Who knew back in 1999 that a comedy about a bunch of teenage boys desperate to lose their virginity before they graduated from high school would be so popular? Adam Herz's script for American Pie, filmed by debutant directors Chris and Paul Weitz, was a huge box-office hit, and spawned two sequels; American Pie 2 (2001), American Wedding (2003), and now a third - American Pie: Reunion. There were also four spin-off straight-to-DVD films.

Unlike the New Seekers, Whit Stillman does not want to teach the world to sing. He does, however, want to teach it to dance, specifically to dance the Sambola (or, to give it its full name, Sambola! The New International Dance Craze). Instructions and a demonstration accompany the final credits of his new film, Damsels in Distress.

News that Nicole Kidman is to play Grace Kelly in a movie called Grace of Monaco convinces me that it is foredoomed. This time Kidman won’t have any prosthetics to help her resemble Grace Kelly, such as the long nose she wore as Virginia Woolf in The Hours (2002). Nor would it be possible, as attractive and talented as Kidman is, to replicate Kelly’s ineffable quality and patrician beauty.

For most film buffs, the name of director Vincente Minnelli immediately recalls the quintessence of the MGM musical of the 1940s and 1950s - a world of fantasy, brilliant colours, stylish décor and costumes in which Fred Astaire, Judy Garland, Gene Kelly and Leslie Caron dance and sing. The name also evokes steamy dramas and civilised comedies such as Some Came Running and Father of the Bride. As the BFI launches a major season of his films this week, however, it's worth pondering whether there is more to his oeuvre than meets the eye.

If you’re game for a galling statistic, here’s one that’s guaranteed to stun: at present, only 14 per cent of British films released in the UK are directed by women. If that seems oddly as well as infuriatingly low, it’s probably because so many of the brightest and boldest British film-makers of recent years, from Lynne Ramsay to Lucy Walker, are women – women who it seems are exceptions as well as being exceptional. These towering talents, it could be said, give the impression that opportunities for women behind the camera are at a high, rather than being persistently paltry.

“The film is a series of very curious, strange and macabre unbelievable incidents,” said director Ken Russell of The Devils in 1971. "The point of the film really is the sinner who becomes a saint." The tribulations surrounding its release, still fresh in Russell's mind, could easily have been described as curious and strange too. The long-overdue arrival on DVD of his career landmark is important. The Devils is one of the most astonishing and powerful British films.

The first ever work of literary theory was Aristotle's Poetics, which was written on two separate papyruses - one on tragedy and the other on comedy. However, at some point the second was lost and along with it our most ancient understanding of the comedy genre.

The death of Peter Cook on 9 January 1995 was my JFK moment. I'll never forget what I was doing when I heard the news. I was driving from London to Granada Studios in Manchester to interview comedian Caroline Aherne. At the time she was married to the New Order bass guitarist Peter Hook, so when the radio announced that Peter Cook was dead my ears did a double take.

Maybe it was host Billy Crystal at far from peak form. Or a surfeit of cringe-making shtick by too many presenters, including the distaff principals of Bridesmaids. Or the desperation that clung to the multiple on-air tributes to an art form whose very being was celebrated in the evening’s two major winners, Hugo and The Artist.

Every year before the Academy Awards speeches are tacitly composed, flowing gowns and priceless necklaces booked and no doubt small blameless animals slaughtered in the Roman style for good luck. Before the gladiators enter the ring, we at theartsdesk continue our novel take on the 2012 Oscars by allotting a category each and asked our film writers to sift through the nominations, tell you who they think will win, who they really would like to win, and who has been most egregiously overlooked by Oscar's overwhelmingly ageing white male judiciary.