I Wake Up Screaming / Hot Spot (1941 H. Bruce Humberstone)

Before you ask, HBC is not really known as a director of distinction. This by default is his best film. Steve Fisher's source novel looks interesting too.

Early and less well known film noir in which characters amusingly keep breaking into each others' apartments, in story of guy (Victor Mature, an acquired taste) who is suspected of murdering good time gal Carole Landis but who has fallen for her sister Betty Grable, whilst being obsessively hounded by maverick cop Laird Cregar. Flashback tells of Landis' arrival on the scene, and her manipulation of agent Alan Mowbray and newspaperman Allyn Joslin and involvement of hotel clerk Elisha Cook Jr. and cop William Gargan.

Grable, Mature, Joslin, Landis, Mowbray

Features some lovely noiry photography (Edward Cronjager) and an interesting soundtrack that riffs on the 'Somewhere over the Rainbow' melody.

Film is haunted by tragedy - Landis killed herself seven years later, aged 29, and Cregar died of a heart attack three years later aged 31.

To Catch a Thief (1955 Alfred Hitchcock)

Keeps getting better the more you look at it (and colourful south of France locations look brilliant on Blu-Ray). For example, near the beginning is a most interesting car chase shot mainly from a helicopter. The reason for this is that we don't know that Cary Grant's car is being driven by his housekeeper, but Hitch doesn't want us to know that until the moment of pay-off.

More evidence that the James Bond series came from Hitchcock: another fast car driven by woman sequence (it comes from Notorious and ends up in Thunderball) and all the stuff about speedboats and the beach could also be in Thunderball; plus the very way Grant moves and looks is like a Connery blueprint.

The famous shot of Jessie Royce Landis stubbing out her cigarette in an egg is a sign of the director's disgust of this particular food item (interesting then that insurance agent John Williams is treated to a delicious Quiche Lorraine ("Ah yes, I've heard of these")).

Another entertaining collaboration with John Michael Hayes, with some of A team in evidence - Burks, Tomasini - but the music here is by Lyn Murray (real name Lionel Breeze!) and interestingly sounds in arrangement like Herrmann (bassoons, oboes) though the latter's collaboration with Hitch didn't begin until the same year's Trouble with Harry.

One of the most amusing directors' appearances with Grant looking directly at Hitchcock (a moment that used to be lost altogether on cropped TV prints).

Screen cap courtesy DVD Active

The bird is Grace Kelly, should anyone not know, and she did not die on the mountain roads because of her lack of ability behind the wheel but because she suffered a stroke which caused her to lose control. She was Princess Grace for 26 years, at least. I love the shot in the fireworks sequence, when her face is in shadow but her diamond necklace is lit.

Sparkling Cyanide (2003 Tristram Powell)

Firstly, Tristram is not related to Michael Powell. Secondly, it's quite refreshing to have an older couple who are grandparents and working for the Ministry of Defence.

Cast features Pauline Collins, Oliver Ford Davies, James Wilby, Kenneth Cranham, Jonathan Firth, Susan Hampshire.

Otherwise, Agatha Christie update to world of football is not quite successful and I kept falling asleep (though that is another story).

Goodbye Mr Chips (1939 Sam Wood)

The second in our Robert Donat double feature, here winning his Oscar after being beautifully aged by Jack Dawn (apparently, it's not credited; there was no makeup Oscar then). And very good he is too, gradually thawing after meeting charming Greer Garson and teaching a variety of odious schoolboys, the worst of which is played by Terry Kilburn (who somehow manages to age into John Mills!).

Paul 'von' Henreid is a likeable German teacher and Austin Trevor is a headmaster.

Of the writers' own educations, James Hilton (novel) was at Leys School Cambridge, RC Sherriff at Kingston Grammar, and Eric Maschwitz went to Repton School, Derbyshire (Claudine West's place of education unknown at present time), so none of them august public schools like the one here, designed by Alfred Junge at MGM British. Those of us that did experience same sex schools and Latin will find certain reminiscences in the film that may be pleasant or not.

The last shot always makes me want to puke but the rest of the film is both as charming and odious as a schoolboy.

Shot by Freddie Young. Music by Richard Addinsell. Edited by Charles Frend.

The Winslow Boy (1948 Anthony Asquith)

Terence Rattigan's play adapted by he and producer Anatole de Grunwald is the first of our Robert Donat double bill in which he is excellent as a commanding barrister (the best scene is where he cross examines the boy, then announces he is "clearly innocent"); Cedric Hardwicke also great as the father. Defence of accused child against the Admiralty is a time-consuming and costly affair of money and the heart.

With Margaret Leighton, Kathleen Harrison, Basil Radford, Francis L Sullivan, Jack Watling (elder son) and - briefly - Stanley Holloway and Ernest Thesiger.

