Wild (2014)


Harrowing true-life account of Cheryl Strayed’s 1,000-mile hike along the Pacific Crest Trail, adapted from her successful book. It’s fairly disturbing stuff, as the film chronicles her attempts to come to terms with bereavement, heroin addiction, abusive relationships and years of emotional pain. There’s a pessimistic message about men being predatory monsters. But then in Donald Trump’s America, maybe that’s the reality (see: https://www.bbc.co.uk/news/world-us-canada-45958023). The scenery is stunning. Music plays a big part, too, and I like the way Reese Witherspoon in the lead role often sings the songs on the soundtrack so that you seem to hear them on multiple levels. Simon & Garfunkel’s “El Cóndor Pasa (If I Could)” acts as a recurring theme. There’s inevitably a sense of catharsis as Strayed survives multiple threats, completes the trail and looks forward to the rest of her life. Laura Dern is especially likeable as her positive-but-doomed mother and the flashback sections detailing various stages of their relationship make up the most powerful parts of the film. Somehow it wasn’t as moving as it might have been, although it’s difficult to pinpoint why. Perhaps it’s because Strayed doesn’t emerge as a particularly sympathetic character. But then why should she? It’s to the film’s credit that she’s not portrayed as some kind of saint.

Supergirl (1984)


A ludicrous mess. Kara Zor-El, the cousin of Superman, comes to Earth in pursuit of the Omegahedron – an orb with remarkable powers. This mystical ball falls into the hands of an evil witch called Selena who, for some reason, lives in a disused fairground with her annoying friend Bianca. It’s difficult to say whose acting is worse: Peter O’Toole, Peter Cook or Faye Dunaway all ham it up like mad, wrestling with a fundamentally flawed script. Unsure whether to play it for laughs or kitsch kicks, they flail around like pantomime actors who failed their am-dram audition. Helen Slater is actually quite appealing as Supergirl/Linda Lee. There’s a vulnerability and naivety that is endearing. And the sections in which she starts at school and befriends a girl called Lucy Lane – Lois Lane’s sister, amazingly enough – hint at another, more charming film with human-interest elements you can relate to. More of this would have been welcome. But it’s wildly uneven in tone and there are colossal holes in the plot logic. For example, when Selena first acquires her sinister powers she inexplicably puts aside the thoughts of world domination she has already shared with Peter Cook. Instead, she decides to kidnap a gardener, drug him with a love potion and then – when he wanders off – uses telekinesis to steer a construction vehicle through the streets to return him to her. Why? This is one of the few action sequences, but it’s still a small-scale affair involving a few cars, some burning tyres, a water tower and some hay blowing around the street. It certainly doesn’t have the epic scale of the first two Superman films, which seemed to use the whole Earth as their set. In fact, Supergirl seems relatively low-budget despite being made for $35 million by the same production team. Despite all the woeful elements, it was just about entertaining enough for me to make it through to the end. The flying sequences are a thrill, just as they always were with Christopher Reeve, and the rare moments in which Supergirl displays her powers are enjoyable. But the film could have been so much better.

The Imposter (2012)


Documentary about a 13-year-old Texan boy, Nicholas Barclay, who goes missing in 1994. More than three years later in 1997 he is “found” living in Spain and returns to the USA to live with his family. In fact, the family has taken in Frédéric Bourdin, a serial con-artist who is French, has a different eye colour and is several years older than the vanished child. His ears look totally different, too, as is noted by the private detective who begins looking into the case. Despite the additional involvement of the FBI, it takes almost five months for Bourdin to be found out. How the family could have believed this was Nicholas – or whether indeed they did believe it – is the subject of this riveting film. It expertly weaves together interviews with the family and the imposter himself and places these in context with subtle and clever reconstructions. Barclay’s sister made a big impression on me. Her account of travelling to Spain to retrieve her “brother” – and the countdown to the moment of their meeting – is horrifically compelling. And Bourdin himself – seemingly remorseless and even smug about his deceptions – is disturbingly charismatic. The most gripping and mind-boggling documentary I’ve ever seen.

Pete’s Dragon (2016)


I loved this Disney film when I saw it at the cinema and I loved it just as much two years later on a £1 charity-shop DVD. Pete, aged four, is orphaned when his parents crash their car on a remote forest road. He meets a green (sometimes invisible) dragon, who he befriends and lives with for six years before they are discovered by the outside world and everything changes... Not very promising on paper, but this simple film is surprisingly powerful and emotional. Robert Redford is endearing as the wise old man who believes in magic. His park ranger daughter (Bryce Dallas Howard) is convincingly sensitive as Pete’s new “mother”. Pete himself is played by Oakes Fegley, who delivers one of the strongest child-actor performances I’ve ever seen. There’s an ecology message (deforestation is not good) and the CGI effects are so sophisticated that you never once doubt what you are seeing. The soundtrack is brilliantly unDisney, with Bonnie “Prince” Billy, St. Vincent and Leonard Cohen all suiting the tender tone of the film perfectly. It’s difficult to say why this simple story of love and friendship ends up being so moving, but both times I have watched it I have been left feeling profoundly touched.

