Interlude (1957 Douglas Sirk)

Based on a story by James M. Cain, Sirk's Munich-set drama seems once again to be about the challenge a couple face when trying to be together. In this case, the challenge is Rossano Brazzi's lunatic wife Marianne Koch. June Allyson (then 40, hardly the 'young lady' she's referred to) is the lover, in turn dated by Keith Andrews; with Françoise Rosay (Quartet, the Halfway House), Frances Bergen, Jane Wyatt. Full of the director's usual symbolism and shot in CinemaScope by Bill Daniels it's a typically elegant and good looking film with a lush music soundtrack of classics and Frank Skinner (though the Wagner seemed to us to be particularly badly played).

L.A. Confidential (1997 Curtis Hanson & co-scr)

A properly snaky, noirish 1990 story from James Ellroy, adapted by Hanson and Brian Helgeland (Mystic River, Legend), in which tough guy Russell Crowe smartens up and principled Guy Pearce becomes...less principled. Kevin Spacey dies beautifully, Danny de Vito good as yellow journalist. With Kim Basinger, James Cromwell, David Strathairn, Simon Baker.

Jerry Goldsmith's score virtually reprises Chinatown in its love theme. Dante Spinotti shot it handsomely in widescreen.

Exciting scenes e.g. Pearce's suspects interview, confrontation with the 'Nite Owl Killers', film is almost a trial run for Line of Duty.

The BFG (2016 Steven Spielberg)

Melissa Mathison (ET, The Black Stallion) wrote this adaptation of Roald Dahl's story but died of cancer aged 65 before the film was completed (thus 'For our Melissa'). She was apparently able to find the heart in it. It's one of those new hybrids where you don't know what you're looking at any longer. Though if there was an award for Best Giant of the Year it would have to go to Mark Rylance, who's brilliant. The little girl is Ruby Barnhill. With Penelope Wilton, Jemaine Clement, Rebecca Hall, Rafe Spall, Bill Hader.

Usual team of Kaminski, Kahn and Williams, who provides a wonderful orchestral score ending with a sublime passage on a flute. Production design by Rick Carter and Robert Stromberg also worth mentioning.

Letter From an Unknown Woman (1948 Max Ophuls)

An elegantly presented film in which Ophuls would rather move the camera than cut, beautifully designed by Alexander Golitzen, though somewhat distant. Howard Koch adapted Stefan Zweig's novel. Bud Westmore creates a young Joan Fontaine, then an older one, who is absolutely smitten by Louis Jourdan - not he, unfortunately. Also it's the worst fake piano playing ever. Franz Planer lights those elegant scenes elegantly.

Know Art Smith the valet from somewhere - could be In a Lonely Place. Daniele Amfitheatrof scored a good score. It has its own unique atmosphere and feeling.

Trainwreck (2015 Judd Apatow)

Yes, the usual criticisms of an Apatow film apply, though this is sincerely written and acted by Amy Schumer, who's rather good. Actually we were drawn to it again because of Norman Lloyd, an awesome 100 years old when this was made. Colin Quinn is the father ("That guy died three years ago and no one alerted him"), pre-Room Brie Larson as the sister, real pro basketball player LeBron James (who she enjoys sending up), Bill Hader of course, Ezra Miller, Daniel Radcliffe & Marisa Tomei, Vanessa Bayer (smiles too much), Tilda Swinton, rapper Method Man as the African orderly and Dave Attell as the street bum who has many of the best lines.

Jody Lee Lipes (Tiny Furniture, Martha Marcy May Marlene, this year's Manchester By the Sea) was the cinematographer, I'm pleased to say.

Yes. Also liked the subversions (the guys talk about their emotions and watch Downton),

In Her Shoes (2005 Curtis Hanson)

Hanson is dead already - September 20, aged only 71 - Alzheimer's. His films included Lucky You (poker, Drew Barrymore), 8 Mile, Wonder Boys, L.A. Confidential, The River Wild, The Hand That Rocks the Cradle, Bad Influence (Lowe, Spader) and The Bedroom Window (Guttenberg), usually as screenwriter. Like Wonder Boys this is one of his best, based on prolific writer Jennifer Weiner's 2002 novel* which supplies the story - Susannah Grant (The Soloist, Catch and Release, Erin Brockovich) has reorganised it so that we don't know as much to begin with but reveal it more slowly - a good tactic.

