Shaun of the Dead (2014 Edgar Wright)

Jessica Hynes, Martin Freeman, Reece Shearsmith, Tamsin Greig, Julia Deakin, Matt Lucas

Midnight Run (1988 Martin Brest)

George Gallo's action-comedy screenplay has bail bondsman de Niro trying to retrieve Charles Grodin to LA whilst being pursued by the FBI (Yaphet Kotto), the mob (Dennis Farina and Philip Baker Hall) and fellow bondsman John Ashton. With a touch of Planes, Trains and Automobiles. de Niro-Grodin relationship works.

Danny Elfman's blues rock score is a bit much to take.

Red River (1948 Howard Hawks)

Took long enough to catch up with this classic Hawks western but worth the wait. John Wayne and Montgomery Clift give great performances as quasi father-son who fall out murderously over the direction their Texas-Kansas cattle trail is leading them. Written by Charles Schnee and Borden Chase, based on the latter's newspaper article. Superb handling of actors and animals (consider how the stampede scene was managed - a great suspense scene).

Quintessential Hawks buddy film, with day saved by gutsy woman. I presume Wayne's character did get the profits, but it isn't elaborated.

Ford famously said of Wayne after watching it "I didn't know that son of a bitch could act", but what he was really referring to was the length of Duke's hair. It was such a surprise to see it that long, everyone thought it was great acting.

Cast: Walter Brennan, Joanne Dru, Colleen Gray, Harry Carey Sr. (business man in Abilene; died before the film was released), John Ireland (the other fast gun), Noah Beery, Harry Carey Jr., Chief Yowlachie, Paul Fix, Hank Worden (many John Fords). Arthur Rosson (yes, Hal's brother) gets credit as co-director (he shot the stampede). Dmitri Tiomkin, Russell Harlan. An independent Monterey Production.

This print with the pages of the book interspersed throughout is not the final cut, which has Brennan narrating.

The Innocents (1961 Jack Clayton)

It's that quite astonishing montage in the middle which is the highlight of the film. Jim Clark doesn't expand on this much in his book, other than saying that his 'cunning dissolves [were] somewhat influenced by George Stevens' A Place In The Sun (and that Clayton was on the brandy the whole time).

Clark also reveals that Clayton grew so furious when a critics' viewing was delayed (and thus he'd had to wait an extra half hour for feedback) that he smashed up the model of the house and wouldn't speak to the editor for some time after.

The kids (Pamela Franklin and Martin Stephens) are really well directed. Full info here.

Henry James novel adapted by William Archibald, Truman Capote and John Mortimer.

Fallen Angel (1945 Otto Preminger)

Well - Dana Andrews' character seems reprehensible - he's going to marry Alice Faye just for her money, then slink off with slinky Linda Darnell, who's restless and desperate and weary. The problem is she's a magnet for men, including employer 'Pop' Percy Kilbride, corrupt ex-cop Charles Bickford (a truly nasty piece of work) and slot machine salesman Bruce Cabot. Anne Revere is the sister and Jimmy Conlin appears unbilled.

It's not the usual noir, but evocative and hard-nosed, one to watch. Lit by Joseph LaShelle, score by David Raksin. Written by Harry Kleiner from Marty Holland's novel.

The Bank Job (2008 Roger Donaldson)

Dick Clement and Ian La Fresnais' screenplay is assured and refreshingly fast paced, so within no time at all we're at the robbery, knowing the participants on all sides and what's at stake. It's so zippy in that regard it's like an early Warner Brothers film (they were 71 when it was released). It's also as funny as you'd expect from the writers of Porridge. Loved the plague tunnel, and the radio ham, and the ambulance-outside-bank ploy.

Jason Statham, Danny Mays, Saffron Burrows, Stephen Campbell Moore, Richard Lintern, Peter Bowles, Michael Jibson, Hattie Morahan, Keeley Hawes, David Suchet.

Shot by Michael Coulter in Panavision. An unexpected treat.

We're No Angels (1954 Michael Curtiz)

Fairly obviously a play - Albert Husson - adapted by Ranald MacDougal - in which escaped convicts on Devil's Island Bogart, Peter Ustinov and Aldo Ray take over house and lives of Leo G Caroll, Joan Bennett and Gloria Talbott; and sort out beastly machinations of relative Basil Rathbone and John Baer.

Somewhat weak ending where the 'angels' decide to return to prison was I guess determined by the Hays Office. Unexpectedly, a Christmas film. Good fun.

Filmed by Loyal Griggs, music by Frederick Hollander. Paramount. VistaVision.

Unbelievable (2019 Susannah Grant, Michael Chabon, Ayelet Waldman)

Vulnerable girl (Kaitlyn Dever) is raped. After considerable police pressure, she confesses she's made it up. Elsewhere cops Merritt Weaver and Toni Collette join forces when they realise their rape cases bear striking similarities.  Based on a true story.

In the course of their search, we even start to suspect their husbands. Collette has an annoying way of power-walking away when someone's trying to tell her something; Weaver is quietly persistent.