Chocolat (2000)


Romantic comedy-drama. Restless spirit Juliette Binoche and her young daughter arrive in a small and small-minded French town in 1959. She opens a chocolate shop and slowly begins to transform the lives of the locals with the exotic, seductive treats she prepares. The ever-reliable Judi Dench is her cranky old landlady, who suffers from diabetes and family discord. Johnny Depp is a river gypsy, fellow outsider and, inevitably, becomes her love interest. Alfred Molina plays Comte de Reynaud, the repressive mayor who regards everything Binoche does as a threat to his control of the town. Best of all is Lena Olin as the abused wife and pretty thief Josephine, who becomes her friend.

The film is slow to get going and I was close to giving up with it in the first 20 minutes. It eventually draws you in, despite being far from “my kind of thing”. There’s some silly semi-mystical fluff about the north wind, and at times it’s all a bit too polite and simplistic. Binoche uses chocolate like a benevolent drug dealer – part sorcerer, part Nigella Lawson. Plus, it wasn’t very imaginatively shot. There are weighty themes (prejudice vs. tolerance, imprisonment vs. freedom, religious oppression vs. true enlightenment) that might make you think a bit – but only a bit. Binoche is charming and easy to like, ultimately eroding any lingering cynicism.

La Bamba (1987)


Fairly straightforward biopic of Ritchie Valens, who famously died at the age of 17 in the same 1959 plane crash that killed Buddy Holly and the Big Bopper. Lou Diamond Phillips is convincing and charming in the main role. Esai Morales is less credible and somewhat overwrought as his troubled ex-con brother Bob. Rosanna DeSoto plays their devoted mother, who helps Ritchie make it big, while Danielle von Zerneck is Ritchie’s sweet girlfriend Donna Ludwig (subject of his hit single “Donna”).

The film balances the story of two brothers with the brief, swift rise to fame of Valens. It tackles issues of race, class and poverty. The sub-plot about Donna’s father forbidding her to date Valens is not satisfactorily resolved, and there’s rather too much about the troubles of Bob, his girlfriend and their baby. That said, the story is a good one and our prior knowledge of how it will end adds tragic significance to each scene as the film unfolds.

Flashdance (1983)


Ludicrous. Alexandra lives in Pittsburgh. By day she works as a welder. By night she is an erotic dancer. But she has aspirations to be a ballet dancer. And her boss at the steel mill fancies her. Plot-wise, that’s about it. This is one of the most extreme examples of “film as extended pop video”. There’s minimal dialogue. One scene combines three different musical segments without any speaking at all. 

Being a true 1980s film, it’s full of references to social mobility. Jennifer Beals is OK as the pretty 18-year-old who dreams big and still looks immaculate after a long day of welding. The Giorgio Moroder soundtrack is a perfect window into the time. Irene Cara sings the main theme (“What a Feeling”), further linking this film to Fame, which it partly emulates (Irene Cara sang that theme too). 

But there’s something not quite right about Flashdance: the ethics are all over the place and the male lead (Michael Nouri) is merely adequate in an underdeveloped part. The sub-plot about the failed comedian goes nowhere. And the pivotal dance-academy audition scene at the end falls flat because you can tell it’s a body double – and not Beals – doing the dancing. It’s a bit of a turkey, really, and it makes Dirty Dancing look like a masterpiece. It grossed $201 million.

The Eagle (2011)


Historical drama set in AD 140 based on Rosemary Sutcliff's novel The Eagle of the Ninth (1954). After being discharged for injury in battle, a Roman officer (Channing Tatum) travels north with his slave (Jamie Bell) to the wilds of Scotland to seek the lost Roman eagle standard of his father's legion.

The film explores powerful themes of honour and freedom. It’s incredibly violent and bloody for a “12”, and the barbarian “seal people” are terrifying. One criticism is that after an impressive lack of cliché the film’s ending somehow doesn’t ring true, hinting at “bromance” action-hero tropes. The DVD has an alternative ending included as a bonus element that initially seemed far more satisfying as it allows for character development and a more multifaceted moral outlook. On reflection, I was unsure whether enough time has passed for that perspective to have shifted. So either way, the ending isn't quite right.

Star Wars Episode VII: The Force Awakens (2015)


In the safe hands of director J.J. Abrams, this cleverly continues the Star Wars saga while simultaneously acting as a sort of franchise reboot. There are so many elements repeated from previous films – important message carried in droid, seedy bar with exotic species from across the galaxy, deadly battle station with deadly super-weapon, evil regime battled by small resistance group, person falling into deep shaft, having to blow up something huge to save the galaxy – that it seems like a homage to the original trilogy. But there are exciting new elements, too – a welcome greying of the simplistic good vs. evil extremes of yore, some charming, unexpected character-based wit emerging from the dialogue and a believably “real” visual quality we haven’t seen before. Harrison Ford plays the now-elderly Han Solo and surprisingly seems one of the weaker elements in the film – a slightly ridiculous figure. Encouragingly, however, Episode VII ushers in a credible new generation of characters and actors – Daisy Ridley as the plucky Force-sensitive Rey, Oscar Isaac as the handsome resistance pilot Poe and Adam Driver as the “new Darth Vader” Kylo Ren. The latter is especially watchable, with his temper tantrums and visibly conflicted feelings. 