It's very well acted by Cameron Diaz, Toni Collette, Shirley MacLaine (beautifully subtle), Francine Beers (her friend), Jerry Adler (The Good Wife, The Sopranos, Manhattan Murder Mystery), Norman Lloyd (Hitch's collaborator), Candice Azzara (step mom), Richard Burgi, Mark Feuerstein (fiance), Ken Howard (father).

Diaz is always wearing her sister's shoes, finally her own; Collette ends up in her mother's. It's good.

Shot by Terry Stacey.

Elizabeth Bishop is the author of the 'Lost' poem and of course it's e.e. cummings at the end.

*She provoked an interesting controversy claiming that when men write about emotions they're taken seriously but when women do it's automatically 'chick lit'.

Alice Doesn't Live Here Anymore (1974 Martin Scorsese)

Whilst his fellow New Wavers were making bold, gritty, provocative films then (The Conversation, GF II, The Parallax View, Phantom of the Paradise, Night Moves, Serpico) Marty chose to go for something rather more conventional (despite its trick 40s style beginning), wittily written by Robert Getchell. (Though the way he races his camera along the various bars is unusual indeed.) Ellen Burstyn must travel cross country (New Mexico, Phoenix, Tuscon, Monterey) with her son Alfred Lutter after bastard husband Billy Green Bush dies. She has only her vocation as a singer to fall back on. Cue encounters with violent Harvey Keitel (a nasty scene) and gentler Kris Kristofferson. Diane Ladd great as a no-nonsense waitress and Jodie Foster appears as a tomboy.

Ladd and Gretchell were Oscar nominated but Burstyn won. Here the reception was better - they all won their respective BAFTAs, as did Ladd, and Marty, Lutter and Lelia Goldoni as Alice's first friend were nominated.

Kent Wakeford (Mean Streets) shot it and George's wife Marcia Lucas cut it. Amazing tracking shot out of diner well predates Goodfellas; scenes in diner seem a bit choppy, though not in a bad way.

Stuck in Love (2012 Josh Boon & scr)

Writing family Dad Greg Kinnear hopes his wife will come back to them by not shaving, daughter Lily Collins won't forgive her and is promiscuous, son Nat Wolff smokes pot. Jennifer Connelly is the errant mum, who is somewhat improbably with a gym owner. Love interests are Kristen Bell, Logan Lerman and Liana Liberato (whose addiction is dealt with quite sensitively).

This was Boon's debut. How do first time writers get to direct without any experience? Film writers often write about writers. I wonder if Boon actually is a Stephen King fan - I'll bet he is because he went on to write-direct The Stand as well as X-Men and Vampire films. Ah - and Lisey's Story is announced - another King novel. So yes we can assume he is (the author is a voice cameo in this film).

The other subtlety I liked is that the afternoon shagger Bell is really quite friendly with Kinnear and helps him pick out a dating outfit. And I liked that Wolff and Liberato first have sex in the wardrobe.

Overall? I don't know. Pretty good, I guess.

The only thing Boon didn't write but direct was the fabulous The Fault in our Stars.

Limitless (2011 Neil Burger)

Based on a 2001 novel by Alan Glynn 'The Dark Fields', the ending of which Leslie Dixon has changed to become more of a crowd-pleaser. It's all about the powerful effects of a designer drug which opens up the untapped 80% of your mind, and is therefore most fun when Bradley Cooper is in Sherlock Holmes mode or where he's speaking foreign languages to restaurant staff. There's some quite funky CGI stuff and a reasonably high interest value, but it's all a bit shallow and uninventive.

With BC are Robert de Niro, Abbie Cornish, Andrew Howard, Anna Friel, Johnny Whitworth. Belgian Jo Willems shot it in Panavision (he also did the Hunger Games films).

Wild Target (2010 Jonathan Lynn)

We really should get around to watching the French original Cible émouvante which was Pierre Salvadori's first feature as writer-director. However the English version is very funny indeed with fantastic performances and chemistry between Bill Nighy and Emily Blunt. Rupert Grint keeps up, Martin Freeman is hilarious as assassin. With Eileen Atkins, Rupert Everett, Gregor Fisher, Rory Kinnear. Lucinda Coxon was responsible for the adaptation.

