Copley is completely insufferable in Free Fire, but in the best sort of way - he's a colourful jerk in a film full of them.

Neil Jordan's Irish.

It kind of felt like Hammer was doing Jon Hamm, to me.

As I said elsewhere in a specific way this film reminds me of Carol Reed's Odd Man Out - both are films about the IRA from British directors which depoliticise the subject by telling it essentially as a crime story (and both avoid using the actual term, though this is a little more obvious with Odd Man Out's cagey…

I liked High Rise better, but this was a good, clean, fun film.

The only times I was a little uncertain felt on purpose - the film didn't want to show its hand about where X character was for a reveal later on. That was literally it.

I'm thirding Kill List.

It only just came out here a couple of weeks ago. If it premiered somewhere in 2016, I don't know where that was.

Well it is a Wheatley film. He uses Smiley a lot (he's also prominently featured in A Field in England, my favourite Wheatley.)

I have a hunch I'll enjoy this one more than Iron Fist.

Quite the reverse, I think: Telltale's brand at this point is built on the idea they make interactive stories.

I think he means puzzles in the sense you'd have to, uh, figure out a problem before you could advance to the next scene (we need to get X, but how can we get X? Character Y has something that might help!) which they've certainly stopped doing.

I still say Tales is the best of the Telltale games.

Telltale did do urban fantasy with Wolf Among Us, if that's the kind of thing you mean.

I mean I liked Erin, but now that nobody works at Davis & Main is there any organic way for her to appear?

It's just a matter of time before someone writes, a la From Caligari to Hitler, something called From Iron Man to Trump, I think.

I mean Uber's main innovation as far as I'm aware 'what if labour rights were not a thing and we pass on the savings to you, the consumer', and there's an excellent black comedy to be made about that kind of scabwork being given a cool 'disruption' edge.

Darran Anderson has one of the single best accounts on Twitter, an appreciation of the beauty of architecture whose references are as diverse as this review suggests but always presented with a real eye for this sort of thing.

Lately he's only ever seemed to notice it coming from NBC. I don't think he's gone after a show I actually watch since the election.

He's a World War I veteran, so that has to be 1900 - born any later and he would be too young to have even served (and as is, he only turns eighteen in the last year of the war.)