All in all, it’s a rich and rewarding step forwards – and sideways – for a series that (after the prequels) badly needed this kind of care and attention.

Enigma (2001)


Tom Stoppard’s adaptation of a Robert Harris World War II thriller set at Bletchley Park in 1943. Dougray Scott plays Tom Jericho, troubled code-breaking “genius”. Kate Winslet plays Hester Wallace, best friend of Tom’s ex-girlfriend who has gone missing. The pair team up to look for the missing girl and also to crack the code that could prevent Nazi U boats attacking an Allied shipping convoy. It’s an intriguing, mostly low-key story with moments of suspense, but it’s less captivating and emotionally involving than the Alan Turing cryptography-themed biopic The Imitation Game (2014). Kate Windswept is endearing, but Jeremy Northam out-acts everyone else as the sinister Secret Service operative Mr. Wigram. Surprisingly, the film was co-produced by Mick Jagger, who has a brief cameo as an officer sat at a table during a dance. What’s unfortunate is that Alan Turing’s role in inventing the Enigma machine is completely overlooked. In fact, its creation is here attributed to a fictional character – another sad example of the glossing over of Turing’s remarkable achievements.

Moonstruck (1987)


Quirky romantic comedy starring Cher as an Italian-American widow who falls for her fiancé’s troubled, opera-loving brother (Nicolas Cage). It works like a play, with elements of farce and drama as a family finds itself tangled up in various relationship complications. Cher is fantastic as a disillusioned woman in her late thirties who suddenly remembers how to live and love. Olympia Dukakis is perfectly cast as her wise and weary mother, who finds herself on an unexpected date with Frasier actor John Mahoney. Cage is intense and charismatic. There’s gentle wit and some laugh-out-loud moments, plus a great soundtrack featuring Dean Martin, Vikki Carr and Puccini. The film avoids the clichés and pitfalls of less sophisticated rom-coms and instead offers something eccentric and distinctive.

Moon (2009)


Absolutely mind-blowing. Written and directed by Duncan Jones, David Bowie’s son, this is a clever, thought-provoking and heart-rending sci-fi masterpiece. Sam Bell (Sam Rockwell) works alone on the Moon as a mining engineer with only a computer (voiced by Kevin Spacey) for company. But events take a surreal, hallucinatory turn and he discovers that all is not as it seems (I don’t want to give away the plot twists, but what Sam learns about his situation changes everything).

The film asks deep questions about who we are, what it is to be human and how we live. It’s unbearably tense, partly thanks to the compelling music by Clint Mansell (by contrast, there’s a memorable scene that uses Katrina and the Waves’ Walking on Sunshine to comic effect). The lunar scenery is incredibly believable (models rather than CGI), as is the somewhat scruffy interior of the base. There are thematic connections with 2001, Blade Runner and Passengers. After seeing the film I felt moved and wanted to watch it again immediately.

Life Is Beautiful (1997)


A masterpiece, pretty much. Guido (Roberto Benigni) uses his extraordinary imagination to protect his young son from the reality of living in a Nazi concentration camp by presenting the whole thing as an elaborate game in which he has to score 1,000 points to win. The film begins as a gentle romantic comedy (Benigni’s real-life wife Nicoletta Braschi plays Dora, the woman he woos and marries) that’s full of frothy slapstick, and ingenious connections between threads of the story enhanced by Guido’s quick thinking. The hilarious opening section means that the sudden switch to the deeply serious second half is all the more powerful. The astonishing performance by the couple’s young son Giosuè (Giorgio Cantarini) makes the sense of innocence under threat absolutely gut-wrenching. It’s a dazzling film about the power of love, hope and the human imagination.

The Living Daylights (1987)


Initially, I thought that the first film with Timothy Dalton as James Bond was perhaps even more ridiculous than the others in the series. There are exploding milk bottles, a man who looks like David Bowie who murders people with his Walkman and a chase down a snow-covered mountain in a cello case. But then I realised that they are all this ridiculous. 

Dalton – an unpopular Bond – is actually fairly strong in the part, even if his throwaway comments after killing people continue to reinforce the notion that 007 must be a psychopath. There’s only one Bond girl, as this was the era of AIDS consciousness, and Maryam d'Abo is weak in the role. Jeroen Krabbé is OK-ish as a troublesome Soviet general, although the same actor was more convincing when he played the villain in The Fugitive. Joe Don Baker is too "pantomime" as American military enthusiast Brad Whitaker.

Overall there’s a slightly low-budget feel about it, but that actually gives it a more appealing back-to-basics quality (it’s not all exotic locations and super-yachts). But the plot – regarding the KGB, arms dealers, drug dealers and the Mujahideen – is too convoluted and I’m still not sure it entirely made sense.

