This sequel to Jonah Hill and Channing Tatum’s hilarious bumbling remake of the original series from the ’80s has as much bumble, if not more so, than the first film. We see a sense of glorious self-referential goofiness proving to be quite infectious throughout the whole couple of hours. The meta-humour is reminiscent of many parody comedies of the late ’90s and early noughties.

After making their way through high school (for a second time) in the first film, cops Schmidt (Hill) and Jenko (Tatum) are once again sent by their boss (Cube) on an undercover assignment, this time posing as American college students to take down a drug-trafficking ring. The unlikely crime fighters also make a trip to Mexico for Spring Break, which leads to no end of alcohol-fuelled mischief.

The bromance meter shoots past the top level here, as does the fast paced action. There are also smarts within the laughs, which is a unique thing to see in a movie where violence, guns, and criminals run amok.

Rather than being set in a high school, 22 Jump Street concerns itself with the more ‘mature’ setting of a college. In all honesty, there isn’t much distinction between the playful youth of both films. In a way, it reflects many of those who want to be young at heart, right? There’s just more viciousness portrayed in that youthfulness in 22 Jump Street.

In 1985 Gilliam gifted us the brilliant Brazil, in 1995 he gave us my favourite Brad Pitt performance in 12 Monkeys. Now he concludes what he calls his ‘dystopian satire trilogy’ with The Zero Theorem. And it doesn’t disappoint.

Qohen Leth (Waltz) is a genius computer hacker living a reclusive life in an Orwellian near-future who is tasked with discovering a solution for a mathematical formula known as the Zero Theorem – which will prove that life is meaningless. This is in direct contradiction with his personal faith in a greater purpose to life, and his belief that a phone call will soon come that will prove this faith correct.

The Zero Theorem is a Gilliam film through and through – mad, insane, hilarious, touching, thought-provoking and beautiful. While it doesn’t have the stunning visuals of Brazil, the world created is just as crammed with style. And the stoic Waltz produces a wonderful central performance to give us something solid to cling to as we’re plunged headfirst into this insane world, equal part fantasy and nightmare, and asked to ponder… how much different is it really from our own?