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One of the most stunning endings to a series. Hidden depths to many story lines are revealed, all at once. Westworld has almost outdone Bladerunner 2049, in fact with more time to build and empathise with characters both real and artificial, it has even more impact.

Like all the best sci fi, many big themes are examined. Is free will illusory? Are even our most self aware moments simply a story set down long ago? Is our life merely a sequence of 'loops'? Are we simply a glint in our creator's eye? Do our life's mistakes serve a greater evolutionary purpose? Is our desire to be entertained inherently cruel? Does freedom only come from real responsibility and consequences? Is the creator always doomed to be outlived by his creation?

If you've seen The Proposition or The Road, then you pretty much know what to expect from John Hillcoat. This latest outing sees Hillcoat once again paired with Nick Cave as screenwriter. This pair of Australians excel in creating a smouldering, menacing atmosphere that feels true to the era, and Lawless is no exception to the rule.

The first fifteen minutes of the film are a bit shaky, the acting feels overdone and those southern drawls take a while to adjust to, but everyone settles into character soon enough. While some have criticised the slow pace of the film, you need to consider this is set in prohibition era deep south. For anyone with a bit of patience, there's a solid story here of sibling rivalry, strange family legends, slow burning romance and escalating violence, as the brothers and corrupt lawmen stake their claims.

A lot has been said of Tom Hardy's unintelligible Forrest; well, it's consistent with the inward, soft spoken man of principle that Hardy portrays, and I understood most of what he said. One of the real surprises for me was Shia Lebeouf as Jack; for once he is given a grown up role as the berated little brother who goes to great lengths to earn his older brother's respect. There are a couple of romantic side stories; Jack's courting of preacher's daughter Bertha (a pretty unlikely pair), and former dancer Maggie's (Jessica Chastain) flight from her seedy past and into the reluctant arms of Forrest - both well done and segue nicely with the main story.

Some of Cave's script can seem a little too poetic to be true, but on the whole it's gritty and original. Guy Pearce is downright slimy as corrupt special deputy Charlie Rakes; his contemptuous attitude towards the southern 'hicks' and numerous neurotic tics are something to behold. Gary Oldman and Noah Taylor are under utilised, but effective. And Jason Clarke as Forrest and Jack's brother Howard, conveys a lot with barely any dialogue.

There wasn't a massive budget here, but the film manages to convey dense atmosphere and feels like a realistic portrayal of a very violent era.

"Dredd" takes place in real time, over the course of a particularly nasty day at the office for a certain law enforcement officer, and his psychic rookie. The whole film takes place within a huge tower block, which has been locked down by the bad guys in an attempt to trap and eliminate Dredd & Co. This, of course, sets the scene for a barrage of very violent action, as Judge shows the bad guys who's boss, and his protégé gets some, uh, on the job experience.

This film just works. It's well cast, with Karl Urban mastering the deadpan Dredd delivery, Olivia Thirlby providing a great counterpoint as the psychic, sensitive rookie Anderson (who thankfully isn't wearing a helmet), and Lena Headey getting all dark and nihilistic as gang leader "Mama".

The confined setting and simple plot actually enhance the action, as we are kept more or less in real time, where the tension is constant and the stakes are high. It's a slow burner .. I usually abhor pointless violence and mindless action, but the gritty visuals and serious (but not too serious) tone are so faithful to the comic series, it really elevates this film above the usual mindless pulp. You could almost step thru the film and see the frames of a comic book unfold.

We get to see Dredd and Anderson's relationship develop, as Dredd is tested, Anderson grows in confidence, and Mama slowly implodes. Interestingly though, without Anderson's rookie character, I think Dredd would probably have been a failure. Thirlby is not only a rose among some pretty ugly thorns, but her innocent character kind of grounds a lot of the senseless violence in the film, and her actions at the end speak volumes.

Also the few 'slowmo' drug sequences offer a dreamlike change of pace, and are really well shot.