Dante’s Peak (1997)


Another film viewed on TV while on holiday. Pierce Brosnan plays a volcanologist who recently lost his girlfriend in a volcanic eruption in Colombia. He now has to convince the town of Dante’s Peak to evacuate before everything kicks off. Then everything kicks off.

It’s a compelling disaster film with a genuinely dramatic visualisation of a town being destroyed by an eruption, with its ensuing rivers of lava, toxic ash clouds and devastating pyroclastic flows. Brosnan is just right for the role – it’s partly a James Bond action scenario, partly a step forwards into a more “human” part. The “love interest” is the town mayor, played by Linda Hamilton.

My only criticism is that there seemed to be a scene missing near the end at the very climax of the film. While it’s not emotionally gruelling or upsetting like The Impossible (with which it shares a family-in-peril theme), it’s an entirely believable thriller.

Romancing the Stone (1984)


Another film watched on TV while on holiday. This is an action-adventure romp starring Michael Douglas and Kathleen Turner

The plot is ludicrous, but it’s also charming and fun. Turner is terrific as the lonely romantic novelist from New York who finds herself in her own romantic saga in Colombia. Douglas is passable as the male lead, an American bird smuggler. I like the line when – reading an old magazine in a crashed plane – he exclaims “Dammit, man” having finally learned that “the Doobie Brothers broke up!” 

I could have done without Danny DeVito, who seems to play the same part in every film he’s in, but even with his unfunny antics this is still highly enjoyable fluff.

Raiders of the Lost Ark (1981)


Finally saw this on TV, 37 years after it came out. Disappointing. It’s a good-natured swashbuckling romp that veers on pantomime in places (daft running around and escape scenes, camp bald man who takes off his shirt to have a fight, a monkey who works for the Nazis), with cartoonish violence (like James Bond, Indiana Jones can be sprayed by machine-gun fire and never be hurt). There’s also queasily intrusive music by John Williams, who lazily recycles his themes from other films (including Star Wars). On the plus side, Harrison Ford is always watchable (he was at the height of his good looks) and Karen Allen is impressive as the love interest Marion Ravenwood. The ending is utterly preposterous, with the semi-realist narrative suddenly turning supernatural. As with all Steven Spielberg films except for Duel and Jaws, I couldn’t quite see what all the fuss was about.

12 Angry Men (1957)


Courtroom drama directed by Sidney Lumet. This is a slow-burner set in one (sweaty) room. It’s all about the dialogue. One man in a jury of 12 attempts to challenge a guilty verdict and makes his colleagues begin to question what they believe they know and the prejudices informing the ways they think. It should be a set text for all students of law or psychology, studying as it does the way people behave in groups and how we are all swayed by one another and the power of the mob.

Henry Fonda is excellent as the voice of reason who gently but persuasively begins to make a difference in a group of people ready to send a young man to his death. In an era when democracy and freedom is under threat, it’s more relevant than ever.

Emma (1996)


Disappointing version of the Jane Austen novel starring Gwyneth Paltrow as the meddling girl who manipulates the affairs of those around her. The incidental music is intrusive, and dialogue that sparkles on the page somehow fails to come alive. At times there is a tired Sunday-evening-TV-drama feel to it. I’m still not sure if Ewan McGregor can act. There are flashes of wit, but not enough of them – baffling given the richness of the source material. It improves as Emma undergoes her character development, but Clueless, which adapts and updates the same story, is a far more entertaining and successful tribute to Austen’s talent.

Dirty Dancing (1987)


I had never seen this before. Almost a third of a century after its release I spent £1 to find out what all the fuss was about. Nineteen eighty-seven is the year of 1980s films. This film is so 1980s that it simply cannot convince you it is set in 1963. Not only does the music lurch between the decades, but also the fashions. Patrick Swayze acts with his sweaty muscles (he’s topless for much of the film), while Jennifer Grey is charming as the wide-eyed daddy’s girl who learns how to dance – and live her life.

Thematically, there’s plenty going on: a thread about class prejudice, the young vs. old generational divide and the sense of a new, more liberated world about to arrive. One flaw is the way that – as per the style of the times – it breaks down into a pop video at certain points, including the narrative climax when you get the big hit ‘(I’ve Had) The Time of My Life’ by Bill Medley and Jennifer Warnes.

Curiously, the mother of the family is almost entirely absent from the narrative. She barely gets to speak. Only the father’s opinion matters regarding their daughter’s behaviour. I hope this was the filmmakers making a point about sexism rather than forgetting to develop an integral character. That said, there’s plenty to enjoy – the period detail of a simpler time, the soundtrack (when it stays in the correct era) and the warm evocation of a long-gone American innocence at a Catskills resort.

Dawn of the Planet of the Apes (2014)


Despite the confusing title, this is the second film in the rebooted series. It’s incredibly intense. Ten years have passed and human civilisation has been decimated by the Simian Flu. The apes are living in the forest outside San Francisco in an advanced civilisation beyond that of cavemen, with buildings, developed relationships and basic language. Inevitably, this fragile human/ape coexistence is threatened when the humans intrude on the apes’ living space in their quest to restore a local power source at a hydroelectric dam. Before you know it, there’s all-out war.