Feel it drags a bit in the parliamentary stuff.

Shot by Freddie Young, music by William Alwyn.

The Last Tycoon (1976 Elia Kazan)

Dream cast - late appearances for example of Donald Pleasance, Robert Mitchum and Ray Milland - plus de Niro in his astonishing seventies period and Nicholson together in the same film, plus the debut of Theresa Russell!

F Scott Fitzgerald story of Hollywood producer (based perhaps on Thalberg or Selznick or a combination of real Hollywood moguls) and his involvement with a frankly annoying young woman (Ingrid Boulting, annoying accent too) and the studio execs. Also with Jeanne Moreau, Tony Curtis, Dana Andrews (who I did not recognise at all but was the film director), Peter Strauss, John Carradine, Anjelica Huston.

So that lot makes it worth the price of admission alone, but something misfires in the adaptation, perhaps because it's by the enigmatic Harold Pinter. For example, in de Niro's (enjoyable) enactment of a good movie scene he says 'there's another man in the room' when there is only one man. It's only at the end, where he repeats the sequence, that we make sense of the 'other man' reference, but it is somewhat contrived (unless I have completely missed something).

Film set and production stuff is great (though why on earth didn't they create the mock thirties film clips in 4x3??) but the irony of the film is that we need de Niro's producer to do what he is good at, step out of this film, and give directions: "Where are the likeable characters? This bit doesn't make sense. It's too long" etc.

Well shot by Victor J Kemper, extremely well edited by Richard Marks, music by Maurice Jarre. Produced by legendary shit Sam Spiegel.

Q had been hoping it would be a sort of Hotel in the thirties film world: not a bad idea.

I later learned that producer Sam Spiegel kindly asked 18 year old Theresa Russell to sleep with him or he'd ruin her acting career. I'm glad to report that she politely told him to fuck off.

The Thirteenth Tale (2013 James Kent)

Our fabulous Olivia Colman is invited to write autobiog of dying and difficult writer Vanessa Redgrave and is told a macabre tale. Not a ghost story, as billed, but interesting, from MR James story. Somehow lacks something though.

Films of the Year 2013

Death Comes to Pemberley. Remarkable achievement from the elderly PD James, beautifully acted and presented.

Wilbur Wants to Kill Himself. Rare, warm, dour comedy drama from Scotland.

Sullivan's Travels. At once one of Sturges' most serious and hilarious of films, the more you see it, the more you love it. 'Hey Hey in the Hay Loft'!

The Big Sleep. For its mood and music, for its character names, for its stunning women, for its simple brilliance.

Ben Hibon's animation in Harry Potter and the Deathly Hallows Part 1.  Absolutely leaves the rest of the film for dust.

Finding Neverland. I love a straight performance from Depp, here with perfect Scottish accent, surrounded by great cast and with wicked production design,

The Asphalt Jungle. Marvellous Huston gallery of criminals, just has the edge over the bonkers but brilliant Beat the Devil.

One Two Three / The Lost Weekend / Avanti. The first and third are horribly underrated, the Berlin film is beautifully assembled like a Swiss clock. Weekend is still stunning.

The Artist. A remarkable cinematic achievement and the film that introduced us to the charming smile of Jean Dujardin.

The Pledge. Sean Penn's best film with a superb later performance from Jack Nicholson.

To Rome with Love / Midnight in Paris / Hannah and her Sisters / Shadows and Fog. Rome is a new delight, Paris I just can't stop rewatching, Hannah never fails to beguile, and Shadows is an extraordinary film by this athlete of the cinema.

Philadelphia. Had quite forgotten how interesting is Demme and this is probably his highlight, though Silence of the lambs is a close second.

Sex and the Single Girl. Thoroughly enjoyable pairing of Curtis and Natalie Wood (who's absolutely delightful), and Fonda and Bacall, film makes a great double with How to Murder Your Wife.

Paris / Paris Je T'Aime. Linked really only by the city, the former is a multi-story character study, brilliantly acted and scripted, the latter inevitably a mixed bag of stories but some are jaw-droppingly good, and both really moving.

Life and Death of Colonel Blimp / A Canterbury Tale / The Red Shoes.

The Best Years of Our Lives. One of our all-time favourites, heart-wrenching and incredibly grown-up, with the most amazing deep focus photography ever.

Paper Moon / They All Laughed. Two classics, though only the first is recognised as such. In the first, the relationship of father and daughter is exploited wonderfully, but the second - there aren't enough good things to say about it, it's one of the most charming and funny films ever made.

Hot Fuzz. This had gradually become a household favourite with its Best of British cast, brilliant editing and general silliness. 'Yargh.'

