Ok, kids. For those of us who saw and loved the first film, get ready because it’s time to make some Chimichangas! 2016’s Deadpool was an irreverent, ultra-violent and hilarious send-up of the ubiquitous superhero genre. If you are after a top-notch, foul-mouthed, fourth-wall-breaking comedy, starring the incredible and irrepressible Ryan Reynolds, do yourself a favour and check it out.

Deadpool is by far my favourite anti-hero (not superhero) origin film of all time. And now, for the second go around, we delve deeper into Deadpool’s wider universe, with more explosions and maybe a little Messiah Complex, with fan-favourite cybernetic cyborg Cable (Brolin) and the luck-altering mutant Domino (Beets) thrown in for good measure. For those of us familiar with the comics, I am not saying that this is all a set up for an X-Force film (but it might totally be a set up for X-Force).

Deadpool was a long-in-development passion project for Reynolds that ended up being a critical and box office hit validating his years of work bringing it to the big screen. And now, with stuntman-turned-director David Leitch (John Wick, Atomic Blonde) at the helm, Deadpool 2 promises to be just as insane and amazing as the first one. Maximum effort.

Is there anything that Steven Soderbergh can’t do? He’s directed Palme d’Or winners (Sex, Lies and Videotape), big-budget heist comedies (Ocean’s trilogy), Oscar-winning ensemble pieces (Traffic) and acclaimed stripper dramas (Magic Mike). And then there’s the experimental stuff.

And I’m not talking about putting five post-credits scenes after a film instead of two. Soderbergh directed, wrote, shot, composed and starred in Schizopolis, and has worked with non-professional actors (Bubble) and porn stars (The Girlfriend Experience). He even made a film while directing a play for the Sydney Theatre Company that was only shown to his cast, served as second unit director on The Hunger Games, and is known for creating new edits of well-known films and posting them on his website.

So you can add his latest, Unsane, to the experimental column. Filmed in secret in the space of just one week and shot entirely on iPhones, the psychological thriller follows a young woman (Foy) who is involuntarily committed to a mental institution and finds herself confronted by her greatest fears – but are they real or a product of her delusions?

It seems the only thing Soderbergh can’t do is retire (and he’s certainly tried), so for that we should be grateful.