Diablo review – Scott Adkins enters Cormac McCarthy territory in over-the-border revenge thriller

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Its deranged antagonist might be an Anton Chigurh rip-off, but some fantastically flailing fight scenes almost lift this otherwise humdrum action romp No Country for Old Men’s Anton Chigurh was the scariest thing to come out of Latin America since Argentinian inflation. So it’s taken a surprisingly long time to see a direct imitator: the dark-clad avenger El Corvo, played here by Marko Zaror. Not only does he have the gauche coiffuring (bald on top this time), but also the philosophical penchant, asking imminent victims if they’ve given themselves a present recently. If the Cormac McCarthy rip-off wasn’t enough, Ernesto Díaz Espinoza’s ponderous thriller also gives El Corvo a couple of scenes lifted from The Terminator, and the villain from Enter the Dragon’s blade-hand for good measure. Diablo isn’t all cliches though: martial arts multitool Scott Adkins has a potentially interesting role inverting the usual over-the-border revenge mission. He plays former bank robber Kris, who’s be...
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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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