As with Rise of the Planet of the Apes, the CGI is remarkably convincing. There are hefty themes about war, peace, trust, power, politics and social organisation. And there’s a lot of shooting. The film challenges the usual monsters-are-bad logic by letting the apes and humans be equally complex, with factions of both species intent on seeking conflict and peace. It’s gripping throughout, as well as strangely moving.

Steel Magnolias (1989)


Moving comedy-drama adapted from Robert Harling’s play. Indeed, it works very much as a theatrical piece with long, set scenes and acts. The story concerns six women in a small Louisiana town and examines how their lives interact. At the heart of it is a mother–daughter relationship. There are laughs and tears aplenty. Dolly Parton is a natural as the local beautician. Daryl Hannah proves she really can act as the timid newcomer who gets religion. Julia Roberts is the just-married daughter battling severe diabetes and Sally Field is her endlessly worried mother. Shirley MacLaine and Olympia Dukakis are also just right for their parts as older members of the community. The male characters (including Sam Shepard as Dolly Parton’s distant husband) are deliberately played down, allowing the film to keep its focus on the six women. Things are slow to get going and I didn’t think I was enjoying it, but matters improve when the narrative kicks in and ultimately works round to an emotional and satisfying conclusion.

Star Wars Episode II: Attack of the Clones (2002)


Episode II is even more awful than you remembered. There is so much wrong with it... Some of the worst “acting” you will ever see. Flat dialogue. “Jokes” that simply are not funny. Brightly lit green-screen sets that never seem real. Ponderous, almost faux-Shakespearean exchanges that hint at a weighty “significance” that never arrives. When Anakin tries to do “romance” – declaring his love for Padmé Amidala (Natalie Portman) – or indeed any kind of acting, it is excruciating. Hayden Christensen is way out of his depth and grotesquely miscast in the role of the troubled child about to become the evil dictator Darth Vader. Never once can you believe in him.

As with Episode I (1999), the weakest in the series, there’s something fundamentally “not quite right” about the whole film. There’s way too much of Obi-Wan Kenobi (Ewan McGregor) just...wandering around. And, but for a few action scenes, it’s incredibly s-l-o-w. Hard to believe this was designed to appeal to kids. Ian McDiarmid as Palpatine is the one redeeming feature.

Roxanne (1987)


Lovely romantic comedy: a retelling of the 1897 play Cyrano de Bergerac by Edmond Rostand. Steve Martin plays the wonderfully gifted fire chief for the small town of Nelson, who just happens to have a huge nose. He falls in love with a visiting astronomer, Roxanne (Daryl Hannah), who unfortunately is drawn to a good-looking dimwit instead. The love story is just part of the charm. There’s so much touching detail about how the people of the town live their lives, from the inept volunteer firemen to the various characters you get to know in Nelson’s bars, shops and cafés. Steve Martin is riveting as the aerobic, intellectual, poetic fire chief who eventually wins over the woman he loves. It’s heartwarming but also very funny for much of the time.

Ocean's Eleven (2001)


Completely unbelievable casino heist thriller. Some of the 11 criminals are caricatures, while Brad Pitt just eats during every scene. There are too many things in the plot that simply couldn’t happen, such as when they need to create a power cut and so steal a big piece of scientific equipment to release an electromagnet pulse that plunges all of Las Vegas into darkness. The guy with the English cockney accent is plain embarrassing. Why do American films and TV shows so often completely misjudge how English people speak? 

George Clooney is charming as Danny Ocean and Andy Garcia is convincingly nasty as the evil casino owner, but it’s too visually stylised and self-conscious to let you ever become fully engrossed in the story. 

Would I watch it again? No.

Fantastic 4 (2005)


Ludicrous Marvel film, which I found – still shrinkwrapped – on a bench in West Finchley. Plot: five people are exposed to mysterious cosmic rays while in space and are granted special powers. One of them becomes a baddie. The other four – the fantastic four – team up to use their powers for good. These powers are: 1. stretchy limbs, 2. strength, 3. fire/flying, and 4. invisibility. It’s shallow and forgettable. It wants to be funny and exciting but isn’t really either. The lame romance plot between Stretchy and Invisible limps along. Overall, it’s fairly poor – the sort of DVD I’d only watch if I found it on a bench.

The Family Stone (2005)


Funny and moving comedy drama about a family Christmas. The eldest of several children brings his girlfriend (Sarah Jessica Parker) to meet the family, with all sorts of unexpected consequences. There’s romance and tragedy, conflict and farce, and a lot of highly amusing moments along the way. Diane Keaton is superb as the mother – the centre of the family – who is dying of cancer. But unusually, every character is perfectly played and the writing is expertly judged. It tackles prejudice about privilege, deafness and homosexuality with a lightness of touch that stops it being heavy-handed. And ultimately, it’s as heartwarming a story as you’d expect from a Christmas film, but with enough sharp observation to prevent it ever becoming schmaltzy or predictable.

