ComicBook.com reports New Line has released the official synopsis for their Shaft sequel to be released next summer. The synopsis reads as follows:
“Shaft is the next chapter in the film franchise featuring the coolest private eye on any New York City block. JJ, aka John Shaft Jr. (Usher), may be a cyber security expert with a degree from MIT, but to uncover the truth behind his best friend’s untimely death, he needs an education only his dad can provide. Absent throughout JJ’s youth, the legendary locked-and-loaded John Shaft (Jackson) agrees to help his progeny navigate Harlem’s heroin-infested underbelly. And while JJ’s own FBI analyst’s badge may clash with his dad’s trademark leather coat, there’s no denying family. Besides, Shaft’s got an agenda of his own, and a score to settle that’s professional and personal.”
The film is a follow-up to 2000’s Shaft and again stars Samuel L Jackson as John Shaft, nephew of Richard Roundtree’s original John Shaft. Roundtree reprises his role and they are joined by Jessie T. Usher playing Jackson’s son. Tim Story directs the screenplay by Kenya Barris and Alex Barnow.
Escape from New York (1981; UK/USA; Metrocolor; 99m) ***½ d. John Carpenter; w. John Carpenter, Nick Castle; ph. Dean Cundey, George D. Dodge; m. John Carpenter, Alan Howarth. Cast: Kurt Russell, Ernest Borgnine, Lee Van Cleef, Donald Pleasence, Harry Dean Stanton, Isaac Hayes, Season Hubley, Adrienne Barbeau, Tom Atkins, Charles Cyphers, Frank Doubleday, John Stobel, Bob Minor, John Diehl, George “Buck” Flower. In 1997, when the US President crashes into Manhattan, now a giant max. security prison, a convicted bank robber is sent in for a rescue. Cult classic may have dated, notably in the visual effects, but still has much to enjoy. Russell deftly essays Clint Eastwood in his portrayal of Snake Plissken. Good support cast of oddball characters and some nice tongue-in-cheek touches from director/co-writer Carpenter. Grimy and decadent representation of Manhattan as a prison city is well realised. Followed by ESCAPE FROM L.A. (1996). 
Jurassic World: Fallen Kingdom (2018; USA/Spain; Colour; 128m) **½ d. Juan Antonio Bayona; w. Colin Trevorrow, Derek Connolly; ph. Óscar Faura; m. Michael Giacchino. Cast: Chris Pratt, Bryce Dallas Howard, James Cromwell, Rafe Spall, Toby Jones, Justice Smith, Daniella Pineda, Ted Levine, Geraldine Chaplin, Jeff Goldblum, BD Wong, David Olawale Ayinde, Bobbi Jo Hart, Daniel Stisen, Robert Emms, Kamil Lemieszewski, Michael Papajohn, Peter Jason, Sean Gislingham, Max Baker, Faith Fay, Kevin Layne, Daniel Eghan, Ronan Summers, Deborah Rock, Charlie Rawes, Manoj Anand, Cory Peterson, Fran Targ, John Heartstone. Sequel in which the remaining dinosaurs at the former Jurassic World resort are threatened by an erupting volcano. Dumb and preposterous follow-up to JURASSIC WORLD (2015) with a lazy and mechanical script and populated with cardboard characters and actors delivering one-dimensional performances. Strong on technical merits and dinosaur design. The action is also enlivened by some neat set-pieces, but there is a distinct feeling that the franchise has run its course. 
Doctor Who: Kerblam! (TV) (2018; UK; Colour; 50m) ***½ pr. Alex Mercer; d. Jennifer Perrott; w. Pete McTighe; ph. Simon Chapman; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Julie Hesmondhalgh, Lee Mack, Callum Dixon, Claudia Jessie, Leo Flanagan. A mysterious message arrives in a package addressed to the Doctor, leading her, Graham, Yaz and Ryan to investigate the warehouse moon orbiting Kandoka, and the home of the galaxy’s largest retailer: Kerblam! Obvious links to the massive growth of companies like Amazon, this does not play to the expected corporate greed sub-plot in the traditional way – instead linking the threat to anti-corporate terrorism. As such this is a refreshingly straight-forward tale, which adds to the mix elements of robo-phobia (mirroring stories such as THE ROBOTS OF DEATH). The result is one of the better entries in this otherwise disappointing series to date and there is genuine tension generated by McTighe’s script and Perrott’s direction. The performances, however, remain variable – Cole seems to be becoming more wooden by the week – but at least the companions get to be split up and given equal roles to play. [PG]
Fistful of Dollars (1964; Italy/Spain/West Germany; Technicolor; 99m) **** d. Sergio Leone; w. Víctor Andrés Catena, Jaime Comas Gil, Sergio Leone; ph. Massimo Dallamano, Federico G. Larraya; m. Ennio Morricone. Cast: Clint Eastwood, Mario Brega, Gian Maria Volonte, Marianne Koch, Jose Calvo, Wolfgang Lukschy, Joseph Egger, Sieghardt Rupp, Antonio Prieto, Margarita Lozano, Daniel Martin, Benito Stefanelli, Bruno Carotenuto, Aldo Sambrell. A wandering gunfighter plays two rival families against each other in a town torn apart by greed, pride, and revenge. First of Leone’s “Dollars” trilogy is relatively low-key compared to its successors, but highly influential on the genre and demonstrates his trademark style. Eastwood’s presence is immediately apparent and the story is told with economy and style. Created inertia in the production of European Westerns – branded “Spaghetti Westerns” – with their anti-heroes and stylised violence. A remake of YOJIMBO (1961), which itself was based on the as yet unadapted 1929 novel “Red Harvest” by Dashiell Hammett. Not released in the US until 1967. Original title: PER UN PUGNO DI DOLLARI. Followed by FOR A FEW DOLLARS MORE (1965) and THE GOOD, THE BAD AND THE UGLY (1966). 
