The Monkey review - a grisly wind-up

Longlegs’ trapdoor ending snapped tight on its clammy Lynchian mood, reconfiguring its Silence of the Lambs serial-killer yarn into a more slyly awful tale. Osgood Perkins’ hit fourth horror film seemed sure to elevate his career, but follow-up The Monkey is a resolutely minor, down and dirty B-movie, relishing cartoon gore and comic excess.

Captain America: Brave New World review - talking loud, saying nothing

In his first weeks in office, Harrison Ford’s US president survives an assassination attempt inside the White House, goes to war with Japan and mutates into Red Hulk when he gets mad, trashing said White House with a Stars and Stripes flag-holder. How unrealistically reasonable this looks, you may wistfully think. If only Ford, or a 10-foot monster, was in charge.

Bridget Jones: Mad About the Boy review - older, sadder Bridget has started ditching the ditz

Bridget Jones has grown up: v.v.g. Our heroine is still prone to daft pratfalls and gaffes and bursts of sensational idiot dancing. But passing time has lent her an enhanced self-awareness that has nothing to do with calories consumed. This Bridget can bring the pinprick of tears to the eyes as well as make you laugh.

September 5 review - gripping real-life thriller

There’s a common understanding about journalists, especially ones at the top of their game, that they’re flying by the seat of their pants – propelled by adrenalin, deadlines, ambition and, just occasionally, righteousness.

Saturday Night review - a dizzying 90-minute trip to a landmark TV event

“A countercultural sketch show full of unknowns, with no script, no structure.” The verdict of NBC’s head of talent about the embryonic Saturday Night Live expresses everything audiences loved about it when it first aired in 1975.

To capture the anarchic birth of this TV institution, Jason Reitman has made a stylish film that initially seems as wayward as the show. But it gradually comes to seem like the obvious way to handle the material.

Flight Risk review - the sky's the limit for Michelle Dockery and Mark Wahlberg

Director Mel Gibson probably made Flight Risk with Netflix’s “90-minute movies” slot in mind (in fact he overshot – it lasts 91 minutes). It hits the spot of “escapist no-brainer action flick” by being lean, sharply-focused and amusingly preposterous, and Gibson keeps the pace brisk enough that you don’t have time to dwell on the really daft bits.