The Nomadic Monthly Review of April 2021

We’re on a road to nowhere… Or, maybe, the road to recovery. Hopefully. Certainly, I’m still on the road to 100 films this year, at least.


#74 Sátántangó (1994)
#75 The Son of Kong (1933)
#76 Godzilla Raids Again (1955), aka Gojira no gyakushû
#77 King Kong vs. Godzilla (1962), aka Kingu Kongu tai Gojira
#78 King Kong vs. Godzilla (1963)
#79 Captain Phillips (2013)
#80 The Frozen Ghost (1945)
#81 The Fly (1986)
#82 The Hound of the Baskervilles (1959)
#83 Nomadland (2020)
#84 The Hound of the Baskervilles (1978)
#85 Detective Conan: The Phantom of Baker Street (2002), aka Meitantei Conan: Bekâ Sutorîto no bôrei
#86 Taken 2 (2012)
#87 Warning from Space (1956)
#88 Spielberg (2017)
#89 Primary Colors (1998)
#90 Stowaway (2021)
#91 Beginners (2010)
#92 The Coldest Game (2019)
#93 Going My Way (1944)
#94 A Single Man (2009)
Captain Phillips

The Hound of the Baskervilles

Nomadland

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  • I watched 21 new feature films in March.
  • That makes 2021 the first year since 2016 that the first four months have all passed the 20-film threshold. If I continue that into May, it’ll be the first year ever.
  • On the other hand, this is the first month in 2021 not to set a new record for the furthest I’ve reached by this point — I’d got to #96 by the end of April last year. Close, but no cigar.
  • I had hoped this might be the first year I got to #100 in April, but no dice. Last year I did it on May 5th, which is another record I don’t think I’ll be beating after all. Ah well — not everything can be a record-breaker.
  • Nonetheless, this was the earliest I’d ever reached the three-quarters mark, in terms of both my eponymous challenge (getting to #75 on the 3rd, beating the 8th from 2016) and my new 120-film challenge (getting to #90 on the 22nd, beating the 26th last year).
  • In terms of averages, it beats the April average (previously 14.8, now 15.2), but falls a little short of the rolling average of the last 12 months (previously 23.3, now 21.8) and the average for 2021 to date (previously 24.3, now 23.5).
  • Oops, I started another film series! I’d loosely intended to dive into the classic Godzilla films once I finally finished Zatoichi, but enjoying Godzilla vs Kong last month prompted me to want to see the ‘original’, 1962’s King Kong vs Godzilla. To do that ‘properly’, I had to watch the movies preceding it too — you can find the original Godzilla and original King Kong down in the Rewatchathon section, plus Son of Kong and Godzilla Raids Again at #75 and #76 (I watched them in and around spending four days trudging through Sátántangó). So, technically, I’m now three films deep into Big G’s 15-film Showa era.
  • Relatedly: no, that’s not a mistake at #77 and #78 — one’s the original Japanese version, the other is the US rejig (with much footage deleted, new stuff added, and all dubbed into English).
  • This month’s Blindspot film: as mentioned in brackets a moment ago, this was the insanely long (seven hours!) Sátántangó. It’s based on a novel and apparently adapts every single incident from the book, so this is what happens when you don’t bother to abridge an adaptation.
  • I didn’t watch anything from last month’s “failures”. Hey-ho.



The 71st Monthly Arbitrary Awards

Favourite Film of the Month
I originally had a different winner down for this category, until a last-minute change of mind. You see, I expected to like Captain Phillips, because I’d heard good things and I generally like the work of director Paul Greengrass and star Tom Hanks, but it rather blew me away how good it was — a tense, dramatic, unpredictable thriller, with a final scene that by itself should’ve earnt Hanks an Oscar nomination, if not even a win. He was robbed!

Least Favourite Film of the Month
I know it’s acclaimed as one of the greatest films ever made, but, sorry, I found Sátántangó to be an unrelenting bore. It may not be the truly worst film I saw this month — it has some great filmmaking, and I do think there’s a very good movie buried inside it, if it were edited down considerably — but this is “least favourite”, not “worst”, and nothing else this month entertained me less for such a long period of time.

Best Hound of the Baskervilles of the Month — Possibly Ever
I’ll forgive you if you’re not up on your release years for every adaptation of The Hound of the Baskervilles — there are quite a few, for one thing. So, the two I watched this month were the Hammer version starring Peter Cushing and Christopher Lee (that’s the 1959 one), and the comedy version starring Peter Cook and Dudley Moore (that’s the 1978 one). The latter is famously awful, and… yeah, it is. But the former is a stunner. Not the most strictly-faithful adaptation, but bursting with atmosphere, whip-crack paced (it doesn’t even hit the 90-minute mark), and with a top-flight cast (Cushing deserves to come up more often in discussions of the best screen Sherlocks).

Most Pleasant Surprise of the Month
We’re so used to berating Oscar voters for their terrible Best Picture choices, it’s weird that recently they seem to have hit a good streak (Green Book excepted). And it continues this year, because I thought Nomadland was a legitimately fantastic movie. (Admittedly, it’s the only Best Picture contender I’ve yet seen, but still.)

