Ant-Man and the Wasp is the 2018 follow up to the surprisingly good 2015 film Ant-Man. It stars the original cast, with one or two surprise additions, and is essentially created by the same team.

But how does it fare by comparison, and what does its main villain, Ghost, add to the franchise..?

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You'd be forgiven for dismissing a film starring Jason Statham as throwaway, and with The Meg you wouldn't be entirely wrong in that assumption; but with a career generating something in the realm of $1.5 billion dollars its understandable why $150 million was paid out to see The Meg hit our screens with Statham as its lead.

Based on the book by Steve Alton the film has made over $150 million dollars in its first six days.

So, so far at least, this all seems to me to be money well spent.

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Bird Box is a 2014 post-apocalyptic novel written by a fella called Josh Malerman. This was apparently his first novel and he’s better known, to those people who know about such things, as the lead singer in a band called “The High Strung”.

I’ve never head of “The High Strung” but after reading Bird Box I think I should probably get acquainted with them, if his debut novel is anything to go by then his lyrics must be worth paying attention to and might make The high Strung worth my time; even if I don’t consider music made post 1984 to be worth a great deal.

But, you know, I am a man of a “certain age” so I would think that.

For the three people on the planet who don’t know, Death Wish is the story of Paul Kerney, played by Bruce Willis, a surgeon who goes on a vengeance fuelled rampage after his wife is killed and daughter is put in a coma by three men who burgle his home when they believe the family to be away.

There’s little more about the story to say and there little more you need. The story of revenge is probably the oldest tale in the book and to make such a story work all you need are two people and a grudge.

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You might think that a film called Haunts of the Very Rich has already telegraphed its intent before you even watch the opening credits but you wouldn’t be entirely correct in that assumption. Of course you wouldn't be entirely wrong either. Like a great many of the TV horror movies of the early 70's - this one was made in 1972 - there’s a great deal of emphasis on atmosphere and the atmosphere in Haunts of the Very Rich is both effective and... Well, a little nasty. A lot of this is due to Lloyd Bridges and the typically unhinged nature of his performance. At first I was waiting for him to make a comment about quitting sniffing glue but eventually the comparisons between this and his performance in Airplane dwindled as the atmosphere got dark enough to make any comparison impossible.
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Originally shown way back in January 1973 by ABC in the USA A Cold Nights Death is a great example of TV horror that easily deserves an hour of its viewers time. Even though it’s over forty years old and includes such technology as AM transmitters and cassette tape it hasn't aged too badly at all; and this is due to its simple construction and thoughtful presentation by its actors and director.

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The Last Starfighter is an 80's movie, and a film that couldn't have been quite the same beast made at any other point during movie history.

One of the reasons 80's entertainment remains in many peoples thoughts isn't just that those who were so impressionable during those years are now of a "certain age" (though this is true) its also because so much of what makes modern entertainment what it is began in that decade.

The Last Starfighter is one of a scant handful of films that speaks directly to these influences.

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1984 was a good year for film, one of the best. Releases in '84 would include The Terminator, Ghostbusters, Gremlins, Dune, The Karate Kid, The Last Starfighter, Neverending Story, Nightmare on Elm Street, Footloose, Police Academy, Romancing the Stone...

Beverly Hills Cop, Nausicca, Buckaroo Banzai, American Dreamer, Red Dawn, Missing In Action...

Well, you get the idea... There were lots of them...

And buried under this overwhelming cascade of often craptacular awesomeness were hidden a few little gems that took some years to get noticed, and Night of the Comet is one of them.

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The Dead House is a young-adult horror novel about two sister's Carly and Kaitie who are like day and night. One is outgoing and bright and the other is solitary and dark; and one can only be found in the daylight, while the other can only be seen under the light of the moon.

Carly and Kaitie, different as they are, love each other dearly; which is good, because Carly and Kaitie share everything, their dorm room, their friends, their food and their very body itself.

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When I saw Blade Runner for the first time, I was probably about fourteen or so, it had a profound effect on me. It was the first real science fiction film of my generation. It wasn't space fantasy like Star Wars, with barely disguised magic or a continuation of a long running franchise like Star Trek - both of which I loved. Blade Runner was an original piece of serious science fiction created purely for our age.

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The buzz surrounding Stake Land hit the shores of the UK long before the film found its way here, the film had began its circuit of the festivals and the word of mouth being produced made it a film high on my "must see" list of 2010.

Eventually I found it on blu-ray and eagerly devoured its 98 minute running time.

It didn't disappoint...

...well, too much as least...

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A short film shot in Worcester during April 2013. The editing was completed in October of the same year.

The film stars Dave Pitt and Chas Cheswick, the crew was kept to the absolute minimum with Rob Kemp on sound and Matt Johnson as camera assistant. The writer and director was Alan Preece.

Due to an actor dropping out the film was not quite finished as planned but hopefully the loss isn't too keenly felt in the finished product.

Simon Munn (of the Worcester Film Festival) was on set as an observer (but couldn't resist helping out at various points of the shooting). Simon was also used as a sound board throughout the editing and mixing process and a great deal of thanks goes out to him and Paul Hill for their support and advice in the making of Epiphany.

