Splice is a clever sci-fi-horror film perfectly timed for a summer in which scientists have created the first artificial self-replicating life form. Directed by Canadian Vincenzo Natali and produced by Guillermo del Toro, it is sometimes reminiscent of the brilliant, perverse work of David Cronenberg, though less coherent in almost every way.
Gerry Troyna's passion for India, railways and films brought him a Royal Television Society Best Documentary Series Award last month for his Indian Hill Railways series, which the BBC repeated last week for the fifth or sixth time (he has lost count).
Looking more like a pop star in his shades, camouflage for blood-shot, jet-lagged eyes, he is full of praise for his far-away Indian team who, he says "actually make these films possible".
Radu Mihaileanu cannot help telling stories. "I don't know where it comes from," says the Franco-Romanian film-maker, "but I think it's deeply Jewish to hear stories and tell stories. We have always done that."
I have not yet heard a convincing explanation for the general upsurge in popularity of vampire films and TV series in the last few years. But the particular success of the Twilight franchise, based on the mega-bestselling series of young adult novels by Mormon writer Stephenie Meyer, seems less of a mystery.
Film director Steven Spielberg has seen his star power plummet in the last year according to the Forbes Celebrity 100 list.
Mr Spielberg, who directed the Oscar winning film version of Schindler’s List, was ranked 22nd on the annual list which ranks stars according to their earnings, web hits and media coverage, falling from the seventh spot in 2009.
However the 63-year-old director, one of several Jewish names who made the list, still commanded an impressive $100 million pay (£66 million) in the past year between June 2009 and 2010.
Woody Allen's last film, Vicky Cristina Barcelona, seemed to signal a long-awaited return to form after the embarrassing badness of his British-set movies. The fact that the next film was set in Manhattan gave further hope to long-suffering fans of the prolific writer-director. However, Whatever Works turns out to be only fitfully funny and at times strangely unpleasant.