Film is strong on painting rape as an under-solved and tricky to deal with crime, and its effect on victims. Also revealing on domestic abuse problem within the police force. Grant wrote four of the episodes, Lisa Cholodenko directed three. Not without touches of humour.

Assisting the detectives are Dale Dickey (Hell or High Water) and Omar Maskati. Amongst the victims, Danielle Macdonald particularly stands out (she was in Dumplin').

Johnny O'Clock (1947 Robert Rossen & scr)

Terrific terse dialogue and stylish direction as theme of clocks runs through the film - even the roulette wheels on the walls resemble them.

"He's dead. He died at 12.30."
Looks at watch - it's 12.20. Great stuff.

"Tell him to stop playing. It's bad for my eyes."
"You, with the hands. Go home."

Dick Powell is the titular gentleman, a cool saloon manager working for Thomas Gomez (rather good as Marchettis; also in Key Largo and that other notable noir Force of Evil). Ellen Drew is the lady caught between them. The tale is merrily complicated by a cop Lee J. Cobb, a disappeared gangster and his moll Jim Bannon and Nina Foch and the arrival of her sister, Evelyn Keyes. With John Kellogg as an ex-con.

Film noir photographed by Burnett Guffey with good music from George Duning. Columbia.

Rossen wrote Marked Woman, A Walk In the Sun, All the King's Men, The Strange Love of Martha Ivers, Desert Fury, Lilith, The Hustler.

Cheaper by the Dozen (1950 Walter Lang)

This was the name of the 1948 book written by two of the twelve Gilbreth children about their efficiency expert father and the family adventures. Clifton Webb and Myrna Loy play the parents; Jeanne Crain is the eldest daughter. With Mildred Natwick as a birth control advocate and Sara Allgood the maid. Webb keeps it going.

Photographed by Leon Shamroy.

Hardball (2001 Brian Robbins)

Gambler Keanu Reeves achieves redemption through basically winning a very risky bet, which enables him to pay off his debts, and coaching an inner city baseball team, who become magically good through no particular reason. Film thus is a little flimsily written and really quite chichéd and derivative of The Bad News Bears - indeed it's even released with it in a double DVD. However, Reeves is unusually watchable, he's paired with Diane Lane (which is always good) and the little bastards - I mean the lovely lads of the team - are neither too winsome nor too real. It would probably appeal to thirteen year olds.

They Drive By Night (1938 Arthur Wood)

Who? What? Loved the first chunk of the film - petty criminal Emlyn Williams's escape from London up North - which takes place entirely in the rain. Then he saves Anna Konstam (who?) and she in return shelters him until they uncover the real murderer Ernest Thesiger. Has quite a colloquial tone of voice (James Curtis and Paul Gangelin - who? - and DN Twist - yes, the early Hitch / Powell editor) and zip, made by Warner Brothers for the UK. I don't know who Wood is either. Shot by Basil Emmott, edited by Leslie Norman; William Hartnell can be spotted quickly.

The Night of the Party (1935 Michael Powell)

Various dinner guests have reasons for killing newspaper tycoon Malcom Keen. When enacting a game of 'Murder', it happens. Leslie Banks (The Small Back Room, Went the Day Well?, The Man Who Knew Too Much, Powell's The Fire Raisers) is rather good as the investigating detective, and Ernest Thesiger gives an outrageous turn as a shunned novelist. It's quite mad, but nice and short, with court room finale. One or two stylish touches (murder illuminated by flashing neon sign).

Art director is Alfred Junge.

Oh, Daddy! (1935 Graham Cutts, Austin Melford)

From a scenario by Michael Powell - this is a real completionists's film - it's not even listed in his filmography in his own book.

Essentially quite funny, with Leslie Henson and Robertson Hare members of the Purity Committee who waste no time drinking and getting it on with women - one of them Henson's unknown step-daughter, Frances Day. Unfortunately the film also serves as a showcase for her dubious talents and we are subjected to three awful musical numbers - awful lyrics, awful ideas, awful choreography.

Shot by Mutz Greenbaum, before he became Max Greene, and edited by Charles Frend.

Cold Mountain (2003 Anthony Minghella & scr)

What's wrong with Cold Mountain? Why doesn't it connect? Based on the novel by Charles Frazier, it tells of the journey home to his loved one of a Civil War deserter, and her travails back at home. It is, in fact, quite a grim film - after two and a half hours our hero, Jude Law (good) is killed. Maybe that's why we hadn't seen it since (sometimes there are good reasons.) Maybe we don't care enough about their relationship? In any event, the good part of the story then is really that tough farm girl Renée Zellweger (winning Oscar) comes to help run Nicole Kidman's farm and the two become great friends.

Dreadful men - exemplified by Ray Winstone and albino Charlie Hunnam - keep doing increasingly horrible things throughout, and maybe that's a problem. We need more light and shade. There's also no laughs to speak of, though Brendan Gleeson and his accompanist Ethan Suplee bring a little cheer. In fact one of the pleasures of the film is that great people keep popping up throughout - thus: Donald Sutherland, Eileen Atkins, Philip Seymour Hoffman, Natalie Portman, Giovanni Ribisi, Kathy Baker and even Cillian Murphy.

