We’re only two Bosch novels in and already the man finds himself fighting a bull. It’s difficult not to think “we’re at this point already?” For a policeman who is supposed to be grounded in his approach to the law, Bosch finds himself caught up in multiple flights of fancy in The Black Ice. It’s hard to say whether he does more or less bad police work than in his previous outing, but he’s still a fun guy to hang around.

Yorgos Lanthimos (The Favourite) is an acquired taste, to say the least. Even if he’s presenting a relatively mundane story, there’s a sense of unease hanging around proceedings. Poor Things, however,is not a mundane film. It is a nightmarish and outré work delivered under the dark cover of having a name cast. Whether audiences are suspecting or not is up to them, but they really should have learned their lesson by now: Lanthimos has made a hypnotising tour de force that demands you get with its rhythms or die. 

Choose life.

The circle of life now is book to movie to musical to movie. Tina Fey’s beloved 2004 comedy Mean Girls, loosely inspired by a non-fiction book about high school hierarchy, has had a long and charmed life, with a veritable empire built from it. Now it’s back, twenty years later, and on the big screen instead of the originally planned Paramount+ launch (where, charitably, no one would have watched it).

Of course, Paramount has forgotten to promote the movie as a musical, even if there’s a note in the A. Trailers didn’t have any songs in it and tried to cut around choreography. The movie itself is missing 14 songs, approximately half of the show. And the story itself has almost all of the same problems as the original movie did. In many ways, while not a straight (ha) remake, Mean Girls is almost the original movie with a couple of songs slapped into it; whether that works depends on if you liked the movie in the first place and if you’re not so wedded to it that you can’t stand to see it in different hands. It’s a delicate balancing act.

The One Man Army has been a respected, and well trod, genre for many years. In recent times there’s been an influx of flair and personality into what can tend to be somber and bloody affairs. The Beekeeper looks like it might just be another run and gun, but there are times when it rises above itself to become heightened cinema. Adam Clay might not have personality, but The Beekeeper does.

The DC Extended Universe never had much good will, and it is well and truly past the time that it has squandered it all. Its best movie was a forbidden one that was never supposed to exist, the misunderstood subject of unconstructive memes. Most everything else has tarnished with time, and the project spawned several underwhelming or plain bad movies that underperformed at the box office. From a higher level, Warner Bros Discovery made mystifying calls, like cancelling the well-cast Batgirl while retooling and releasing the troubled and terrible The Flash to an indifferent audience.

2018’s Aquaman was amusing and satisfying, and Aquaman and the Lost Kingdom retains a good deal of its creative team, so you would expect it to be good. However, this movie was doomed almost from the start, as the DCEU became micromanaged to the point that any individual would not have been able to shift the needle on it. That Aquaman and the Lost Kingdom is even okayish is a minor miracle, but that’s really not good enough with the amount of money involved. At least now we know this chapter in film history is over (yet a new one struggles to be born).

Hixploitation! Scott Von Doviak is a genre man par excellence. What he did for multigenerational heist mysteries in Charlesgate Confidential he does for murderous road movies in Lowdown Road. This is the sort of book designed to be read in a day, if not a single sitting. It’s Hard Case Crime, so you know you’re there to, at the very least, bask in the cover.

When you take on a project to read a detective who’s been going for thirty years, it can be daunting at the beginning. In 1992, when Bosch debuted on the page, the Vietnam War was still providing residual trauma to a nation that had nothing to show for their pointless incursion, and fictional law enforcement was allowed to be actively homophobic and more than casually transphobic into the bargain.¹ Michael Connelly’s The Black Echo introduces one of the better named policemen to the criminal milieu, but the man and the author are, at the outset, very much products of their time.

When Detective Harry Bosch is called out to inspect a body in a drainpipe, what was initially discounted as a simple overdose immediately becomes apparent as a murder. Bosch identifies the victim as someone he knew back in the tunnels of Vietnam, and almost immediately finds himself deeply embroiled in a case spanning jurisdictions, departments, and decades.