Dan in Real Life (2007 Peter Hedges & co-scr)

Steve Carrell falls for brother Dane Cook's girlfriend, Juliette Binoche (who's fabulous as always), much to the consternation of their enormous family presided over by John Mahoney and Diane Weist. Whilst dealing with this awkward situation, Carrell is trying to bring up three daughters Britt Robertson, Alison Pill and Marlene Lawston. He's a subtler actor than you might think. There's also a small but telling appearance by Emily Blunt.

Pierce Gardner co-wrote. Hedges wrote the novel and screenplay of What's Eating Gilbert Grape, Pieces of April and was one of three who worked on the adaptation of About A Boy. Lawrence Sher shot it.

Little Nikita (1988 Richard Benjamin)

Sidney Poitier, now 89, is one of those actors who is great to watch just thinking. Here he's matched by the vibrant and ironically so full of life River Phoenix, whose every blink is totally believable. With Richard Jenkins, Caroline Kava, Richard Bradford (good as Russian agent who's seen it all before), Richard Lynch and Loretta Devine.

John Hill and Bo Goldman's screenplay of Tom Musca and Terry Schwarz's story is reasonably involving and it's lit by subtle maestro Laszlo Kovacs. Marvin Hamlisch's Bondy score isn't bad either.

Thank You For Smoking (2005 Jason Reitman & scr)

Funny, caustic and cynical tale (Reitman having adapted political satirist Christopher Buckley's 1994 novel) of lobbyists, made with lively wit and imagination. Aaron Eckhart is good as the tobacco lobbyist who doesn't really come under the influence of his son Cameron Bright. With J.K.Simmons, Katie Holmes, William H Macy, Robert Duvall, Rob Lowe and Sam Elliott, who Reitman likes to use in small but significant roles. The alcohol and gun lobbyists are played by Maria Bello and David Koechner.

Music: Rolfe Kent; camera: Jim Whitaker; editing: Dana Glauberman.

The Magnificent Ambersons (1942 Orson Welles & scr)

A remarkable film which seems to me to have been very influential on Fellini (La Dolce Vita, 8 1/2) in the beautifully choreographed action, fluid cameras and dialogue. In fact the film just seems light years ahead of its time. Long takes, low angles, it even had me thinking of Last Year at Marienbad at one point. It's as magnificent as the title (in itself a lovely irony - novel by Booth Tarkington).

Great cast comprises Joseph Cotten, Dolores Costello, Anne Baxter, Tim Holt, Agnes Moorhead, Ray Collins, Erskine Sanford and Richard Bennett.

I hadn't remembered or appreciated how dark the film becomes, accentuated by Orson Welles' rich but haunting narration - thus the studio enforced its slightly upbeat, redemptive ending without Welles' approval.

Wonderful deep focus compositions and lighting from Stanley Cortez, edited by Robert Wise, for RKO. The end credits are utterly wonderful though oddly there's no mention of composer - according to Wikipedia "Composer Bernard Herrmann insisted his credit be removed when, like the film itself, his score was heavily edited by the studio."

Amazingly has not been remastered or released on Blu-Ray (except in Japan) - our version on DVD is rather fuzzy.

Shirley Valentine (1989 Lewis Gilbert)

I like the surprises in Willy Russell's screenplay - that Joanna Lumley is a hooker, that uptight neighbour Julia McKenzie gives her a dress she's never dared to wear, that Shirley doesn't fall for the Greek but for the place. It's a truly lovely performance from Pauline Collins and one that when she looks straight at the audience is quite provocative, though the scene where Lumley says goodbye and hugs her is also beautiful.

Originally a play, has some very funny lines and moments. Lewis Gilbert is 96.

I don't quite know why our DVD version is cropped to 4x3. Alan Hume shot it, Willy Russell also wrote the music. With Tom Conti, Alison Steadman, Bernard Hill, Sylvia Syms.

