The movie is packed with references – both visual and dialogue-wise – to classic comic lore. Underpinning everything is Hans Zimmer and Junkie XL’s score. An artillery barrage of action.

Working in this film’s favor is the aforementioned brisk pace and the taut editing. It somehow adds to the sense of desperation and urgency that the lead pair feels. Overall, a passable action potboiler.

The only weak spot is the way the drone pilots’ emotions are depicted. In real life, they’d surely be trained to deal with the prospect of collateral damage. That aside, this is definitely one of Gavin Hood’s (X-Men Origins: Wolverine, Ender’s Game) better films. Eye In The Sky hits the bulls eye.

The Program can be viewed as especially relevant, given that doping in sport is coincidentally, in the news again.

Although the wordplay behind the title of this film is clever – the Olympics race as well as the racial discrimination Owens (James) faces in both the US and Germany – this is by and large, quite a no-nonsense movie about a legendary athlete.

Apart from an unnecessary profusion of subplots, you’ll likely find this heist-thriller to be quite satisfying.

The direction and screenplay (intertitles are used) is understated, but younger viewers might find themselves stifling a yawn or two at times. The slow pace however, can make 45 Years’ somewhat brisk run-time seem much longer. On the other hand, the film is perfect for the elderly to see, be intrigued by and savor.

Expect every action film cliche to be thrown in. Also, you might wonder what the heck Gerard Butler is doing with his career. But that said, it is clear that he knows his niche. Clearly, this one’s for die hard Butler fans.

…the film’s biggest draw is the action scenes. The fire fights are bloody and will get you right in the gut. No effort is spared in depicting the realities of a prolonged gun battle spread out over 13 sleepless, exhausting hours. The cinematography puts you right in the centre of the melee. Make no mistake about it. This is an immersive and visceral film.

While there has been a smattering of animated films out in the last couple of months, few can lay claim to having a lasting, residual feel-good factor to it. Some go over-the-top in terms of colour saturation. Others were just too outlandish and some are crammed full of moralistic messages for children. But thankfully, Zootopia doesn’t suffer from any of these wearisome traits.