“... clearly you don’t have the brains of a seven-year-old.’ There is the dinner party for Michael Jackson at Hepburn’s New York townhouse, where the singer is silent on all topics except the pleasure he has in watching his pet boa constrictor eat small rodents. And there is the saga of Warren Beatty, with Berg’s help, recruiting Hepburn for Love ...”

“... Foolish Things’. The table was a wreck. Bleared glasses stood Half-empty, bottoms stuck to wood. Cigarette stubs: Ashes: Bits of bread: Bottles leaning, Prostrate, Dead. A pink stocking: a corkscrew: A powder puff: a French-heeled shoe: Candle-grease. A dirty cup. An agate saucepan, bottom up. The plot of The Wild Party is simple and elegant. Queenie ...”

“... The heart of Young Soul Rebels, visually and dramatically, is a scene in an East London club, noisy, cheerful, full of glitter and bounce. Punk and soul music alternate on the disco deck; punk and soul styles are jumbled on the dance floor. Men and women, black and white, gays and straights, mix easily if loudly, having a good time. Two men are seen kissing, but only a newcomer, and our camera, linger over the event ...”

“... A number of New York subway trains currently have posted in them an advertisement for a suspense novel (Brad Meltzer’s Book of Lies) said to be a combination of The Da Vinci Code and North by Northwest. We know about the huge success of the former, especially in its book shape, but it’s reassuring news that a 50-year-old film is still taken to be a household, or rolling stock word ...”

“... There are wide orange skies, long arching beaches seen by night and day, and amazing silhouettes of people, pumps and scaffolding. It’s as if John Ford had decided to start a western among the California oil rigs, and track his story up the West Coast to Puget Sound. The space around the people in this movie is so large and so unambiguously beautiful you have to wonder what story it is trying to tell ...”

“... When Daniel Craig took on the role of James Bond in Casino Royale (2006), there was much talk of the real thing. Here at last was the mean, lethal, almost banter-free figure we thought Ian Fleming had invented, the ruthless, funless fellow we imagined we had always wanted. He had a licence to kill but his real licence was his angry work ethic. He was going to get the job done and nothing would distract him ...”

“... When critics accused Jean-Pierre Melville of shooting his characters as if they were in a gangster movie, he didn’t take the remark as a compliment. ‘Absolutely idiotic,’ he said. He was right in a sense, because the critics were not intending a compliment, but what was he resisting? Melville’s best-known films – Le Doulos (1962), Le Samouraï (1967), Le Cercle rouge (1970), for example – are gangster movies, versions of America converted into sheer style by the transfer to France ...”

“... In Michael Frayn’s first novel, The Tin Men, there is a character who is supposed to be writing a novel, but mainly concentrates on devising the blurbs and reviews for the as yet unstarted book, as if the work itself was merely the plodding cause of a glittering celebrity effect, and ideally could be dispensed with altogether ...”

“... hasn’t got is a plot or a point, so it feels like three hours of exposition. Casino shares with Michael Mann’s Heat the curious contemporary sense that your really classy crime movie doesn’t have to worry about suspense or story. It’s as if The Godfather, or rather its retrospective status, had made the genre so respectable that we need to be a little ...”

“... no legacy, to erase the blood and violence and illegality which formed his own career. This is why Michael Corleone is supposed to stay out of his father’s business, to become respectable, a senator maybe, or the governor of a state; and the whole plot of two movies concerns his reluctant, and then not so reluctant, embrace of what seems to him an ...”

“... booze and reclaims a sort of life, he finds comfort in a series of slogans he paints on pieces of wood, which he then stains and sandpapers and hangs up in his caravan. One of these is Alcoholics Anonymous’s ‘One Day at a Time’. Here’s how the words appear in Personality. Maria has become a star, although still prey to anorexia, collapse and bouts of ...”

“... There is a scene which recurs in several of Hitchcock’s films and which could well be in all of them, since it is so central to his favourite fear. An innocent man is discovered in a situation that makes him look hopelessly, undeniably guilty: the corpse in his arms, the knife in his hand. His innocence is both unquestionable (for us) and unbelievable (as far as everyone in the movie is concerned ...”

“... Portnoy complained that his life was a Jewish joke, and Philip Roth himself once suggested that American reality beggared the imagination of even the most extravagant novelist. Who could have invented Eisenhower, he asked, and no sooner had he invented a caricature of Richard Nixon in Our Gang than Nixon turned out to be caricaturing himself in the same way, locker-room slang and all ...”

“... Everyone remembers what they were doing when John Kennedy was killed, but no one even asks what you were doing when Gerald Ford was President. The wonderfully comic, deviously historical premise of John Updike’s new novel is that someone asks. The someone is the plausible-sounding Northern New England Association of American Historians, and the person asked is one Alfred L ...”

“... The coroner​ decided, on the basis of a post-mortem examination, that the unnatural death had a natural cause: a heart attack. W.G. Sebald lost control of the car he was driving, and it crashed into an oncoming lorry. He died ‘before the impact’. Many of his friends thought differently: there had been too many earlier accidents in which Sebald had been distracted, too many non-fatal rehearsals of the last event ...”