The Audience Award for Most-Viewed New Post of the Month
I’m terribly behind on my TV reviews, which at least means they can’t dominate this category. And so a film wins again — not the all-awards-winning Nomadland, though, but the belated UK release of Palm Springs carries it to victory here.



Although I rewatched four films this month, coming into April I had gradually slipped far enough behind that I’m still four films off target. But I’m always intending to rewatch some whole series (high on the list: to finally watch my Indiana Jones Blu-rays before the 4K set comes out), so if I pull my finger out and do something like that, the number could easily jump up.

#10 Wonder Woman 3D (2017)
#11 King Kong (1933)
#12 Godzilla (1954)
#13 Palm Springs (2020)

I found Palm Springs more easily enjoyable on a second watch, freed of all the hype and expectation it came burdened with first time round. Seems only appropriate… Wonder Woman was also a second watch, and my original review still mostly stands (despite the comments section implying I might’ve missed something). As for the quality of its 3D, it’s the kind of post-conversion job that isn’t bad, but also mostly makes you wonder why they bothered.

King Kong was the subject of a ‘Guide To’, so find that linked above for my latest thoughts on the monster movie classic. I last saw it many, many years ago, and my increased film literacy and appreciation for classic movies led me to enjoy it a lot more this time round. Similar could be said for Godzilla: knowing what to expect pace- and content-wise, I enjoyed it a bit more; certainly enough to shore up the 4-star rating on my review (linked above, natch).


The reopening of cinemas may be imminent(ish) in the UK, but that hasn’t stopped distributors sending releases straight to overpriced “home premieres” — in April, those included young adult adaptation Chaos Walking and Oscar Best Picture nominee Minari, while fellow Best Picture nominee Promising Young Woman was relegated to being a Sky Original. And if you thought we had to wait quite a while for those, or Palm Springs and Nomadland (which were also both this month), check out Chloé Zhao’s debut feature, Songs My Brothers Taught Me: MUBI was responsible for its UK wide release this month, a full six years after its initial release elsewhere.

There were Oscar contenders to be found among the streamers’ new releases too, with Amazon offering Sound of Metal to subscribers, alongside premieres of Guantanamo Bay drama The Mauritanian and Tom Clancy adaptation Without Remorse. Netflix’s awards flicks already came out last year, although they had the international premiere of Love and Monsters this month, which was at least up for effects nods. Less well received was Melissa McCarthy superhero comedy Thunder Force, though I have heard positive things about some of their other original titles, like Run (the new film from Aneesh Chaganty, director of Searching) and animation The Mitchells vs. the Machines. In terms of catalogue titles, Netflix brought back sometime-IMDb-Top-250-ers In the Name of the Father, Lagaan, and Taare Zameen Par (aka Like Stars on Earth); the subscription streaming debut of Shirley; plus a few things I haven’t seen for years and would like to rewatch, like Cast Away, The Quick and the Dead, and perhaps Jarhead (I saw it at the cinema 16 years ago and didn’t particularly like it, but maybe it’s worth another look, considering the talent involved).

Once again, my new disc purchases know no bounds. I passed 100 titles on 4K Ultra HD Blu-ray this month, thanks to new releases of Batman v Superman (remastered with IMAX scenes), the 2014 Godzilla (in a spiffy limited edition from HMV), and Arrow’s Battle Royale (even though I haven’t watched their Blu-ray release that I bought over a decade ago). I also finally got Léon in 4K. I imported the US edition (because it looks so much better than the European one) from Amazon.com last year, but they kept sending me what looked like bootleg copies that I kept returning until they said they’d look into the matter. This time, I picked it up somewhere else, and it’s clearly a genuine copy — so I was right about Amazon flogging bootlegs.

While I was importing that, I also snaffled up a bunch of classic 3D titles (The Maze, September Storm, and Wings of the Hawk) and finally managed to find a copy of the Olive Signature Edition of Orson Welles’s Macbeth for a reasonable price. Talking of sales, I picked up Black Rainbow, Black Test Car, and The Black Report from Arrow’s recent offering (their related titles being coincidence rather than design). On the full price side of things, I couldn’t resist a bunch of new and recent Indicator releases: The Beast Must Die, Crimewave, Irreversible, and Twentieth Century.

And talking of failures to resist, I really, really tried not to buy Curzon Artificial Eye’s Bong Joon-ho box set. They used very pretty art design (the box art went down a storm with a certain kind of collector on Twitter) to bundle together almost-special-feature-less versions of a bunch of Bong’s films — and not even a complete collection, because Netflix have a stranglehold on Okja, and I guess Curzon couldn’t be arsed to license his short films (unlike a similar set recently released in Australia). I already own regular extras-filled editions of The Host and Snowpiercer, and I’ve caved to two copies of Parasite (both the 4K and Criterion’s extras-packed release), plus I have my eye on Criterion’s extras-loaded edition of Memories of Murder. All that left in the AE set’s favour was Barking Dogs Never Bite and Mother, the latter of which used to be available in a decent standalone edition (it’s out of print, but used copies aren’t hard to come by). So why the hell did I buy it in the end? Well, that’s still three films I don’t own — I could’ve got Mother by itself, but Barking Dogs Never Bite doesn’t have a standalone edition; and the Criterion release of Memories of Murder has rather controversial, ugly colour grading, while the UK edition is considerably less egregious in that department. The deal was sweetened by Parasite having some special features not present on my other copies (primarily, deleted scenes) and, yes, the attractive box design — it will look nice on my shelf. It’s definitely not the most sound purchasing decision I’ve ever made, but sometimes it’s just nice to have nice things.


