The Lost in Time, Like Tears in Rain, Monthly Update for October 2017

This month includes three shorts and two feature films in the Blade Runner universe, one of them a contender for Film of the Year. Now I just need to dig out the old computer game…


#129 Twilight Zone: The Movie (1983)
#130 Public Access (1993)
#130a Blade Runner: Black Out 2022 (2017)
#130b 2036: Nexus Dawn (2017)
#130c 2048: Nowhere to Run (2017)
#131 Perfect Sense (2011)
#132 Blade Runner 2049 (2017)
#133 The Straight Story (1999)
#134 Manchester by the Sea (2016)
#135 Assassin’s Creed 3D (2016)
#136 Frost/Nixon (2008)
#137 Vixen (2017)
#138 What We Do in the Shadows (2014)
#139 Journey to the Center of the Earth 3D (2008)
#140 Train to Busan (2016), aka Busanhaeng
#141 Silence (2016)
#142 The Twilight Saga: Eclipse (2010)
#143 Rurouni Kenshin (2012), aka Rurouni Kenshin Part I: Origins
#144 The Heat (2013)
#145 Moon (2009)
#146 RocknRolla (2008)
#147 In the Loop (2009)
#148 Thor: Ragnarok (2017)
#149 Rurouni Kenshin 2: Kyoto Inferno (2014), aka Rurōni Kenshin: Kyôto taika-hen
#150 The Exorcist (1973)
#151 Vehicle 19 (2013)
Blade Runner 2049

Train to Busan

Rurouni Kenshin 2: Kyoto Inferno

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  • With 23 new feature films watched this month, October becomes the best month of 2017 so far, beating the 20 of March.
  • It smashes the October average (12.78), raising it over one whole film in the process (to 13.8). It’s not the highest October ever, but October 2015 is my highest-ever month, so, you know.
  • It also surpasses the average for 2017 to date (14.2; now 15.1) and the rolling average of the last 12 months (13.83; now 14.58).
  • Reaching #151 means 2017 is already my third best year. I’d have to reach #196 for second place, which I’m not on track to do. But come the end of the year I’ll factor in the Rewatchathon too, and that may say differently…
  • This month’s Blindspot film: it was Halloween, so I saved the film still advertised as “the scariest of all time” for October — William Friedkin’s The Exorcist. S’not that scary. S’good, though.
  • This month’s WDYMYHS film: with Duncan Jones’ new film coming to Netflix sometime this year, I finally got round to the movie that made his name (and his Twitter name in particular), Moon.



The 29th Monthly Arbitrary Awards

Favourite Film of the Month
There were a fair few films I enjoyed a lot this month — indeed, when I’m finally done reviewing them, there could be as many as nine five-star ratings handed out (that’d be 39% of this month’s films, well above my average of 16.7%). In most months that’d make this a very tough choice, but after only a little consideration it’s clear that the winner has to be Blade Runner 2049.

Least Favourite Film of the Month
Conversely, there were a few clangers too — again, several I’d be happy to give this dishonour to. The most egregious of them all was Vehicle 19, a thriller whose high concept was right up my alley, but was so poorly realised that I’ll be giving it a very low score indeed.

Film I Most Often Forgot to Review This Month
I watched Taika Waititi’s What We Do in the Shadows partly so I could review it the day his Thor sequel hit UK cinemas… but I forgot. Then I discovered it was going to be on BBC Two last Sunday night… but that was only 55 minutes before it was due to start. I guess next I’ll aim to tie my review to Thor 3 coming out in the US… but I’ll probably forget.

Most Surprisingly Popular Review of the Month
My most-read post for the past two months in a row is The Past Fortnight on TV #22. Is that because of The Defenders? The Game of Thrones finale? The long-awaited return of Agent Cooper to Twin Peaks? Well, I’m sure they all helped, but my stats say the highest number of referrals from IMDb (far higher than anything else in that post) came from Designated Survivor. Who’d’ve thunk it?

The Audience Award for Most-Viewed New Post of the Month
Reviews of new cinema releases almost always do well, and so two of them duked it out for the top spot this month: Blade Runner 2049, which sat clear for most of the month, and Thor: Ragnarok, which took a run at it in the last week. With 24 hours to go it was still a tight race: they were separated by fewer hits than Thor had typically been getting in a day. But in the end the Marvel movie didn’t get anywhere near that many yesterday, leaving Blade Runner 2049 this month’s victor.



I always thought that the next time I watched Blade Runner it would be to finally see the original theatrical version. That’ll have to wait for another day: because I was rewatching it the night before 2049, it seemed most appropriate to choose the ‘official’ final version.