Repulsion. Still as unique and creepy as ever, with Chinatown Polanski's best film and with one of the most brilliant soundtracks ever.

Kings Row. Melodrama of madness par excellence, with several outstanding performances to Korngold's brilliant music.

Mud. McConaughey brilliant in simple, effective tale.

Elizabethtown / We Bought a Zoo / Almost Famous. Cameron rewards us again with his latest sweet comedy though it still can't better either of the two older gems.

Out of Sight. Soderberg's cool treatment of Elmore Leonard story with Clooney at his most charismatic, and with sensational editing from Anne Coates.

Lethal Weapon. Still mad Mel's best performance, thriller with a heart is so well done and in a league of its own; and certainly miles ahead of the increasingly dire sequels.

The Sopranos. One of the finest TV series ever made, and certainly with the most controversial of all endings. It set a massively high standard for the new era of TV with feature film production and talent.

The Leopard. Intelligent and spectacular.

The King's Speech

O Brother Where Out Thou? / Fargo

The Third Man

The Descendants

Django Unchained

Untouchable

The Ladykillers / Kind Hearts and Coronets

This Happy Breed

Searching for Bobby Fischer

Last Year at Marienbad

Stalker / Nostalghia

The Way to the Stars

Dancing on the Edge / Glorious 39

My Week with Marilyn

The Help

Harold and Maude

Children of Men

Crazy Stupid Love

Vertigo /The Lady Vanishes / Frenzy

The Trial

Admission (2013 Paul Weitz)

Tina Fey, Paul Rudd, Wallace Shawn, Michael Sheen, Lily Tomlin, Nat Wolff (the prodigy).

Despite being entirely predictable (you know Sheen's having an affair within seconds, for example) I thoroughly enjoyed this nonsense. Thinking he's her son, Fey tries to get Wolff into Princeton where she is an admissions officer.

My only thought is that the film is over-edited (compare to a true classic like Miracle of Morgan's Creeks with its many long takes) and this also makes you wonder if the film or performances are being 'saved' in some way through the cutting.

Death Comes to Pemberley (2013 Daniel Percival)

What a great idea of novelist PD James (better known for crime thrillers) to write a murder mystery sequel to Pride and Prejudice - at the age of 91 no less. I'm suddenly mad about her.

Anna Maxwell Martin is the resourceful heroine, Matthew Rhys the moody Darcy, and Matthew Good the cad Wickham. Great cast also includes a commanding Trevor Eve who just seems to get better and better; and James Fleet, Jenna Coleman, Tom Ward (Colonel), Eleanor Tomlinson (Georgiana), Joanna Scanlon (housekeeper).

Sympathetically shot by Steve Lawes: great interior night scenes shot at 1280 ISO in candelight (and a little supplementary light); day interiors lit with large HMI fixtures outside the windows. Filmed in July - August 2013 so they certainly had the weather for it.

The highlight of TV Christmas.

Marple: Endless Night (2013 David Moore)

Regular series writer Kevin Elyot has added Marple into Agatha Christie's original story, somewhat unsuccessfully. Julia McKenzie is the sleuth - she's not as cool as Geraldine's.

Tom Hughes (Dancing on the Edge, Cemetery Junction) romances The Paradise's Joanna Vanderham who funds building of modern car park - I mean house - on gypsy cursed land.

Wendy Craig guest stars. And we thought we recognised the girl who plays Greta, Brigitte Hjort Sorensen. Borgen!

The Bling Ring (2013 Sophia Coppola & scr)

Suffers (on Blu-Ray anyway) from a bad audio balance so that the music tracks are way too loud.

In memory of Harris Savides, who died during filming. (Best photographic moment - a long shot of a glass sided house at night into which we see the kids break in). Christopher Blauvelt, Harris's operator on Restless, completed the often washed-out filming.

Who's worse - the kids who steal to become part of the lifestyle, or the celebs (Paris and Lindsay are two who get singled out) who are so wealthy and spoiled they leave their homes and ridiculous quantities of bling unguarded?

Israel Brossard falls for Katie Chang and they embark on a life of crime (was there a visual reference in a car at night to They Live By Night?). Hanger on friends including an impressive Emily Watson get in on the act until the inevitable happens, after which she appears to become a TV celeb (a nice touch).

Film is well made but as Q points out we don't care about anybody. Sophia's films seem all about aimless rich people, but she hasn't bettered Lost in Translation.

Marple: Sleeping Murder (2006)

These are all love stories, I've just realised. In this one faithful employee Aidan McArdle must assist boss's fiancee Sophia Myles prepare for wedding and buy a house - where she experiences memory of a strangling - and of course he falls for her.

