The Traitor is a sprawling exposé that covers decades of criminal escapades, all of it seen through the eyes of a man who refuses to consider himself an informer.

The Invisible Man is next-level stuff that signifies his arrival as a talented storyteller who has an innate ability to take seemingly tired concepts and ideas and make them feel original and contemporary.

Brahms: The Boy II is a lazy sequel.

The Lodge is powerfully haunting stuff, things building to a climactic turn of events that are as shocking as they are in some ways equally warranted.

VFW is a cracking thriller, its pulse-pounding theatrics making this an agreeably bruising good time I loved every single gosh darn blood-soaked second of.

Gretel & Hansel is not the fairy tale you know.

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.