Murray Pomerance, venerated film scholar, takes on the cheat in film, where cheating constitutes a collection of production, performance, and structuring maneuvers intended to foster the impression of a screen reality that does not exist as presented. Approaching the cheat in novel ways, through numerous critical angles, he shows how cinema’s usual call for a suspension of disbelief in the viewer rests on the assumption that disbelief is problematic for spectatorship, and that we must find some way to suspend or disconnect it–to cheat– in order to allow for the entertainment of the fiction in its own terms. *The Film Cheat* explores 45 aspects of the cheat, analyzing classic films such as *Singin’ in the Rain* and *Chinatown* to more contemporary films like *The Revenant* and *Baby Driver* , with Pomerance engaging his encyclopedic knowledge of film history to point out numerous instances of suspension of disbelief. Whether or not Gene Kelly is actually dancin’ in the rain, or whether Elliot is really flying on his bicycle carrying E.T., these cheats are what make movie magic. Elegantly weaving the narrative for one to dip into at random or to read from cover to cover, Pomerance turns things upside down so that the audience actually finds pleasure in the cheat itself, pleasure in the disbelief. To see the elegant fake, the supremely accomplished simulacrum is a pleasure in its own right, indeed one of the fundamental pleasures of cinema.