Casablanca (1942, dir. Michael Curtiz)

A US expat nightclub owner has his neutrality threatened in wartime Morocco when confronted by his ex-lover. Splendid wartime romance/film noir/political allegory balancing cynicism, comedy and menace in equal measure. Loads of fun.

Stan & Ollie (2018, dir. Jon S Baird)

The ageing Laurel and Hardy reunite for a UK theatre tour, hopeful that this will restart their movie careers. Straightforward though handsome and respectful biopic of the black-and-white comedy legends, anchored by two exceptional lead performances and genuine affection for its subjects. Recommended.

Death on the Nile (1978, dir. John Guillermin)

Hercule Poirot holidays in Egypt; murder is soon afoot. Quasi-sequel to Murder on the Orient Express. Breezy escapist fun with a rich cast of character actors and bright young things hamming/preening respectively, though its clumsy treatment of non-whites plays as racist rather than as innocent comic relief.

Brief Encounter (1945, dir. David Lean)

Two otherwise-married people consider an affair. Deft romantic drama with its tongue partially in cheek in places; flirtations with film noir and German expressionism as well as with slice-of-life across-the-classes melodramatics.

Mom and Dad (2017, dir. Brian Taylor)

An electronic virus drives parents to kill their children; one family home becomes a battleground. Brisk bad taste horror-comedy that gets in and out fast. Everyone is on fine form, and there’s the best use ever of a Erasure song in the movies.

Bean [AKA Bean: The Ultimate Disaster Movie] (1997, dir. Mel Smith)

A lowly museum attendant is mistakenly sent to Los Angeles as an art expert. Awkward expansion of the TV series, relying on embarrassment and slapstick in equal measure. Inevitably, some moments work (the supporting cast is great), but too much of this is simply unfunny sentimental gurning.

The Night Eats The World (2018, dir. Dominique Rocher)

A man wakes up to find he’s the last survivor of a zombie apocalypse. Fine addition to the subgenre, focusing on character and heart rather than on horror thrills; though there’s not much more to say about zee, this fills in a few gaps pleasantly enough.