The tense dogfight between hitman and spies in the third Bourne film, deftly handled by director Paul Greengrass, is powerful enough to restore your faith in action movies

Songs written for film's fictional pop stars typically miss the mark, but Schlesinger has shown it's possible to hit the right note, writes Henry Barnes

A desert, a pair of headphones and a sound like a dishwasher … unlikely ingredients for great cinema? Not if you're Jodie Foster, writes Emily Wilson

Ruffalo's crumble, when asked a solicitous question by Laura Linney, reminds me of those moments when you realise the value of home. Even if you don't live there any more, says Harriet Gibsone

The 1967 animated version of Kipling's story is crammed with marching Raj elephants, hypnotic snakes and toe-tapping songs, but the jazz-singing bear is best, writes Paul Simon

Marrying slapstick with sophistication, Cary Grant was as good at physical screwball as Chaplin or Keaton, writes Xan Brooks

• More from Why I Love …

It's easy to mock Sylvester Stallone's testosterone-fuelled Rambo movies, but the implausible carnage of First Blood is a treat, says Nell Frizzell

The ancient ads of times past, the ever-fuzzier evidence of films watched over and over, the simplicity my Dad can comprehend: I heart VHS, says Miranda Kiek

Tola Onanuga: The suspense of Cary Grant's unflappable businessman on the run from a low-flying plane is the stand-out moment in Hitchcock's stand-out thriller

Theatre on film is so often dry and reverential. Leave it to Rushmore's Max Fischer to bring nuns, the Viet Cong and bucketloads of excitement to the stage, says Andrew Pulver

The favela in City of God is so well rendered it becomes a character – cruel, alluring, inescapable, says Jo Griffin

Why the constraints imposed above the clouds can make in-flight film-going the most liberating type there is