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The events of Jurassic Park were nightmarishly thrilling, and are etched into many a mind along with only the best of the best cinematic moments of years gone by. The events don't, however, seem to be etched well enough into the minds of those running Jurassic World, the massive dinosaur theme park that would leave original visionary, John Hammond, beaming with delight. Set twenty-two years after those fateful events, the fully functioning theme park that now occupies Isle Nublar faces dwindling crowds, as visitors grow weary of familiar attractions. In a bid to draw back the masses, a corporate mandate oversees the creation of a new attraction in the form of a hybrid dinosaur, the Indominus rex. Happily for us, the fun merely begins here; although I am sure the island's occupants would strongly disagree.

Effects well advanced for their time were what made the original films stand out, and if the effects were good then, they are phenomenal now. The dinosaurs are so realistic; every twitch on their face as they breathe draws you further into the frantic chaos that unravels. Jurassic World certainly ups the 'wow' factor, leaving you awestruck in childlike wonder. There is no comparison to experiencing the might of some of earth's most fearsome predators, with which humans could most definitely not share the planet. The narrative world grows infinitely vaster as new habitats are explored and new exhibits revealed. As Hammond would insist no expense be spared on the park, it seems no expense was spared on creating the films environments, which are truly a spectacular sight.

An early released scene, featuring Chris Pratt's Owen Grady and Bryce Dallas Howard's Claire Dearing debating the park's new addition, received a brutal assessment from Avengers helmer, Joss Whedon. The apt description is unfortunately not limited to that scene, as the "70's era sexist" theme seeps further into the plot than could have been intended. Apart from some dodgy dialogue and an incredibly ill timed love story, the leads pull off their roles well. Owen embodies the essence of an alpha male, quite literally when leading a pack of Velociraptors, and Claire, despite her stickler tendencies, proves that she can hold her own, even if it is in heels throughout.

Jurassic World explores an interesting human condition: our tendency to bore easily. In a world where tech grows more refined by the day, and scientific leaps are becoming more regular, there is little left that truly amazes us. So when dinosaurs on display have become the norm, people will naturally want more. This in turn invites scientists to push the limits of what is possible; too far in this case. The park's geneticists experiment with an ancient, extinct species, in an attempt to create bigger and better, without full knowledge and understanding of the potential consequences.

While the geneticists play 'design-osaurus', an enclosure is created that proves completely unsuited to the formidable creature it is intended to contain. Far more intelligent and subsequently more dangerous than they could possibly have imagined, the Indominus rex renders the park's resources and infrastructure largely inadequate. In an attempt to swiftly clear up a potential financial and reputational disaster, poor planning and lack of preparedness only exacerbate the situation. Jurassic World's shiny new addition is quickly figuring out where it belongs in the food chain, and what they don't want it to realise is that it holds the top spot.

You would think a genetically modified dinosaur would ring instant 'bad idea' alarm bells, but failure to see the magnificent creatures for anything other than assets on a spreadsheet means that history is bound to repeat itself to an epic extent. The action certainly doesn't hold back; these creatures are built to kill and the film shows their immense power with chilling consequence. To top it all off, references to the original films, mostly due to Lowery's (Jake Johnson) fondness for collectibles, serve as delightful treats to fans. Jurassic World is not perfect, but will no doubt be a colossal crowd pleaser.

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After the success of Kick-Ass and X-Men First Class you would expect something special from director Matthew Vaughn; Kingsman: The Secret Service will blow your expectations to smithereens. This ultra-violent, super-charged reboot of the spy genre may be the most exhilarating blockbuster of the year. A gloriously bold venture, Kingsman furiously pushes the limits of mainstream cinema to bring you exactly what you never knew you wanted.

Colin Firth revels in the role of suave spy Harry Hart, who introduces us to elite super-secret organization, Kingsman. Hart recruits Gary 'Eggsy' Unwin (Taron Egerton), the least likely candidate, to join Kingsman's grueling eliminatory training process designed to test his mettle and loyalty. Relative newcomer Egerton displays impeccable talent as the rough-around-the- edges Eggsy, commandeering every scene with utter charm.

While Eggsy overcomes each challenge in this particularly unorthodox program, callous tech mogul Richmond Valentine (Samuel L. Jackson) plots a global revolution of catastrophic proportions. Jackson is emphatic as the sadistic and flamboyant super-villain, Valentine who ironically cannot stand the sight of blood. Fortunately, a sexy sidekick with some killer blades is on hand to carry out his dirty work. Jackson's chemistry with Firth is particularly electric in an excellent postmodern scene, which sees the foes discuss their preferences in spy movies.

Brimming with crisp aesthetic and vibrant style, Kingsman displays high value and sophistication. The fight scene choreography hits every mark flawlessly, allowing the effervescent action to flow in a way only Vaughn can capture. The Kingsman agents manage to fight off mobs of mindless killers in marvelous locations without acquiring a sole crinkle to their immaculately tailored suits. An excellent soundtrack by Henry Jackman is teamed with fast paced, well-timed rhythm that barely allows you to catch your breath. Kingsman brings the fun back to spy movies with this hilariously irreverent and brazen proof that the concept never got old, but was rather in dire need of some fresh and innovative oomph.

Kingsman is not without fault, the gratuitous violence can become a tad tedious, but the sheer audacity to the step away from the watered down action to which we have grown accustomed is precisely what makes Kingsman special. An attempt to present a strong female character in Roxy (Sophie Cookson) is also admirable, but falls short when she constantly achieves by chance rather than skill. Unfortunately Roxy is left merely to overcome her fear of heights while the boys save the world. With Hit-Girl for comparison, Vaughn certainly could have done better here.

A brilliant revival of the original Bond format on steroids, Kingsman brings street to the elite with surprisingly hilarious consequences. With a wealth of talent that also includes Michael Caine and Mark Strong this British bombshell is cinematic gold. It even carries the solid message that anyone has the potential to be a gentleman; it is all about what you project and how you carry yourself, after all, "manners maketh man".

Caught up in a dicey loan deal, Cam (Taylor Lautner), a New York bike messenger stumbles into the exhilarating world of parkour when he crashes into Nikki (Marie Avgeropoulos), a beautiful stranger. Quite reluctantly, Nikki introduces Cam to her crew of freerunners who appear to have some shady undercurrents. Desperate to be free of his debt, Cam gets caught up in a criminal world that begins to crumble around him as he struggles to protect that which is most important to him.

The slick parkour adds dynamic flair and physicality to the fight and chase scenes, while the seamlessly captured rhythm of the choreography makes the thrilling action easy to follow. The rapid pace forces you to keep moving forward, not allowing time to look back, much the same as the parkour requires you to constantly consider the next obstacle. The tactile sport serves the gritty aesthetic well and Lautner's ease of ability in the parkour scenes is mesmerising.

Apart from the action, Tracers offers an authentic look at the difficulties faced by people desperate to find their place in the world. The sincerity of the plot enables you to connect with Cam's plight, but the film avoids drowning in it's own drama by not taking itself too seriously. The initial scenes are fun and full of youthful exuberance as Cam hones his new skills, but as the stakes become higher, he must use these skills to stay alive.

Tracers is an action packed adrenaline rush with some gripping twists. Fans of freerunning will appreciate the integration of the sport while action lovers will enjoy a fresh perspective on the genre. There is nothing exceedingly complex to be found here, although the thrilling finale will leave you needing a moment or two to catch your breath.