Colombian  JP López turns in possibly three of the best electronic tracks of the year on one powerhouse 4 track EP, that seems to be more inspired by the more experimental post dub-step UK artists than Latin Club music per se.

I was annoyed when they couldn't help themselves in the endless rebooting of existing projects cycle that is modern cinema, given the recent films were the best SciFi-Fantasy trilogy since The Lord of the Rings. However, the odd quibble aside, this is far better than we could've hoped for and again, much better than Dune 2.

George Miller's unexpectedly reborn Mad Max franchise is now more consistently great, than its peers, The Terminators, Predators and Aliens, with the latest falling just shy of the heights of the instant classic Fury Road, a film it actually deepens. It's also a miles better SciFi-Fantasy than Dune 2.

The question isn't whether the debut solo album by the iconic Portishead singer, lives up to the unbearable weight of expectation, it's whether it will be my album of the year.

The New Jersey via Haiti mystery that is Mach-Hommy seems to be circling closer to the mainstream with a worthy follow up to 2021's Pray for Paris, in a year that seems a standout in rewarding old heads with actually decent rap albums.

Although I've been fonder of the more intense and dense albums by the UK's Darren J. Cunningham, unlike the recent Four Tet release, this at least goes on a cohesive journey and ends up being more than the sum of its parts.

With a show-stopping performance from Alisha Weir as a young kidnapped rich girl (>cough<), an uneven yet ultimately welcome entry into a golden era for horror films, this deliberately at the schlockier end of the spectrum.

Despite having everything on paper - including strong reviews - this amiable farce is only half the film it could be, or needs to be. A waste of the talent and budget on display. It's too slight and surface level and the story too weak to be anything more than a forgettable once through. And I'm docking it another point for that godforsakenly awful cover of The Unknown Stuntman.

The hugely surprising second act in the once terrible, now pretty great, director Guy Ritchie's career continues. Ironically Henry Cavill gets to play the guy that inspired James Bond, in this wild re-telling of a genuine WW2 story. Superficial to a fault but hugely entertaining. Someone help him with his movie titles though.

This excellent and surprisingly art-house prequel to the original (and superb) Omen movie, is also very bizarrely close to the recent Immaculate.