Sliding Doors (1998)


Intriguing romantic drama about a parallel-universe “What if?” life split in two. Gwyneth Paltrow and John Hannah are convincing in the lead roles, but the actors playing her cheating slimy boyfriend and his ludicrous mistress are terribly hammy. The boyfriend could have been evil but charming, but instead he’s just hopelessly unappealing so you have no idea why two women would like him so much – a major flaw. Plus, there’s a lot of swearing. On the plus side, Paltrow, an American, sustains an English accent. It’s set in west London and there are familiar landmarks aplenty. The potentially confusing mirror storylines work well in tandem and the film even manages a satisfying ending, which you would guess would be impossible. It “makes you think” as well as being entertaining.

The Italian Job (1969)


This is rightly regarded as a classic, but I never knew what all the fuss was about until I finally watched it today. No one told me how hilarious it was, either. What an amazing film! Michael Caine is dazzling as Swinging Sixties playbook crook Charlie Croker (note all the costume changes at the start) set on an audacious scheme to steal £4 million in gold. The Italian scenery is stunning. The car chases are spectacular. The music by Quincy Jones is perfectly suited to the film. There’s a self-conscious Britishness, too, from the “red, white and blue” Minis to the way Mr. Bridger (Noël Coward) worships the Queen. And the “cliffhanger” ending is one of the best I’ve ever seen.

Mannequin (1987)


Ludicrous romantic comedy about an enterprising young man in Philadelphia who discovers he has a gift for window-dressing, then falls in love with a shop mannequin...who just happens to be a reincarnated beauty from Ancient Egypt. The main couple (Andrew McCarthy and Kim Cattrall) are entertaining and the impossible fairytale romance has a certain charm – as in Splash. However, the bit-part actors including James Spader, are uniformly appalling, with poor lines and a complete lack of comic flair. Entire scenes fall flat, many of them involving the pathetic security guard and his dog. As with The Secret of My Success, from the same year and which I had watched the day before, it’s very much a film about upward mobility, such were the prevailing values of the time. And yet, despite its awfulness, there are some entertaining and even heartwarming moments. The soundtrack is utterly of its time and when “Nothing’s Gonna Stop Us Now” by Starship begins playing, it’s not remotely surprising. I don’t regret watching it, but I probably don’t ever need to see it again.

The Secret of My Success (1987)


From the DVD box: “Can a kid from Kansas come to New York to conquer the business world and manoeuvre his way from the mailroom to the boardroom in a matter of weeks? Michael J. Fox proves it can be done in this very funny lampoon of corporate business life. Fresh out of college, he’s determined to climb New York’s corporate ladder in record time by masquerading as an up-and-coming executive, even though he’s really the new mail boy. However, Fox’s plans begin to go awry when the boss’s wife falls in love with him and he falls in love with a junior executive, who also happens to be the boss’s mistress.

One of the most “1980s” films of them all, from the poundingly intrusive pop-video soundtrack to the romance with corporate life and the belief in upward mobility, it’s surprisingly quirky and entertaining. And the way it mutates into an old-fashioned farce with mistaken identities and tangled relationships is cleverly plotted. Helen Slater seems intended to resemble Lady Diana. One of the funnier scenes involves Michael J. Fox on the phone to his mother, trying to reassure her that everything is okay as he witnesses an armed robbery right next to him in the street.

The Fugitive (1993)


Harrison Ford is highly watchable as the smart Chicago doctor Richard Kimble, on the run after being wrongly accused of murdering his wife. Tommy Lee Jones is credible as the tough US marshall on his trail. It could have been awfully clichéd, but somehow ends up refreshing and compelling throughout. I especially liked the hair-raising “dam” sequence.

Thelma & Louise (1991)


What a great film. The two stars – Geena Davis and Susan Sarandon – are so compelling to watch. The scenery is stunning. The story works on many levels – road movie, thriller, feminist statement, homage to the likes of Bonnie & Clyde (1967), a story of friendship, and a study of personal development and transformation – that it’s captivating to see it unfold. There’s really nothing you could add or remove to improve it.

The Impossible (2012)


Scary and moving true story of a family caught in the 2004 tsunami that redrew the map around the Indian Ocean. It shows the shocking brutality of the event itself, but the focus is on what happens to the family when they are split up and wounded. It could so easily have been corny, but there were several moments that brought me to tears. It's gruelling and distressing to see so much human pain on such an epic scale.

Naomi Watts is highly convincing as the badly injured mother, trying to keep going for the sake of her son and the family members she believes lost. Ewan McGregor is less so as the father, although he's much better here than when he was being Obi-Wan Kenobi.

The film has been criticised for focusing on the "tourist experience" of the tsunami, rather than on how the event affected local people. That seems inevitable, somehow, but at its centre The Impossible celebrates the universal value of life and portrays all of the victims with compassion. For a "disaster film", there’s a refreshing absence of cliché and sensationalism.