The Andrej Sapkowski book The Last Wish is twenty-five years old as I write this, and for various reasons too long to go into I’ve only recently read it. It did take about fifteen years for an English translation to be released, so I guess I have some excuse for that length of time but then it still took ten years for me to read the translation; what can I say? So many books… So little time…

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Jim Mickle and Nick Damici's Mulberry Street is a retake on the zombie siege seen in many films, but the location and characters are anything but common. So much effort is taken to build a believable world within the film that many of the characters seem as though they have dropped out of a documentary on the area, giving the film an authenticity that is more suited to a 70's social drama than a horror movie.

In fact the machinations of the film are so adept that it’s a little disappointing when the action starts, the creatures distracting from some very believable tragedy which we would like to see concluded.

In this Mulberry Street is a film of two halves and neither half is in any way bad, just of differing types rather than quality.

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Inspired by Army of Darkness to become a film maker Jim began working as a production assistant on a bunch of small films but it wasn't until he began working with the terminally cool Nick Damici that things began to fall together for him.

It makes you wonder what might have happened if they had never met.

But they did...

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Alan Ormsby isn't a name that comes to mind with most fans of horror, but perhaps it should. He's a man of many talents, boasting more than a passing ability with make-up effects, acting, writing and directing.

He even designed a toy in the mid seventies called Hugo: Man of a Thousand Faces that fetches good money on eBay.

But where I know him from is the 1972 movie Children Shouldn't Play with Dead Things, the first film from Bob Clark who went on to great fame later with films like Porkys and Black Christmas.

Children Shouldn't Play with Dead Things is a weird film... and a lot of people simply don't like it very much... I was tempted to say "don't get" it, and this might be true, but it also implies that theres actually something TO "get"...

Which to be honest may not be true either.

The film might be as bad as they say...

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The Arrival is a 2016 science fiction film based on a 1998 short story "Story of Your Life" by Ted Chiang. It stars Amy Adams as linguist Louise Banks, Jeremy Renner as physicist Ian Donnelly, and Forest Whitaker as Colonal Weber and it follows the attempts to communicate with one of twelve alien vessels that have suddenly appeared dotted around the globe.

The movie garnered a huge amount of positive press and multiple nominations and enjoyed excellent reviews from across the board.

I've had a copy of the film on my "to watch" pile since its release on blu-ray and I finally got around to watching due to it sharing a director with the Blade Runner sequel that has just been released.

Mainly this was just to guage the directors style in an attempt to see whether I should brave the sequel in spite of Ryan Gosling being in it.

I hoped that the director would be so strong that I'd just HAVE to see Blade Runner 2.

Unfortunately if anything viewing The Arrival had the opposite effect.

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Star Trek without Kirk, or more specifically William Shatner has a hard time being completely asccepted as Trek and all other shows and movies have been a mixed bag.

Personally I like all the original series from 1966 through to 1995 and I even have a guilty affection for the mess that was Enterprise, but perhaps this was just because it was the last real Trek before Abrams killed the franchise for me.

Well, that was until Discovery turned up.

Star Trek Discovery is another prequel show that takes its cues from Abrams universe rather than Rodenberry's so its parentage is part Abrams universe and part Enterprise; so in my opinion at least we're already off to a pretty bad start .

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TV shows and Movies no longer manage to provoke the levels of anticipation they once did, and its unlikely they ever will as the internet has created such an on-demand approach to entertainment. It leaves to believe that the he speed of modern living leaves little opportunity to create the slow burn necessary for the hysteria that the release of films once did. Occasionally though a TV show or movie manages to challenge this assumption a little. Stranger Things is a Netflix show that that hasn't exactly caused the storm that shows once did, unless it was a storm in a teacup, but in fairness this is probably the best modern entertainment can muster in a world running at such a speed.

The in May 2015 Twilight Time released the film on Blu-ray; and I was one of the first on the pre-order list. Then Arrow Films released a UK edition almost a year later and I added this to my shelf too. Rollerball is 40 years old as I write this, the Arrow edition could just as easily been the 40th Anniversary Release of the film as the film could not have been presented any better. Its a film that I have lived with for thirty years, and I’ve never been without a copy in all that time. The joyous faces of the assembled crowd at Jonathan E’s TV special still strikes me with a dull horror and I still want to chant “Jonathan” as the credits roll.

Of all the reviews I've read concerning the film none seem to concern themselves with the film itself, preferring to talk about why the film has had so much negative criticm; as if these two things aren't linked by definition. With this review I'm going to concern myself with the film only. Thats the only thing thats really important. Ghostbusters 2016, or Ghostbusters - Answer the Call as the end credits call the film (and a title I prefer I have to say), has pretty big shoes to fill and considering peoples general dislike of remakes it seems unlikely that it'll fill them to most peoples satisfaction; so I pressed "play" with relatively low expectations. The first thing that struck me was saturation of colour in the film, the second thing that struck me was how odd that this was to be the first thing to notice. I've never began a film with the desire to turn down the colour... ever... and I'm a big fan of Dario Argento movies. With this one I was tempted.

Hysterical was one of a bunch of horror spoofs made in the early 1980's and to be fair to it not many of these films were actually any good. Some have gained a kind of cult status over the years and are remembered with great affection but taken on their own merits few if any of them could actually be considered to be good films. So Hysterical has good company... If you'll excuse the use of the word "good". The film revolves around an author who writes sordid novels but who is tired of the popularity of the work of which he is secretly ashamed. He decides to moves away and take on a new life in order to write The Great American novel... He finds himself taking up residence in a lighthouse on the edge of a small fishing town unaware that a woman's ghost inhabits it. The ghost raises the long dead body of her lover to wreck havoc on the town in revenge for her own death many years before.