#36 Blade Runner: The Final Cut (1982/2007)
#37 Austin Powers: International Man of Mystery (1997)
#38 Austin Powers: The Spy Who Shagged Me (1999)
#39 Austin Powers in Goldmember (2002)
#40 The Reckless Moment (1949)

I’ve got a long list of things to consider rewatching for this project, but that’s frequently going ignored in favour of where my whims take me. So, after randomly alighting on Wayne’s World last month, I fancied carrying on through Mike Myers’ oeuvre, thus all three Austin Powers flicks are here (with my short Letterboxd comments on each linked to above). It’ll be Shrek next. (That was a joke, but, actually, it is something I’ve been planning to rewatch…)

Finally, film noir The Reckless Moment. I first watched it over a decade ago (and reviewed it here) and have been meaning to revisit it for a lot of that time because I thought I’d been unfair to it. Now, I’m not so sure. It’s got a lot of good stuff — the cast, the direction, the concept — but parts of it are rushed or underemphasised. Although it’s not all it could be, I feel like something will keep drawing me back to it. Not any time soon — that’s not in my nature — but someday. Maybe, ironically, some of the appeal lies in the imperfections.


As 2017 hurtles towards 2018, the big screen offers up a death on a train, a marmalade-loving bear, and a league of justice. Feel free to guess which is the only one of those I’m likely to bother going to the cinema for.

Get Smart (2008)

2010 #65
Peter Segal | 110 mins | Blu-ray | PG-13 / 12

Get Smart, as you likely know, was a TV series in the ’60s, which makes one wonder how it’s taken so long to get to the big screen. I guess it didn’t have the same fanbase or perceived relaunchability that led to an endless array of big-screen versions of ’60s/’70s series in the last decade or two — Mission: Impossible, Starsky & Hutch, Dukes of Hazzard — indeed, with the likes of Miami Vice and The A-Team, these big-screen-remakes are now moving on into the ’80s. Is Get Smart too late for the party?

Well, not really, because what does it matter which decade it came from — this isn’t a continuation, it’s a modern-day relaunch with current stars (or ‘stars’, if you prefer) and a modern sensibility. Though, in fact, Get Smart acknowledges its roots with a series of relatively low-key references that won’t bother anyone who’s never seen the series (like me) but I’m sure are pleasing for those who have. It also suggests it is a continuation of the series in some ways, despite the main character sharing a name with the series’ lead… but look, it’s just a comedy, let’s not think about that too much.

Get Smart, ’00s-style, is mostly quite good fun. Not all the jokes hit home, but enough do to keep it amusing — which is better than some comedies manage. Even after three Austin Powers films it seems there’s enough left to do with the spy genre to keep a comedy rolling along, even if Mike Myers’ once-popular efforts occasionally pop to mind while watching. And to make sure things don’t get dull, there’s a few action sequences that are surprisingly decent too, considering this is still primarily a comedy.

Some of this is powered by a talented cast: Carrell is Carrell, which is great if you like him, fine if you don’t mind him, and probably a problem if you dislike him; but Anne Hathaway and Alan Arkin manage to lift the material more than is necessarily necessary. Dwayne Johnson also shows he’s remarkably good at a humorous role, which is a little unexpected. How has a former WWE wrestler, whose first acting role had more screen time for his piss-poor CGI double than himself, turned out a half-decent career? The world is indeed full of wonders. As the villain, however, Terence Stamp is ineffectually wooden at every turn. Oh well.

What really makes the film inherently likeable, however, is how nice it is. You’d expect Carrell to be the looked-down-upon wannabe-agent bumbling loser, promoted when there’s literally no one else and still a constant failure, only succeeding (if he does) through fluke. But no — he passes the necessary tests, but isn’t promoted because he’s too good at his current job; when he does get the promotion, he shows an aptitude for spying, fighting, and all other skills, and the other characters acknowledge this. They respect him, in fact, both at the beginning and later as an agent — again, you’d expect Johnson’s character to be the smarmy big shot who either ignores or specifically brings down a character like Carrell’s, but instead he’s one of his biggest supporters. (That he turns out to have been A Bad Guy All Along, Gasp! is beside the point.) The office bullies don’t actually have any power at all and are frequently brought down to size. It makes a nice change from the stock sitcom clumsy-hero-who-eventually-comes-good with irritating-and-condescending-higher-ups on the side, the pedestrian and unenjoyable fallback of too many comedy writers.

Still, Get Smart isn’t without striking flaws. The subplot about a mole in CONTROL (alluded to above) is atrociously handled, not least the ultimate reveal. Perhaps director Peter Segal realised it was pretty easy to guess who it would be and just assumed the audience would be ahead of the story, but that ignores the fact that the other characters barely react to one of their best friends being unmasked as a traitor. It’s all a bit “curse your sudden but inevitable betrayal”, only without a smidgen of the humour that one-liner provided.

But the opening half-hour or so is the film’s biggest flaw. By the time the mole plot is resolved you can almost let it slide, but being faced with a weak opening is more of a problem. Some moments in it work, but there’s the odd jump in storytelling (Max comes across the destroyed CONTROL so suddenly I assumed we were about to discover it was a dream or simulation), or an extended period with either no or too-familiar gags. Once it gets properly underway things continually pick up, but it’s asking a little too much from not necessarily sympathetic viewers.

Still, despite early flaws and the occasional shortage of genuine laughs, Get Smart is redeemed by a proficient cast and generally likeable screenplay. It’s not exactly a great comedy, but it is a pretty good one. Comparing it to the scores I’ve given other comedies recently, that bumps it up to:

4 out of 5