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“... 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 ...”

“... There is a fine, far-reaching moment in Stanley Kubrick’s Lolita, handsomely set up by the director and beautifully spun out by the actor. Peter Sellers, as the creepy and protean Clare Quilty, has struck up a conversation with James Mason, as Humbert Humbert. The latter is in no mood for any kind of conversation, since he is just marking time before he returns to his hotel room to have sex, as he hopes, with his under-age stepdaughter ...”

“... The reasons usually given for the death or dearth of westerns is that the genre deals in stark old allegories of good and evil and we are all moral sophisticates now who know the world isn’t like that. If this is our explanation, we don’t have an explanation at all. The world is more infested with allegories of good and evil than at any time since the last crusade, and that wasn’t what the genre was ever about anyway ...”

“... The police report hovered, as such documents often do, between literal description and bewilderment, showing the letter of the law to be touchingly at odds with what the felon was up to. He certainly ‘performed a high-wire act’, but was it with ‘intent to cause public inconvenience’ and did he actually create ‘a hazardous condition which served no legitimate purpose’? The felon in question, Philippe Petit, who in 1974 crossed on a wire from one tower of the World Trade Center to the other eight times, lay down on the rope for a while, and surrendered to the police only when a helicopter was sent after him, is the subject of James Marsh’s remarkable film Man on Wire ...”

“... Memory is a large part of it. Herodotus tells us the name of Leonidas, the king of Sparta who died at Thermopylae in 480 BC, not exactly holding the multitudinous Persians at bay but at least showing how it might be done. Herodotus also says he has ‘learned the names of all the three hundred’ Spartans who fell with their king. He doesn’t list the names, and he doesn’t need to ...”

“... It’s early evening. The family races home from its daily pursuits: Bart and Lisa from school, on skateboard and bike respectively; Homer in his car from his job at the nuclear plant; Marge in her car with baby Maggie from the supermarket. They all arrive at precisely the same time, and make a dash for the living-room sofa, all five hitting it at precisely the same moment ...”

“... In Christopher Nolan’s movies men are always losing their minds: to revenge and an old phobia in Batman Begins; to a clinical condition in Insomnia; to the vagaries of a crippled short-term memory in Memento. The hero of this last film can drive a car and kill people, remember how his dead wife looked and what she said; but he doesn’t know where he is at any given moment, or why he is there, or what he said a few minutes before ...”

“... Marlon Brando didn’t believe in acting, except in real life, and he took every opportunity, in interviews and his autobiography, to trash the profession. It’s tempting to say this is why he was a great movie actor, but the story is more complicated. For much of the time he performed on screen like a person who didn’t believe in acting, and threw a lot of his career away ...”

“... Moonlight​ is full of amazing silences, at times almost a silent movie. Until the last section, when it is so obvious what the characters are thinking that they might as well be shouting. As in the Billy Joel song they are sharing a drink they call loneliness but it’s better than drinking alone. The first person we see in the film talks a bit but we learn far more from what we see of him and around him ...”

“... Gotta dance,’​ Gene Kelly shouts towards the end of a famous Hollywood movie. He’s right, he doesn’t have any option, he’s in a musical, and he’s been dancing (and singing) since the film started. But that’s not what the words mean for his character. They mean that dancing is his dream and his destiny, he will be nobody if he doesn’t dance ...”

“... The Americans​ really know how to do things,’ the central character thinks in Tomás Gutiérrez Alea’s Memories of Underdevelopment (1968), now available in an elegant new print. He is a Cuban living in Havana in the days after the Bay of Pigs disaster, but he is not being sarcastic. He is not actually thinking about the Americans at all, and says later in the film that he already knows New York, while the true mystery in his life is what will happen in his own country ...”