They Knew What They Wanted (1940 Garson Kanin)

I need no incentive to watch Carole Lombard in anything - she is at her usual self here, full of life, as a waitress who answers a marriage proposal in a letter. The proposer is Italian vineyard owner Charles Laughton. Unfortunately romantic complications evolve with William Gargan though after the involvement of the censor it all goes a bit murky. Suffers also from poor acting in the support roles.

Music by Lionel Newman, sunset by Stradling, RKO.

Wonder Boys (2000 Curtis Hanson)

Fabulous script by Steve Kloves (the Harry Potters, Fabulous Baker Boys, Amazing Spider Man), the Night of the Dead Dog, really good writing, adapted from a novel by Michael Chabon. Quirky, unusual touches, another film about a far too long novel. Michael Douglas gives a super performance, as does Robert Downey Jr. Tobey Macguire, Frances McDormand, Katie Holmes, Rip Torn, Richard Thomas, Philip Bosco, all good. Great editing by Dede Allen too. All round good. Shot by Dante Spinotti.

A League of Their Own (1992 Penny Marshall)

Remember Lowell Ganz and Babaloo Mandel? ("See how it works is the train moves, not the station.") Marshall and editor George Bowers inject terrific energy into baseball scenes and dance routine (expertly choreographed). Story of women's baseball league during WW2 is good, generally. Geena Davis steals the film. With Tom Hanks, Lori Petty, Madonna, Rosie O'Donnell, David Strathairn, Bill Pullman, Garry Marshall. Oh yeah, Jon Lovitz stole the film first as ultra sarcastic talent scout - he doesn't seem to have had much of an impact.

Shot by Miroslav Ondricek.

Has a rather over-sugared ending.

Genius (2016 Michael Grandage)

'Red Pencil' might have been a better title for talky drama about Tom Wolfe and his literary agent, a curiously English project for such American subject matter, with English stage director and actors (both Jude Law and Colin Firth's accents seemed forced). With Nicole Kidman and Laura Linney, plus Guy Pearce, Dominic West and Vanessa Kirby again (Me Before You).

Good acting, quite interesting on creative process and book editing, but subject a little dull and unsympathetic. Intriguingly raises the question as to which is the genius - the writer or the editor.

I wish they'd show credits at the beginning of films - I would have paid more attention to the editing, it being Chris Dickens. Shot in a Hoppery style by Ben Davis in Panavision (Kick-Ass, Tamara Drewe, Doctor Strange, Stardust).

The fate of traduced F. Scott Fitzgerald and Zelda is sad indeed. Best bits are with Firth's family. A bit of a lumpy film, really. The writer was John Logan, who contributed to both Spectre and Skyfall, wrote The Aviator and adapted Hugo.

Me Before You (2016 Thea Sharrock)

Prolific writer of romantic fiction Jojo Moyes heard a story about a quadriplegic ex-rugby player who wanted to end his own life; that made it into a bestseller which she adapted, her first screenplay. (Sharrock's previous job was two episodes of 'Meet the Midwife'.) She somewhat surprised us in the extras by claiming that she doesn't normally really 'discover' her characters until midway through writing - this one being different. Interestingly the original announcement was that Neustadter/Weber (500 Days of Summer, The Spectacular Now, The Fault in our Stars) were to adapt it and Jojo assumed someone else would do it, but 'they' said 'Do you want to have a go?' and she said 'Yes' (full interview here). There's no mention of these two in the credits so don't believe announcements.

Emilia Clarke gives a wonderfully whimsical and sweet performance opposite Sam Claflin (there's a certain Bridget Jones-Hugh Grant to it.) Good cast encompasses Janet McTeer, Charles Dance, Samantha Spiro, Brendan Coyle, Jenna Coleman, Matthew Lewis (Harry Potter series), Stephen Peacocke, Vanessa Kirby and Joanna Lumley.

It's perhaps slightly unsubtle at times but what Q calls 'a little gem', though I'm not sure Moyes really gets to the nub of why dying was the only option. Shot by Remi Adafarasin in Panavision, with presumably his son Ben as second assistant camera; editor is John Wilson  (London Road, Downton, The History Boys).

It's Pembroke Castle. The tropical island is Mallorca. Place Dauphin in Paris does look nice,