This two-part documentary, which ended last night with teary recollections from a handful of well-known faces, wasn’t really a “secret history”. The history of grammar schools and their wholesale demolition by a Labour government is pretty widely known. But even that was fairly lightly skipped over. No, this was really a love letter, written to a long dead mistress who had served the writer well.

WC Fields once famously cautioned against working with children or animals. He might very well have gone crazy had he been involved with the RSC’s hit musical production Matilda, which started out in Stratford-upon-Avon last November, garnering fistfuls of rave reviews, and has just won this year’s Evening Standard and Theatrical Management Association awards for Best Musical.

Rebecca Hall gets slapped about - and more - during The Awakening, a putative ghost story that lands one of this country's most able and appealing actresses in many a tricky physical but also psychological spot. Whether audiences will go the distance with her may depend on individual tolerance for a film that plays like an overcooked British knock-off of the Nicole Kidman starrer The Others, complete with Dominic West on hand to contribute belated rumpy-pumpy and Imelda Staunton very visibly furrowing her brow.

Rich with cinematic life but existing doggedly in the shadow of death, Lynne Ramsay’s epically disquieting adaptation of Lionel Shriver’s bestseller is fluid and imaginatively realised. It's an emotional ambush, but executed with extraordinary precision. Steeped in a magnificent malice and caked in frosty beauty, We Need to Talk About Kevin deals with the lead up to and aftermath of a high-school massacre, and gives us every parent’s worst nightmare – spawning a monster.

It’s perhaps best to start this review by stating that I miss Horrid Henry's target demographic by about, ooh, a decade or three. But it’s also right and proper to say that while I wouldn’t recommend it for grown-ups, those youngsters whose opinions I canvassed after the screening I attended gave it a huge thumbs-up.

If I'm being honest, I never saw the charm of Alan Bennett's Talking Heads. Too many quiet disappointments, too much capital-A Acting. They lacked naturalism in presentation and content, whereas Double Lesson, from Channel 4's First Cut series of quirky documentaries and quasi-documentaries, had naturalism to spare last night.

The kerfuffle over the collapse of a community opera, Beached, to a libretto by Billy Elliot writer Lee Hall with music by Harvey Brough, seems to have gone international. In short, the main school in the Bridlington area fielding 300 participants withdrew when Hall refused to change the lines (sung by an adult in the piece): "Of course I'm queer/ That's why I left here/ So if you infer/ That I prefer/ A lad to a lass/ And I'm working class/ I'd have to concur".

What is it with Hollywood and education? Hot on the heels (shamelessly come-hither pumps, in fact) of Cameron Diaz in the lamentable Bad Teacher, we now get Julia Roberts as a disaffected babe who, we're told, is a teacher even though she spends precious little time in actor-director Tom Hanks's new film doing anything of the sort. Still, at least Roberts's unquenchable radiance lends Larry Crowne some measure of class; otherwise, here's another movie that merits detention for failing to make more than a passing detour in the direction of real life.

The adult craving for education isn't a well that film-makers visit often. Educating Rita gave Willy Russell his finest cinematic hour. Say what you like about Kate Winslet’s concentration camp guard in The Reader, but such was her love of a good book at least she learned to read. The First Grader, set in the dusty Kenyan outback, revisits the subject, but there all similarities stop.

Just think, said a veteran enthusiast of Britten's operas when I showed him the earliest publicity designs for Christopher Alden's production, you could set them all in a school, even Gloriana - what about headmistress Bess and head prefect Essex? But could you squidge everything into the one shape, I wondered? At ENO, it makes instant sense in the composer's near-perfect musical translation of Shakespearean wood magic that Oberon is the schoolmaster who prefers changeling pre-pubescents to now-adolescent, discarded Pucks. That's the strongest of starting points.