Doctor Who: Demons of the Punjab (TV) (2018; UK; Colour; 51m) ***½ pr. Alex Mercer; d. Jamie Childs; w. Vinay Patel; ph. Denis Crossan; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Shane Zaza, Amita Suman, Hamza Jeetooa, Leena Dhingra, Shaheen Khan, Shobna Gulati. India, 1947. The Doctor and her friends arrive in the Punjab, as the country is being torn apart. While Yaz attempts to discover her grandmother’s hidden history, the Doctor discovers demons haunting the land. Who are they and what do they want? Bold attempt to add emotional depth and historical significance to the series partly pays off – notably in its heart-wrenching finale. The plot is reminiscent of the Christopher Eccleston story FATHER’S DAY, in its theme of returning to a companion’s past and a tragic outcome that cannot be avoided. However, the narrative still feels cluttered due to too many companions and a need to cover broad topics in a short running time. Some of the dialogue feels anachronistic too, belying the 1947 setting. Still, an improvement on recent episodes and Whittaker continues to grow into the title role. [PG]
Shootist, The (1976; USA; Technicolor; 100m) ****½ d. Don Siegel; w. Miles Hood Swarthout, Scott Hale; ph. Bruce Surtees; m. Elmer Bernstein. Cast: John Wayne, Lauren Bacall, James Stewart, Ron Howard, Richard Boone, Hugh O’Brian, Harry Morgan, John Carradine, Scatman Crothers, Bill McKinney, Rick Lenz, Sheree North, Gregg Palmer, Alfred Dennis, Dick Winslow. A dying gunfighter spends his last days looking for a way to die with a minimum of pain and a maximum of dignity. Wayne’s last film is a poignant and fitting tribute to his screen persona and one of his very best. Siegel directs with sensitivity and draws an astonishing final performance from his star. Wayne is supported by a superbly talented cast of veterans including Bacall and Stewart. Echoes of SHANE can be seen in Howard’s hero-worshipping youth. The 1901 setting, with its early automobiles, telephones and electricity, acts as a metaphor for the passing of an era where the west was ruled by the gun and Wayne’s gunfighter character is now an anachronism. Based on the novel by Glendon Swarthout. [PG]
Rooster Cogburn (1975; USA; Technicolor; 108m) ***½ d. Stuart Millar; w. Martha Hyer (as Martin Julien); ph. Harry Stradling Jr.; m. Laurence Rosenthal. Cast: John Wayne, Katharine Hepburn, Richard Jordan, Anthony Zerbe, Strother Martin, John McIntire, Paul Koslo, Jack Colvin, Warren Vanders, Lane Smith. Marshal Rooster Cogburn unwillingly teams up with Eula Goodnight to track down the killers of her father. Sequel to 1969’s TRUE GRIT coasts on the wonderful chemistry and performances of Wayne and Hepburn. The story itself is slim and formulaic, but the banter between the stars is more than enough to make this a rousing entertainment. Followed in 1978 by a TV adaptation of the character, with Warren Oates in the lead under the title of the original. [PG]
Halloween (2018; USA; Colour; 106m) *** d. David Gordon Green; w. David Gordon Green, Danny McBride; ph. Michael Simmonds; m. John Carpenter, Cody Carpenter, Daniel A. Davies. Cast: Jamie Lee Curtis, Judy Greer, Virginia Gardner, Nick Castle, Will Patton, Toby Huss, Miles Robbins, Haluk Bilginer, Jefferson Hall, Andi Matichak, Christopher Allen Nelson. Laurie Strode comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago. Whilst this ignores much of the HALLOWEEN legacy, including H2O, it recalls some of the themes of that twentieth-anniversary sequel by concentrating on the impact of the events of the 1978 original on Curtis’ character. Green lacks Carpenter’s artistic vision and use of camera and lighting, but still conjures up a solid chiller with some nice nods to the original. 
Brannigan (1975; UK; Colour; 111m) *** d. Douglas Hickox; w. Christopher Trumbo, Michael Butler, William P. McGivern, William W. Norton; ph. Gerry Fisher; m. Dominic Frontiere. Cast: John Wayne, Richard Attenborough, Judy Geeson, Mel Ferrer, Ralph Meeker, John Vernon, Lesley-Anne Down, Barry Dennen, Brian Glover, James Booth, Daniel Pilon, John Stride, Arthur Batanides, Pauline Delaney, Del Henney. An American detective is sent to London to bring back an American mobster who is being held for extradition. Nice twist on the fish-out-of-water formula with Wayne coasting on his charisma. Attenborough also adds a sprightly performance to this otherwise routine crime action thriller. Hickox directs with some flair although his shooting in London often resembles a tourist film capturing as many iconic shots as possible.