A Single Man (2009)


Christopher Isherwood novel filmed with Colin Firth in the main part. A university professor in L.A. in 1962 mourns the death of his gay lover and plans his suicide. The film is set in one day, on which everything takes on heightened significance. Clever use of colour tones reflect his changing psychological state. Julianne Moore is absolutely terrific as a drunken friend who is in love with him. I wish she could have been in it more.

Cast Away (2000)


Yet another Tom Hanks film. A FedEx engineer has his plane crash and survives four years on a desert island before making a raft and attempting to escape. It’s a moving story with a surprising amount of humour as a result of “Wilson” his football “friend”. It’s impressive how the film allows for the passing of time, with Hanks visibly losing weight as well as gaining hair. I also like the way it didn’t simply end with his rescue, but instead started to ask some of the “What now?” questions. The slight cop out was how well-adjusted he seemed after four years away from all human contact. Where were the psychologists and therapists?

Casablanca (1942)


Deservedly regarded as an all-time classic. It’s both unsentimental and hugely romantic. Humphrey Bogart and Claude Rains are especially charismatic; Ingrid Bergman less so. Rick’s Café is a place I would like to spend all my spare time at.

The Theory of Everything (2014)


Very moving biopic of Stephen Hawking, charting his medical decline, his scientific achievements and his complicated personal life. That’s a lot to cram in and the film does it elegantly and without sensationalism. Eddie Redmayne is convincing in the lead role. Felicity Jones is superb as his wife Jane, from whose memoir this was adapted (Travelling to Infinity: My Life with Stephen).

Like Crazy (2011)


Starring Felicity Jones (of Star Wars: Rogue One fame), this is a refreshingly different love story. Its main selling point is the super-realist style that almost convinces you you’re watching a documentary. The highly believable scenes were mostly improvised and the result is a total lack of cliché. It’s particularly good at rendering moments of excruciating awkwardness. The male lead (Anton Yelchin) seems a little weak, but perhaps he’s meant to be. His other girlfriend is played by Jennifer Lawrence, who is as wonderful as ever. And the well-meaning London parents (who like a drink or three) are also completely convincing. It’s a sweet film that stays with you.

You've Got Mail (1998)


A sort of remake of the 1940 James Stewart film The Shop Around the Corner. Tom Hanks and Meg Ryan are reunited from Sleepless in Seattle as different characters in another romantic comedy. It’s flabbier than that earlier film and less sweet as a result. For example, the father and grandfather characters didn’t work at all and the convoluted scene with the children was just bolted on so that you could see Tom Hanks being a nice guy. That said, Meg and Tom work well together and it was nice that they had more on-screen time as a pair. In SiS, the film had ended at the moment they got together. It’s interestingly of its time in the way that e-mail and coffee shops are both new enough to be presented as novelties.

Sleepless in Seattle (1993)


Wonderful romantic comedy. It’s extremely well-written and would work well as a play – it’s all dialogue. No helicopter crashes here. 

Meg Ryan is brilliant as the slightly crazed woman who sets out to find the man (Tom Hanks) she heard baring his soul on a radio phone-in. 

Sweet and sentimental.

The pair would reunite for You've Got Mail.

Clueless (1995)


Alicia Silverstone is wonderful in this Beverly Hills teen comedy, written and directed by Amy Heckerling and partly based on Jane Austen’s Emma

Particularly good is the linguistic invention of the script. Cher uses phrases such as “shame spiral” and “complaint rock” (Radiohead, etc), some of which entered into general use as a result of the film.

Captain Phillips (2013)


Terrifying true-life story about a Maersk cargo ship hijacked by Somali pirates. The film steadily ramps up the tension to unbearable levels. There are no clichés and it’s entirely believable – even with Tom Hanks in the lead role. The music by Henry Jackman does a lot to build the atmosphere.

There was controversy that the film wrongly presented Richard Phillips as a hero, but I saw him as a mere victim. It inspired me to read his book A Captain’s Duty: Somali Pirates, Navy SEALs and Dangerous Days at Sea.

Inception (2010)


Barnardo’s, Whetstone. Baffling Christopher Nolan thriller about espionage conducted within dreams – on multiple levels. Buried within a highly convoluted plot is a powerful film about loss and grief, but it fails on many levels. There’s no chemistry between the characters, despite the excellent Leonardo DiCaprio. Parts of the multi-level-dream plot don’t really make sense. Plus, the trial-run worlds created by the female dream architect were far more interesting than the actual ones in which the bulk of the film is set. So instead of her streets that bend and warp psychedelically (as "borrowed" for Doctor Strange), you get a hotel plunged into zero gravity (mildly diverting) and a bog-standard building in a snowscape (Bond film meets Hoth’s Echo Base in The Empire Strikes Back). I still don’t understand why the team were being constantly shot at, and the effect of all this is ultimately numbing. With hard-to-love characters and worlds within worlds that aren’t real, why should you care about any of it?

The World Is Not Enough (1999)


The third Pierce Brosnan James Bond film.

