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“... the way we imagined the 1960s when we thought they were still the 1950s. Larry Gopnik, played by Michael Stuhlbarg with a fine capacity for recurring surprise, as if he were Clark Kent who kept forgetting he had another identity, is an assistant professor of physics at the local university. He is just coming up for tenure, and one form of the petering-out ...”

“... Victory Films. The head of distribution said it was ‘dreadful’ and refused to release it. Michael Balcon came to the rescue, and got Ivor Montagu to re-edit it. But what was wrong? Was the film too clunky or not clunky enough? Let’s look. The opening is spectacular, and very quick. We see a terrified woman’s face but not what she is terrified ...”

“... burning only his half of the proceeds. The background to this event is an anecdote-cum-fable that Michael Caine, as the faithful servant Alfred, tells Christian Bale as Bruce Wayne. There was a bandit in Burma, apparently, who stole jewels at will from almost everyone and was never caught – because he didn’t want and didn’t keep the jewels, he just ...”

“... It was​ so quiet that night, we learn in Helter Skelter, Vincent Bugliosi’s book about the Manson murders of 1969, that you could hear the ice rattling in cocktail shakers all the way down the canyon from Cielo Drive, Los Angeles. At least this is what ‘one of the killers would later say’. In Quentin Tarantino’s new film, Once Upon a Time … in Hollywood, we not only hear the ice, we see a drunken Leonardo DiCaprio making his margaritas with it, and taking a sip from the ice-cruncher as he berates a group of intruders in a car (he calls them hippies) for making a noise on the street outside his house ...”

“... Majestic,​ awesome, sublime. Ah, the triviality of human existence compared to the aloof grandeur of the Alps. Words and thoughts along these lines are what the carefully stereotyped photography of two much discussed new films seem to want to provoke in us. To provoke and then dismiss. The point would be some sort of historical commentary. The romantic sublime left its viewers speechless ...”

“... Harold Shand​ , the fictional chief mobster in The Long Good Friday (1980), now showing in a restored version at the BFI, is played by Bob Hoskins in one of his great early performances. It’s hard to imagine that another actor could have displayed the required combination of energy and disarray so well. This character’s problem is that he doesn’t know what’s happening to him, and doesn’t even know that he doesn’t know ...”

“... Lana Turner walks out of the shadows into a pool of light then into the shadows again. Into another pool of light and a second set of shadows. She is wearing an overcoat, walking the streets, looking troubled. This must be a film noir; the only real questions are where the corpse is, and what she has to do with it. None of these details is accidental or unimportant for the film we are watching, and the effect is memorable, but half of our inferences are wrong ...”

“... Did​ someone say familiarity breeds contempt? In the cinema it often breeds attraction and money. The film series called Mission Impossible began in 1996, picking up from a television show that ran from 1966 to 1973 (171 episodes), and the new, sixth movie (Mission Impossible: Fallout) had as of 15 August made $458 million worldwide (it cost $178 million to make ...”

“... Christopher Nolan​ ’s Dunkirk is worth watching for its final sequence alone. The three stories being told throughout the film intersect rapidly, and no easy solution or reflection results. A young man walks into a newspaper office in Weymouth and hands over a school photograph, pointing out one boy. A Spitfire prepares to land on a French beach, gliding, its propeller still, because it has run out of fuel ...”

“... Leo McCarey’s​  Duck Soup (1933) has one of the cinema’s great moments of sceptical philosophy. Chico and Harpo Marx, both disguised as Groucho, are in Margaret Dumont’s bedroom, though Chico is hiding under the bed. Harpo departs and Chico suddenly appears. Dumont is shocked. Didn’t he just leave? Chico says he didn’t, and Dumont says she saw him with her own eyes ...”

“... Robert Hamer​ ’s Kind Hearts and Coronets was first released in 1949, and the current celebratory showings in various London cinemas are more than welcome. There is something a little odd, though, in associating this film in any close way with ordinary, consecutive time. It was elegantly old before it was born, and it hasn’t got any older. It is based on a 1907 novel, which it occasionally quotes ...”

“... Andrey Zvyagintsev’s​  Leviathan begins and ends as a harsh parable of the isolated individual’s losing battle against a corrupt, tentacular system. The director himself, in a press release, invites us to look to Hobbes for the meaning of the title. We have swapped our freedom for the security provided by a sovereign state – in this case an illusory exchange ...”

“... That two films about human entanglements with chimpanzees, a feature-length documentary and a fiction feature, should be showing in London at the same time is presumably an accident of distribution. That the two works, James Marsh’s Project Nim and Rupert Wyatt’s Rise of the Planet of the Apes, should resemble each other so closely begins to look like a message or a clue, a movieworld sign that we actually are rethinking our relation to other animals ...”

“... The plot line is a bit schematic, resolute in its avoidance of swerves and complications. A new movie star is born, an old star fades. Time passes, technology rules, the talkies are here. Still, there are plenty of twists and nuances in Michel Hazanavicius’s The Artist, and the plot feels really dogged only when it takes its pathos too seriously, inviting us to invest all our sympathy in the silent star stranded by the new system ...”

“... Georges Franju​ ’s Judex (1963), expertly restored and newly released by Criterion, invites us to time travel of a double kind: into the 1960s, when it was made, into the 1910s, where it is set and where its stylistic loyalties lie. The film was respectfully received when it first appeared – no French critic wanted to attack the man who, with Henri Langlois, had founded the Cinémathèque ...”