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To coincide with the release of Dunkirk, Christopher Nolan curated a season of films at the BFI which influenced his WWII carnival of trauma. "Our season explores the mechanics and uses of suspense to modulate an audience's response to narrative," Nolan explained, and while he might have sounded like some kind of emotion-curious automaton, that declaration of intent - alongside the films he

Denis Villeneuve's second film to hover menacingly over cinema audiences in the space of twelve months is light years away from the grounded, nail-troubling thrills of 2015's Sicario, just as that film was nothing like his Enemy, or Prisoners, or Incendies before it. If Villeneuve - master of the one-word title - has spent his career thus far on an eclectic jaunt through a selection of genres,

If the number of girls on trains reading The Girl On The Train over the last couple of years is anything to go by, then the film of the book of the girl on the train is already on the fast track to box office success. Which is a shame really, because despite a first class performance from Emily Blunt, it really is a load of derivative, mediocre and frequently lazy old rubbish; if Southern Rail