The pros:
• A better script than Tomorrow Never Dies (1997)
• A vulnerable villain (Robert Carlyle)
• M (Judi Dench) is given more of a part in the story
• Reasonably good theme song (by Garbage)

The cons:
• John Cleese is deeply unfunny as the successor to Q: not the right feel for the film at all
• The scene in which the baddie holds burning coal makes no sense. Even if he could feel no pain, as suggested, it would still have burned his flesh and destroyed his hand.
• The villain was dying anyway: so what was his real motivation? Love for Elektra?

GoldenEye (1995)


The first of four Pierce Brosnan James Bond films is an interesting attempt to introduce some knowing irony to 007 being a sexist anachronism, without taking the more radical step of the reboot that would come with the Daniel Craig era. All the usual tropes are there. We played “Bond iSpy” and ticked off each of the familiar elements. But it’s not a terrible film, despite the absolutely awful Russian IT boffin. There’s a bit more dialogue, so Brosnan gets to really act. The tank chase and exploding pen were enjoyable, as was the jumping-off-a-dam sequence. The ludicrous plot elements are present and correct, and reach a remarkable new peak when Bond dives off a cliff after a plane, “flies” into it, climbs into the cabin and then – at the very last moment – averts a crash.

Die Another Day (2002)


The fourth and final James Bond film starring Pierce Brosnan showed that the series was desperately in need of a rethink (which it would soon have with Daniel Craig). The sci-fi-tinged plot (an invisible car, a space laser like the Death Star in Star Wars) is possibly even more ludicrous than usual. There’s a bit where he’s wandering around in pyjamas and a Jesus beard after 14 months of being tortured. Halle Berry is blandly uninteresting as the female lead. John Cleese is an unfunny disaster as “Q”. There’s some awful dialogue (“Die, bitch!”). Madonna has a pointless cameo to demonstrate that she can’t act. There are cheesy slow-motion shots. And there’s a truly surreal moment when the soundtrack includes “London Calling” by The Clash. The sole redeeming feature is Judi Dench as “M”.

Tomorrow Never Dies (1997)


Bond film #18 and Brosnan film #2. The tech-lord villain attempting to start World War III is ridiculous. The wisecracks are daft and unfunny. Q’s brief cameo is totally bolted on. The “funky” music and slow-motion shots are naff. Regular machine-gun spraying never hits Bond. The female lead has a ludicrous secret base hidden in her flat. And Pierce Brosnan acts with his hair. But somehow it’s highly enjoyable. The extended handcuffed-on-motorbike chase scene was a lot of fun. Judi Dench is superb as M.

Quantum of Solace (2008)


Not a promising title, and it’s never really explained either.

Daniel Craig is excellent again (this was his second of five Bond films), but the girl Camille Montes (Olga Kurylenko) and the villain Dominic Greene (Mathieu Amalric) are weaker than usual. The former gets shoddy lines and a simplistic “revenge” motivation. The latter isn’t particularly scary or “evil”, just difficult to feel strongly about.

The plot isn’t easy to follow on first viewing, although it works better second time around. It’s extremely violent – sometimes more so than the story demands. Ludicrously, there’s an MI6 agent called Strawberry Fields (played by Gemma Arterton). She comes to a sticky end in a scene that seems to acknowledge the fate of Shirley Eaton’s character Jill Masterson in Goldfinger. The climax is a little underwhelming – perhaps because the stakes aren’t very high. Whereas Bond is usually saving the world from imminent destruction, this time he’s merely battling a nasty crook selling water back to the Bolivian government after creating an artificial drought.

Judi Dench is reliably watchable as M and raises the quality of the film whenever she appears. Her scenes are much needed as there’s sometimes a tendency for it to dip into trashier territory than Casino Royale (2006) or Skyfall (2012).

The title theme by Jack White and Alicia Keys has an appealingly fuzzy riff, but as a song it’s a total mess.

All in all, the least effective of the Daniel Craigs but still well worth a watch or two.

Casino Royale (2006)


Daniel Craig’s first James Bond film can be found on DVD in every charity shop in the land. The opening section – designed as a flashback to set up the reboot – doesn’t really work and didn’t need to be there, and the use of black and white seemed clichéd. Fortunately, the film improves enormously after that.

The action sequences are stunning – fighting on cranes and leaping between them, an airport showdown and a collapsing building in Venice. There’s real drama in the multi-million-pound poker game and when Bond is poisoned and almost dies in his car.

Judi Dench is great as M. At one point she quips “In the old days, if an agent did something that embarrassing, he'd have the good sense to defect. Christ, I miss the Cold War.”

I really liked the unexpected love story: Bond actually falls for Vesper Lynd (Eva Green) and displays an emotional depth that would have been impossible in the Roger Moore era. On first viewing I thought it was a shame that after developing the asthmatic, blood-weeping Le Chiffre (Mads Mikkelsen) as a convincingly creepy baddie, the real villain turned out to be the characterless Mr. White. Or so you are led to believe until the subsequent films peel back further layers of intrigue. On second viewing, and with knowledge of where the series was heading, I enjoyed this ending much more.