The sequel felt like more of the same with Philip Seymour Hoffman as the games designer Plutarch Heavensbee being the only plus point. The third book in the trilogy is split in two — I am sure it makes marketing sense, but am not sure how it helps the story. Julianne Moore is the only addition to the cast and she kills the role of rebel president Alma Coin with icy calm.

Ayer did a lot of research to make sure everything was authentic and the look and feel of the movie does transport you back to those times, or what we imagine Europe in 1945 looked like. Smoke and mirrors rule and you can watch Fury to see Commando comics come alive.

A visual treat while not being particularly subversive

Brick Mansions is a regular buddy action movie that only stands out for some amazing (really jaw-dropping) parkour and also because this is one of the last movies Paul Walker starred in. So even though the movie is rather silly, at the end when that dedication “in loving memory of Paul Walker” comes up, you remember all the escapist entertainment Walker with his laidback beach boy good looks gave us and doff a cap in his memory. It also makes the movie more significant than it needs to be.

The movie is fun, thrilling, smartly-funny and delivers history and life lessons in a busy, colourful, action-packed package. Rob Minkoff, who directed Lion King, has made a cool film. Using Mel Brooks, whose History of the World, Part I was such fun, as the voice of Sigmund Freud is slyly referential — “What fool put a carpet on the wall?”

This is Matthew McConaughey’s movie through and through. Apart from physically transforming himself (he lost 21 kg for the role), it is the way he takes over the character that is spellbinding. The golden good looks are obliterated for this grandstanding cowboy. McConaughey captures every nuance of Ron Woodroof’s journey from racist bigot to inclusive businessman, from parochial to evangelist, from traditionalist to new wave in fascinating detail.

The film is a terrific watch, thanks to the laser sharp writing working in tandem with excellent performances. Each of the characters are so well written and realised that we are willy-nilly drawn into their stories…watching Thompson as Travers bringing out every nuance of the character from irascible to vulnerable and everything in between, one cannot imagine anyone else in the role. And what can one say of Tom Hanks? As Disney he is the showman, the confidante, the artiste for who “the mouse was family” and the businessman who will not take no for an answer.

While slavery is a part of American history, the exploitation has a universal resonance. The plight of the slaves in antebellum South though distanced by time and space will find echoes in any amount of subaltern stories and songs from India.

A high octane adventure powered by adrenalin, testosterone, stupendous visual effects and nostalgia. What makes Into Darkness irresistible is the homages are well thought of, and while getting the references are a big bonus, the movie can be thoroughly enjoyed free of all the background.