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“... 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 ...”

“... John Turturro​ ’s Fading Gigolo is a delicate movie about indelicate matters. No, wait, perhaps it’s an indelicate movie about delicate matters. The uncertainty does the film no harm but it seems to have prompted critics to simplify their doubts and decide they have seen it all before. It’s true the film owes a lot to Woody Allen, and not just because he has a major acting part in it ...”

“... At​ the centre of a wide shot, near the centre of the film, stands Philip Seymour Hoffman: scruffy, genial, large, mildly enigmatic. He is in a city park, trees all around him, leaves beneath his feet. He is waiting for something, or watching for something. An abduction performed by members of his team, as it happens. But alone there in the shot, he seems to be waiting for us ...”

“... Pastoral scene of the gallant South’, Billie Holiday sang, evoking a landscape of lynched bodies. This was the ‘strange fruit hanging from the poplar trees’. Certainly a dark version of pastoral but well within the mode’s capacities. If traditional pastoral often idealises the simple life, it never quite chases the shadows of cruelty and corruption away, and what William Empson called the trick of simplification was always the thing ...”

“... In Carlos Saura’s film Tango (1998), the chief character is making a musical about making a musical. The film is shot (by Vittorio Storaro, cameraman on The Conformist, Last Tango in Paris, Apocalypse Now and many other movies) as a sort of designer’s dream, full of bright, shifting colours, ubiquitous mirrors, many set-pieces. It’s hard to tell whether any particular portion of the film is the private fantasy of the director, a slice of the daily life he is living, a section of the work imagined as finished, or an actual practice session on the set ...”

“... There’s a lot of waiting in Steven Spielberg’s Lincoln: for news, for a decision, for a vote, for an opinion, for the end of the Civil War. Not much happens during the waiting. People articulate positions, let us know what they stand for. Lincoln himself doesn’t say much. He listens, does quite a bit of walking off down lonely corridors, plays with his small son, gets periodic barrages of abuse from his wife ...”

“... Nothing in Pier Paolo Pasolini’s The Gospel According to Saint Matthew quite lives up to its first few minutes, but getting anywhere near them is quite an achievement. And this static, mysterious movie, now showing at the BFI as part of a Pasolini season, becomes quite hectic at the end, as if impatient to finish, to run away from a story it now finds crowded rather than interesting ...”

“... Kathryn Bigelow’s Zero Dark Thirty is based, a title-card tells us, on ‘first-hand accounts’, but it’s not a documentary film. It’s a sort of revenge western, clean, elegant, relentless. Loved ones are killed, a lone hero, in this case a heroine, sets out to find the killer or the man behind the killing; finds him, has him executed. Bigelow and her writer Mark Boal perfectly, disturbingly, catch the allure, the obsessive charm of revenge as a pursuit and a goal; and remind us of the desolate, empty nature of revenge if and when it is achieved ...”

“... Asked​ for his response to those critics who saw in The Wolf of Wall Street an undiluted celebration of the bad life – drugs, sex, money, jewels, a very large yacht and expensive suits – Leonardo DiCaprio said: ‘If they don’t get the irony of it, sorry.’ He was right to refute the idea the film is a simple celebration, but there isn’t any irony either ...”

“... Abbas Kiarostami’s Certified Copy makes you squirm with embarrassment: at the bad acting, the bad writing, the falsity of the tones and tantrums even within the story, the ugliness and unkindness of the behaviour on display. Still, it’s authentic embarrassment, the real insidious thing, and it tempts us to believe the effect is intentional. As it must be in part ...”

“... I inhabit the cinema,’ Agnès Varda says at the end of her autobiographical film, The Beaches of Agnès. ‘It’s my house. It seems I have always lived here.’ Of course we understand her metaphorically, even if we wouldn’t put it past the bag-lady character she plays at various moments in this work to set up house inside some forgotten foyer ...”

“... The first time the name appeared in the movie I thought I had misheard it. The second time also. It was only when I read a few reviews and plot summaries that I could confirm that I wasn’t dreaming, inserting an unlikely joke where there couldn’t be one. The precious mineral found only on the planet Pandora which would, if mined and transported, cure the wrecked energy system of the abused planet Earth, is indeed called unobtanium ...”

“... Martians​ have been invading us for longer than most of us can remember; but when did we invade them? Or when did we become certain that there were no Martians to invade or be invaded by? The time setting of the story told by Ridley Scott’s The Martian is scrupulously unmentioned in the film or in the Andy Weir book it is based on, but nerdy fans have figured it out from internal evidence centring on the astral timing of Thanksgiving ...”

“... There​ are some fine shots of the title thoroughfare in David Lynch’s Mulholland Drive (2001), a new release from the Criterion Collection. It’s all bushes and darkness and bends in the road, various cars’ tail-lights appearing and disappearing. Anything could happen there, especially since there are some very posh residences among the shrubs ...”