Sean Harris

Review: Mission: Impossible - Rogue Nation

Mission: Impossible is the only movie series that's got the measure of franchise fatigue. Some elements remain omnipresent - the star, the stunts, the self-destruction - but with each new M:I instalment helmed by a new director bringing a fresh flavour, it has Bond beat in terms of shelf-life. Rogue Nation, however, is the first entry in the franchise to play it relatively safe, offering a slick and entertaining adventure but one that doesn't feel different enough from Ghost Protocol - perhaps inevitably, given its predecessor's lofty ambitions, Rogue Nation couldn't ever hope to hit the same heights.

Review: Deliver Us From Evil

Have you ever had your enjoyment of a film completely derailed by a small, insignificant part of that movie? A niggle that becomes a bother than becomes all you can think about? I had that with possession thriller Deliver Us From Evil, a competent, forgettable horror flick from the guy who made Sinister. It's a fairly enjoyable movie, if a little flat and unambitious, but in terms of possession movies starring C-list actors with bad scripts, it's par for the course. Except for one thing. A single sound effect. Which ruins the entire movie.

Review: Prometheus

For all the talk of Prometheus "sharing the same DNA" as Alien, Ridley Scott's prequel doesn't bear much family resemblance to its granddaddy. The economy of horror that served his 1979 effort so well is replaced by a big-budget, star-gazing sci-fi that wants you to know it has size on its side. Hugely ambitious and staggering in its grand designs, Prometheus is almost hamstrung by the fact it is an Alien movie at all – the mishmash of grotesque body-horror and chin-stroking existentialism does not always make for the most coherent movie, but it is at least an entertaining one and certainly no black mark on the franchise.

Review: Brighton Rock

There has to be a very good reason for taking on an adaptation of a beloved book or remaking a classic film - the Coen Brothers doing True Grit makes perfect sense - but I can't fathom the reason for Rowan Joffe reviving Brighton Rock. By any measure it's going to come off badly when compared to Graham Greene's novel or John Boulting's 1947 film. But let's shelve the comparisons for a couple of paragraphs.