“... Nothing in the new film version of Tinker Tailor Soldier Spy is quite as compelling as the posters for it. Well, there are compelling moments in the movie but they keep losing their allure by reuse; they just go on telling us there is a mystery while the posters picture it. The posters show Gary Oldman as George Smiley – or rather they show him as Alec Guinness made a little taller, thinner, cooler ...”

“... The employees gather outside the shop in the morning, waiting for the boss to arrive and let them in, and already a curious sort of time travel begins, memories of what will be this film’s future, its remakes and derivatives, among them Are You Being Served? and You’ve Got Mail. You try to shake these associations off and concentrate on the film itself ...”

“... The chief pleasure of the new version of The Taking of Pelham One Two Three is the sight of John Travolta as the model bad guy. He is genial and livid by turns, entirely persuasive in both moods, the very image of crazed behaviour, and far more engaging and unhinged than he was in Pulp Fiction. That film brought certain of his earlier roles to mind, but this one makes us want to rethink Grease entirely, and maybe the whole genre of the musical ...”

“... Joseph Losey’s The Servant hasn’t lost any of its mystery over the years since 1963; it might even have gained a bit. This is odd because the film seems in many ways so obvious, giving off unmissable hints and signals at almost every moment. But then this obviousness itself is not what it seems to be. What’s obvious about the hints and signals is that this is what they are ...”

“... My Nazis are different,’ Ernst Lubitsch said in reply to critics who hadn’t liked his film To Be or Not to Be. The critics thought he was failing to be funny about what shouldn’t be laughed at anyway, the German invasion of Poland in 1939. Lubitsch – we can read his response in the material accompanying the recently issued Criterion DVD version of the film – thought the critics had failed to see how even Nazism could become a routine, a home for stock figures and therefore mechanical, ridiculous ...”

“... The title of Tim Burton’s new film plays an elegant and dizzying little game, entirely in keeping with its tone and theme. This movie shows us Alice in Wonderland but it is not a film of Alice in Wonderland, or indeed of Through the Looking-Glass, although most of its characters are drawn from these two books. The screenplay is by Linda Woolverton ...”

“... The car ferry looms towards the camera, head-on, lights glittering in the pouring rain. It’s a figure of menace, looks like a Transformer about to sprout arms and a face, but it’s just a way of getting from the mainland to the island. It lifts its moveable snout and the cars start to pour off. All except one, stationary, driverless. In the next shot we see a body washed up on a beach ...”

“... Many film-makers create worlds we imagine we could inhabit, and some of them specialise in this effect, set up whole colonies of the imagination for us. We experience the eeriness of an empty street and we know we are in a Hitchcock movie, The Man Who Knew Too Much, for example. Certain steep angles of vision make us think we must have stepped into Citizen Kane, and there are forms of panic we associate with locations from Dracula, or Goodfellas ...”

“... The​ films of the Iranian director Asghar Farhadi keep us guessing in all kinds of interesting ways, but also make us wonder whether guessing is what we should be engaged in. The questions the plots may or may not answer are not the same as the ones that keep bobbing up in the narrative gaps or on the margins. The act of lying or withholding the truth, for example, is almost always part of the story, but what sort of act is this, what purpose does it serve or betray? It’s as if the truth, whatever it is, will invariably harm someone ...”

“... We are looking​ at a broad, empty suburban street, plenty of trees, houses set well back from the road. You might guess it was America, and the reviews tell you it’s Detroit. The movie itself isn’t saying. A girl suddenly runs out of one of the houses, looking backwards, obviously terrified. She is wearing only a slip and pants, and high heels – a nice touch ...”

“... Perhaps​ because it’s based on a lively trilogy of novels for supposed teenagers, more probably because its writers and directors knew how to have a good time with stereotypes, The Hunger Games movie series is attractive because it is so eclectic, because it raids whatever cultural bank or shopping mall is handy. The heroine’s name combines a plant with a character from Thomas Hardy: Katniss Everdeen ...”

“... Eddie Mannix​ , in the Coen Brothers’ new movie, Hail, Caesar!, is not a devout or informed Catholic but he does like to confess. He’s not doing well with his plan of giving up smoking, as he promised his wife he would. The first words we hear in the film come from an unseen priest behind the screen in a church: ‘How long since your last confession?’ Mannix, his face half in shadow, says: ‘27 hours ...”

“... There​ appear to be two main rules for superhero films. One is shared with many action movies: there has to be a lot of damage to property. Cars burn, streets are ripped up, tall buildings flame and topple. This is great fun, like smashing all your toys so you can get another set, and it allows you to make terrific noises on the soundtrack. The other rule is that there has to be a good deal of brawling, slugging it out man to man, woman to thug or robot, synthetic arm to cyber face ...”

“... Andrei Tarkovsky​ made his last two films, Nostalghia and The Sacrifice, in Italy and Sweden, and never returned to Russia. He died in Paris in 1986, aged 54. He was out of favour with the Soviet authorities then, later lionised as a master, and placed in the company of Eisenstein and Pudovkin, though his approach to film can seem antithetical to theirs ...”

“... Horror movies are often about materialisation in a very particular sense, the grisly acting out of fears and phobias that in daily life are kept safely (if painfully and disastrously) in the mind. No director realises this more clearly than David Cronenberg. He is best known no doubt for The Fly (1986), Dead Ringers (1988) and his much vilified Crash (1996), but some of us have a soft spot, if that’s the term, for his early work The Brood (1979), a classic instance of the acting-out theory ...”