December 2023

• A dangerous liaison: Stephen Frears’s Bloody Kids (1980)

July 2023

• “Shoot straight, you bastards, don’t make a mess of it!”: an appreciation of Bruce Robinson’s Breaker Morant (1980)

November 2021

• Ambler and Greene: Journeys into Fear

August 2019

• Limelight in Vienna: some notes on British cinema’s most charismatic villain [The Third Man]

November 2018

• Human character changed: the Post-Impressionist exhibition of 1910 and the revolution in the arts immediately preceding World War One

November 2017

• The Magnificent Ambersons

October 2017

• The cinema of Orson Welles: An introduction

October 2016

• Forgotten Man: Three films by Frank Nesbitt

July 2016

• Ace in the Hole: a commentary

November 2015

• Understanding Sound Tracks Through Film Theory

August 2015

• Six British Films in Search of an Auteur

April 2015

• Barry Lyndon

March 2015

• Making Time in Barry Lyndon

February 2015

• It’s the Pictures That Got Small

November 2014

• Juggling Wolves: BFI Film Classics: Marnie

July 2014

• Power Without Glory: some reflections on the character of the Lieutenant in Graham Greene’s The Power and the Glory, and on his relationship with the whisky priest

March 2014

• Aspects of Innocence and Experience: some reflections on literature and film analogy, with particular reference to Henry James and Billy Wilder

August 2013

• Pasternak and Shostakovich: From Turmoil to Triumph

April 2013

• Chaplin and Dickens: some reflections on the influence of Charles Dickens on the cinematic artistry of Charlie Chaplin

March 2013

• Daphne du Maurier and Alfred Hitchcock

February 2013

• Capsule: Vertigo (1958)
• Capsule: Notorious (1946)
• Capsule: Spellbound (1945)
• Grace Kelly in Rear Window

January 2013

• Hitchcock vs Herrmann: the story behind the break-up of cinema’s finest director/composer partnership