No argument about Walter Murch, John Seale or Gabriel Yared's music, but overall it doesn't compete with The English Patient.

I was amused to read that Frazier was paid an $8 million advance for his next book 'Thirteen Moons',  which was a flop.

Pursued (1947 Raoul Walsh)

Robert Mitchum and Teresa Wright in a revenge western, ably directed by Walsh (liked for example when Mitchum's horseback trail is being shadowed from on top of the hill) and shot broodingly dark by Jimmy Wong Howe.  With Judith Anderson, Dean Jagger, Alan Hale (saloon owner).

Not sure Niven Busch screenplay really hangs together - Mitchum haunted by past event which caused him to be brought up by Anderson, pursued for no clear reason by Jagger. He (the writer) was married to Teresa at the time.

Good music by Michael Curtiz. What the fuck am I talking about? Max Steiner. Warners.

Walsh made the 1924 Thief of Bagdad, The Sheriff of Fractured Jaw, White Heat, The Strawberry Blonde, High Sierra, They Drive By Night. He was Cagney's favourite director because he said if he didn't know what to do, Walsh would be able to stand up there and show him (another former actor).

Django Unchained (2012 Quentin Tarantino & scr)

Oscar and BAFTA winner for screenplay - which is extremely canny, providing a spaghetti western blaxploitation revisionist Civil War Black Power revenge story! (Why does it begin '1858 - two years before the Civil War' when that began in 1861? ) Much more effective for me than something like Twelve Years a Slave, as it shows the horror of slave life but gives us a hero to fight back - I hope it went down well with black audiences. (Spike Lee declared is 'disrespectful to my ancestors' without having even seen it!) But it's also crafty in that the Samuel L Jackson character is the Hattie McDaniels Mammy but pushed so far that he's now actually an equal to the master - and he's somehow become white. (Another great performance.) And Christoph Waltz won an Oscar for his polite bounty hunter - a terrific character - and Jamie Foxx has all the necessary brooding anger. Leo's rather good too and makes me think he'd make a good Billy the Kid.

It's Peckinpah's violence dialled up by a power of ten. Crazy funny as well, and smart. Can you imagine having to reset one of those blood-soaked sets, the continuity problems...

I like the way that the huge 'Mississippi' title comes on left to right like GWTW's titles, and the end explosion is a riff on The Good the Bad and the Ugly, one of QT's favourite films,

My only thought is we could have done with a more gutsy female character (which QT is so good at writing) - but it's not necessary to the story.

With an extremely eclectic film score and wonderful photography from Robert Richardson (on film), which uses the zoom lens in  a funny way.

Fear in the Night (1972 Jimmy Sangster & co-scr)

Is vulnerable newly-wed Judy Geeson going mad, or is a one-armed man trying to kill her in out-of-term boys' school? I swear Hammer was trying to kill off the British film industry single-handed. It's awful.

In Wayne Kinsey's 'cute' book on Hammer, it's revealed that a production meeting on the film ground to a halt after one of the female prop buyers referred to a 'lovely pair of knockers' she had - I think that says it all.

With Ralph Bates, Peter Cushing and Joan Collins.

Rocketman (2019 Dexter Fletcher)

Quite successful attempt to tell the truth about Elton John's life - up until he cleaned up - as an exaggerated musical - bringing to life some of the inner meanings of Bernie Taupin's lyrics. Written by Lee Hall (Billy Elliott, War Horse). Centred by a great performance from Taron Egerton. With Jamie Bell, Bryce Dallas Howard, Steven Mackintosh, Richard Madden, Stephen Graham, Gemma Jones, Charlie Rowe, Matthew Illesley, Harriet Walter, Ophelia Lovibond.

Photographed by George Richmond, edited by Chris Dickens.

Peaky Blinders - Season 5 (2019 Steven Knight)

1929. Wall Street has crashed, Michael's in the dog house (his new wife is Anya Taylor-Joy from Thoroughbreds and Endeavour), Tommy's son Charlie doesn't seem to like him very much and there's new kids on the block - the 'Billy Boys' - headed by Brendan's son Brian Gleeson. Sam Claflin as Oswald Moseley is the one to hate now.

Loved the episode beginning where Tom and Polly go to the nuns and withdraw their funding.

Everyone's on the coke; Tommy prefers opium - he's beginning to see visions of Grace more and more; we wonder if his brain injury is partly responsible. But ripping off the Chinese surely isn't a good idea..

Arthur's going to implode or explode. Michael has Grand Designs. Finn opens his big mouth. People keep coming back from the dead. That we get a 'cunt' in the 9PM BBC One slot shows how times have changed indeed.

Directed by Anthony Byrne, photographed by Si Bell (who's also shot Knight's upcoming Christmas Carol) who oversees some great lighting, especially by fire: