There used to be a time when turning a Stephen King novel into a movie inevitably seemed to lead to a very crappy movie. Sure, there were exceptions. But for every Carrie or The Shining, we were also ‘treated’ to Maximum Overdrive and – oh the horror - Sleepwalkers. However, the last couple of adaptations I have seen were pretty badass (11.22.63, the recent remake of It,…). So just when I started to think the curse had been broken, director Nikolaj Arcel went ahead and made The Dark Tower.

Known as the king of the rant, Lewis Black is back for more in ‘Black To The Future’. This show is largely built around the 2016 race to the White House and – logically – already feels a little dated. Especially seeing as how reality has somehow gotten even more batshit crazy than anything any comedian can come up with since Trump got elected. Something that Black is already onto when he declares that ‘I don’t know what my job is anymore’. Because, let’s face it… ‘how do you satirize something that is already satire?’

In case you have been keeping up with Better Call Saul, you know that this show is a slow burner. An extremely slow one. Even perversely so. I mean, a major plot line in season two revolved around two numbers being switched out in a legal document. Exciting, right? Well, yeah. And that is part of what makes Better Call Saul so good. Every single detail has been meticulously planned out by creators Vince Gilligan and Peter Gould. And while that might throw off some people, it is fine by me. After all, don’t they say it is all about the journey and not so much about the destination?

Honestly, back in the nineties I only really knew L7 from their single ‘Pretend We’re Dead’ and from the song ‘Shitlist,’ which got featured in Oliver Stone’s Natural Born Killers. I liked both songs, but never really got round to checking them out. And while watching the band’s tell-all documentary, I get the impression I wasn’t the only one that missed out.

War For The Planet Of The Apes, the third installment of the successful reboot of the series from the sixties and seventies, could have been a bombastic conclusion to this trilogy. Instead, based on a clever script by Mark Bomback, director Matt Reeves made an intimate blockbuster. Two words that I didn’t think could ever work together.

Normally when you think of WWII movies, you think of epic movies like Saving Private Ryan. That’s why it’s fair to say that you’ve never seen one quite like Christopher Nolan’s latest. Take the opening sequence of Saving Private Ryan, up the intensity times ten and approach the whole thing with a more clinical vision. That’s Dunkirk.

Meet Baby (Ansel Elgort), a young getaway driver who is paying off a debt to crime kingpin Doc (Kevin Spacey before they were cutting him out of everything). Doc is the planner. He finds criminals like Buddy (Jon Hamm), Darling (Eiza Gonzalez) and Bats (Jamie Foxx) to execute his heists and then gets Baby as the driver. Because Baby can drive. Like French Connection style. But then Baby meets a waitress named Deborah (Lily James) and decides it is about time to get out of the life.