Also involved are a troupe of music hall performers including Dawn French, Sarah Parish, Paul McGann,  Martin Kemp and Peter Serafinovich  as well as housekeeper Una Stubbs, Phil Davis, Russ Abbott, Geraldine Chaplin and young Harry Treadaway.

The Accidental Husband (2008 Griffin Dunne)

Sometimes you know within five minutes if a film is going to be terrible. This is one of those. It is flammy, not even flim-flammy, just flammy.

Love advice DJ Uma Thurman talks girl into dumping Jeffrey Dean Morgan so (with the help of a hacking neighbour) he marries her to confound her own wedding to chocolate munching Colin Firth.

There was even a set of books in it I didn't like, so much against the film had I taken.

Marple:The Sittaford Mystery (2006 Paul Unwin)

Howard Hawks once defined a good director as "one who doesn't annoy you" - a maxim that should be the first thing taught at film school. Clearly Unwin doesn't understand the concept and shoots about half the film on a tilt.

Here, a bright Zoe Telford (Collision, Criminal Justice, Match Point, The Painted Veil) tries to help boyfriend Laurence Fox and journalist James Murray solve murder of Timothy Dalton. Fittingly Mel Smith takes the lead in aiding the gimlet eyed Geraldine McEwan (he died this year). Also with Rita Tushingham, Patricia Hodge, a young Carey Mulligan, Paul Kaye.

Wilbur Wants to Kill Himself (2002 Lone Scherfig)

Little jewel of a film has slipped under most people's film radars - it's shown on TV occasionally.

Adrian Rawlins tries to help younger brother Jamie Sives who repeatedly tries to kill himself; Shirley Henderson and daughter (played by Lisa McKinley in her only role) become involved in life at the bookshop they own.

Film is injected with dour Scottish humour and it's therefore perhaps a surprise to see it was written by two Danes, Scherfig and Anders Thomas Jensen. Loved the giveaway line spoken by the girl "Will you be sleeping in Wilbur's old room?" and the twist involving the river near the end.

Mads Mikkelsen plays a sardonic psychiatrist; Julia Davis an over-friendly nurse.

It's beautiful.

Jack Goes Boating (2010 Philip Seymour Hoffman)

PSH, Amy Ryan, John Ortiz, Daphne Rubin-Vega.

Actor Robert Glaudini's only screenplay.

Film is sweet and believable in story of swimming, cooking and romance. Final two shots memorable.

Marple: The Moving Finger (2006 Tom Shankland)

Something about the deliberate campness of the opening (very artificial back projection) initially caught my eye, as did charming Talulah Riley (St Trinian's, The Boat that Rocked).

James D'Arcy is the troubled man at the centre of hate letters and murder - Geraldine McEwan helps him sleuth it out. Also with Emilia Fox, John Sessions, Frances de la Tour, Harry Enfield, Jessica Hynes, Sean Pertwee and Kelly Brook.

Rear Window

You can see (and hear) that a great deal of thought went into this - more than you'll get now - e.g. great sound design (Loren Ryder was nominated for this along with Hitch, Hayes and Burks. On the Waterfront nicked most of the wins).

As I believe I may have mentioned before it's also a triumph of lighting, camera operation and focus pulling.

Sullivan's Travels (1941 Preston Sturges & scr)

Joel McCrea plays the successful director of Hollywood comedies such as 'Ants in your Pants of 1939' and 'Hey Hey in the Hay Loft' but now wants to make a serious picture about being poor ('with a little sex'), an idea not greeted with enthusiasm by his producers or his butler Robert Greig, who delivers quite a speech on the matter ("If you'll permit me to say so sir, the subject is not an interesting one..." etc.) Nevertheless he sets out on the road with ten cents and a retinue of helpers following in a sort of mobile home, leading to a very funny chase sequence involving a kid ("Drive safely" "You know me.") and, ultimately, Veronica Lake (who gives a modern performance - she wouldn't be out of place in a Tarantino).

Priceless madcap stuff ("That was the lighthouse keeper on San Clemente Island." "Ask him what his daughter's doing." "I said the lighthouse keeper on San Clemente island." Compare to They All Laughed.) Also very funny self-referential jokes such as "there's always a girl in the picture" and "What we need now is a plot twist" (or something) and the whole film is of course a self analysis about the creative process. Perhaps Sturges had been criticised for making comedies only, but as we ourselves found out years ago, poor, unemployed, and suffering from ill health, a Preston Sturges comedy is worth its weight in gold. Film is also quite sexy.

Full of familiar faces such as William Demarest, Eric Blore, Franklin Pangborn, Robert Warwick, Porter Hall, Charles Moore (chef), Jimmy Conlin.

Sturges' use of black cast (like Demme was doing years later) really comes into its own in church / chain gang scene.