“... The spacecraft hangs above Johannesburg, like a relic from Star Wars that couldn’t find the parking dock. It manages to look both otherworldly and scruffy, battered, rusting. Unplugged cables dangle down like weeds. It isn’t going anywhere, it can’t go anywhere. No one in the movie is very interested in the spacecraft, it just hovers like persistent bad weather ...”

“... Asghar Farhadi’s​  The Salesman is too poised and immaculate for its own good, but full of disturbing undercurrents all the same. Of course, since the film has just won the director his second Oscar – the first was for A Separation (2011) – we could also say it knows exactly what’s good for it, but the two thoughts are perhaps not entirely opposed ...”

“... One​ of the lasting impressions left by Abel Gance’s film Napoléon (1927), now showing in a new, digitally remastered print at the BFI and the Lumière, is that it consists solely of close-ups and crowd scenes. This impression is too simple, but it doesn’t go away when you correct it with the modest, more diffuse truth. There are shots that do not linger on iconic faces, on an agitated Danton, a hazy Joséphine de Beauharnais, an unnamed dying solider, or the ever-present destiny-filled glare of Napoléon himself ...”

“... Good humour​ comes to seem relentless if it isn’t interrupted once in a while, and this is one of the interesting effects of the film De Palma, a feature-length account of the director’s work. It opens with screaming orchestral music over the title, followed by a clip from the beginning of Hitchcock’s Vertigo – James Stewart climbing onto the roof from which his colleague is about to fall to his death ...”

“... One of the​ remarkable things about Alain Resnais’s film Muriel (1963), now released on Blu-Ray and DVD in a new print by Criterion, is that it doesn’t grow on you. It’s just as strange on a second or third viewing as on the first, and part of the reason is its cosy, well-dressed look. The characters wear fur-coats, silk scarves; they seem constantly on some sort of bourgeois parade – well, their hair gets ruffled when they are really upset – but almost nothing in their lives corresponds to this orderly image ...”

“... A middle-aged man​ looks insistently at a young woman. He doesn’t speak. He is smiling slightly, playing with her, but also seeking to trouble her. After a moment she says: ‘If you want to have a staring contest with me, you will lose.’ After a much longer moment he laughs. Has he found his match? Does she understand him, or does she just know how to play this particular game? The film in which this scene occurs, and in which a whole series of versions of it are offered to us, is Paul Thomas Anderson’s Phantom Thread, hailed as a masterpiece by some critics and viewers and deemed an annoying waste of time by others ...”

“... There is​ something very Far Eastern about this,’ William Empson says in Some Versions of Pastoral, meaning the manner of Marvell’s poem ‘The Garden’. The remark is mildly intriguing but pretty loose, and even if we think of Empson as having the thought while he lectured to his Japanese students before he wrote it down, the Orient still seems stereotyped and far away ...”

“... The​ first feature-length film by RaMell Ross, Hale County This Morning, This Evening, has been praised for creating a new genre within the documentary form and evoking with unusual clarity the life of a particular community. I wouldn’t dispute the general sense of these claims, but there is something too grand and final about them, an implication that we know what the film is about and how it works ...”

“... Spike Lee​ , as befits a film school graduate, is a master of montage. His cuts and juxtapositions often say more than his dialogue does, perhaps more than any dialogue could. This is especially marked in BlacKkKlansman, which has been widely hailed as Lee’s return to form after a spell in the movie wilderness. The film opens with a shot of a railway yard littered with bodies, wounded, dead and dying ...”

“... The film​ begins with some anxious jokes about the changing times. The ancien régime is mentioned, meaning both the political order before the Revolution and yesterday’s state of play in French publishing and digital media. The possibility is floated that Twitter will usher in a new golden age of the epigram, make brevity the soul of wit again, rather than give people permission to ramble for ever in short bursts ...”

“... The meanings​ of its title sit a little heavily on I’m Thinking of Ending Things, originally a novel by Iain Reid, which Charlie Kaufman has now adapted as a movie (on Netflix). Out of context, I’m Thinking of Ending Things strongly suggests the possibility of suicide. In context too, as it happens. However, in both Reid and Kaufman’s versions it also evokes time, ageing, dementia, loss, what things look like before they go ...”

“... Lee Daniels’s​ The United States v. Billie Holiday (on Sky Cinema) hesitates a little about what kind of movie it is. Is it about the war on drugs, with Holiday’s career as an important instance in its history? Or is it about Holiday, with the war on drugs as part of the background? When we read a title card at the beginning of the film telling us that in 1937 the US Senate failed to pass an anti-lynching bill, and then another at the end stating that a similar bill considered in 2020 ‘has yet to pass’, Holiday’s repeated singing of ‘Strange Fruit’ feels like a political rather than a musical event, and we are clearly in the first movie ...”

“... Shaka King’s​ Judas and the Black Messiah (available on Amazon Prime) leaves us in no doubt as to who is the more interesting character. This preference is obscured (or perhaps highlighted) by the fact that the actors playing the two parts (LaKeith Stanfield and Daniel Kaluuya) have both been nominated as ‘best supporting actor’ at this year’s Oscars, as if there were no main role, or it might be dangerous to say which it is ...”

“... Much of​ Ridley Scott’s Napoleon feels like an unintended essay on the art of cinema. The good bits, and there are quite a few, make up a silent film with some noise. The terrible bits are over-simplified soap opera, where people talk and are supposed to have feelings. Critics and scholars have complained about ‘historical inaccuracies’, but the most interesting deviations from fact are not that ...”

“... Ingmar Bergman’s​ Fanny and Alexander is currently back in cinemas, forty years after its first release in Sweden. Both early and late on in the film, there is talk of a ‘little world’. On the first occasion, the world is the theatre; on the second, it is the family. There are plenty of links between them, and several subsets of each (magic lanterns, puppets; morally casual households, grimly puritanical ones ...”