bach team to prevent crazed Curt Jürgens from nuking the world for underwater utopia.

Mr. & Mrs. Smith (2005) Angelina Jolie and Brad Pitt as married assassins, whose rocky relationship is further strained when they discover each other's professions, is all concept. Star charm and easy humor strains against action artifice, a glossy, watchable confection devoid of suspense.

Knight And Day (2010) Comedic snap of car restorer Cameron Diaz and super agent Tom Cruise sets up bickering couple amid explosions, bullets and chase for design of everlasting battery. Eccentric characters hint at more interesting romantic thriller, before rapidly consumed by outlandish visual effects.

Head Above Water (1996) With off-kilter innocence and practical manipulation, Cameron Diaz is confronted by ex-boyfriend's Billy Zane's dead body as well as husband Harvey Keitel and childhood friend Craig Sheffer's doubtful motives. Never quite balances or embraces the dark comedy and thriller potential.

Our Man In Havana (1959) Formidable cast and fluid Cuba visuals enliven wry comic take on spies and spying as Alec Guinness' vacuum salesman is recruited by Noël Coward and finds his fictitious reports have deadly consequences. Languid pacing builds to dramatic threat and pleasingly caustic resolution.