The Rhythm Section just can’t keep the beat, and for a composition that initially showed so much promise for things to ultimately fall so flat the likelihood I’ll be playing this record again anytime soon is understandably slim.

Based on the way The Turning ends, I’m not so sure there’s very much of James left to be discussed and dissected.

The Gentlemen races towards an inventive conclusion that brought a smile to my face and sent me out of the theatre with a skip in my step. Ritchie returns to his Brit crime caper roots with thrilling aplomb.

Bad Boys for Life is an enjoyable action-comedy throwback that remembers to put its two main characters first and all of the adrenaline-fueled theatrics second. It’s a heck of a lot of fun.

For me, though, even if I could chat with a chimp in chimpanzee, converse in polar bear, curse in fluent kangaroo or answer with a boisterous, “of courserous!” if asked if I could speak rhinoceros, Dolittle still would have been one talk with the animals I’d rather have not engaged in.

1917 is magnificent.

This might not be Victor Hugo’s story, but that doesn’t mean Les Misérables doesn’t still bear the author’s imprint, the ending of this story a mixture of tragedy, compromise, disappointment and, yes, even hope that leaves many questions unanswered and the future for all involved painfully uncertain.

Thanks primarily to the cast I can’t hate on Like a Boss, but that doesn’t mean I found it worth recommending, either. It’s instantly forgettable, and by the end of January it will probably have slipped out of my mind completely.

Andrew Desmond’s feature-length narrative debut The Sonata is a literate, methodically paced throwback gothic thriller that plays a little like a Hammer production from the mid-to-late 1960s that would have starred Peter Cushing and Christopher Lee in the two primary male roles.