There’s only one date left on my “never seen a film on” list: May 23rd. Will I finally complete the year, or will I forget and miss it? (You’d think it’d be an easy achievement to guarantee, but it wouldn’t be the first time I’ve simply forgotten to do it.)

The Titanic Monthly Review of March 2021

Nothing to do with the ship, everything to do with the two titans (aka kaiju) duking it out on disappointingly small screens right now.


#54 Jesus Shows You the Way to the Highway (2019)
#55 David Byrne’s American Utopia (2020)
#56 Dead Man’s Eyes (1944)
#57 Crocodile Dundee in Los Angeles (2001)
#58 Con Air (1997)
#59 Wild Target (2010)
#60 Bright Young Things (2003)
#61 Carol (2015)
#62 Gambit (2012)
#63 We Bought a Zoo (2011)
#64 10 Things I Hate About You (1999)
#65 Holiday Affair (1949)
#66 The Catcher Was a Spy (2018)
#67 Truly Madly Deeply (1990)
#68 Vivacious Lady (1938)
#69 The Prom (2020)
#70 Bachelor Knight (1947), aka The Bachelor and the Bobby-Soxer
#71 Midnight in Paris (2011)
#72 Aguirre, Wrath of God (1972), aka Aguirre, der Zorn Gottes
#73 Godzilla vs. Kong (2021)
David Byrne's American Utopia

Carol

Godzilla vs. Kong

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  • I watched 20 new feature films in March.
  • That’s the first time since 2016 that my first three months of a year have all topped 20. Then, it lasted until April — we’ll see if that feat is duplicated next month.
  • Nonetheless, it’s March’s lowest tally since 2017, although it still surpasses the March average (previously 15.5, now 15.8).
  • It’s also the lowest tally of 2021 so far, falling short of the year’s average to date (previously 26.5, now 24.3) and of the rolling average of the last 12 months (previously 23.9, now 23.3).
  • Still, I passed the halfway point of my modified goal (120 films in a year) on 13th March, the earliest ever (beating 2016).
  • And this is the furthest I’ve ever reached by the end of March, beating a previous best of #67 (which was also in 2016).
  • This month’s Blindspot film: Werner Herzog’s first significant feature film, Aguirre, Wrath of God. Also the first Herzog film I’ve ever seen, believe it or not (well, I did watch the start of Fitzcarraldo once, but it literally sent me to sleep).
  • From last month’s “failures” I watched The Catcher Was a Spy, David Byrne’s American Utopia, and Jesus Shows You the Way to the Highway.



The 70th Monthly Arbitrary Awards

Favourite Film of the Month
I always find concert films a little weird. Just sitting watching people play music — what? (Can you tell I don’t go to gigs? I have done, and I find them weird too.) So, I’m never quite sure what to expect — I guess, at best, some music I like that I am paying weirdly too much attention to. But there’s somehow more than that to David Byrne’s American Utopia — even though it is, fundamentally, people playing music. But it felt almost like a profound experience, and I’m (clearly) still processing that.

Least Favourite Film of the Month
As it started, I thought Netflix musical The Prom might defy all the negatives I’d heard and turn out to be perfectly decent. But its earlier scenes and numbers are the best bit — it goes on too long, the quality drops, and by the end, well, I didn’t hate it, but there was plenty of room for improvement.

Best Callback of the Month
Look, I don’t want to spoil Godzilla vs. Kong for anyone (especially as it’s only out in the UK today, and it costs £16 so I presume hardly anyone will be paying for it), but it contains a fun reference to an (in)famous moment from 1962’s King Kong vs. Godzilla (so famous that I’m very aware of it even though I’ve never seen the ’62 film) that left a big on my face. Here’s the original moment in gif form, just as a primer for whenever you watch GvK

“Eat your greens!”

Post Opportunity I’m Most Annoyed to Have Missed of the Month
Other than when I’m dumping old unreviewed films in roundup posts, I always feel like it’s nice to be able to tie a review in to something. It feels less like it’s just being tossed out into the ether if it’s at least somehow connected to something current. The past couple of years, I’ve got very good at missing these opportunities, and it always irks me. Most recently, a new documentary about Terry Gilliam’s The Man Who Killed Don Quixote, titled He Dreams of Giants, was released in the UK last Monday — but I got the chance to see it last September, and watched Don Quixote and the previous (un)making-of doc about Gilliam’s film, Lost in La Mancha, also. I intended to post them together as a triple review to mark the occasion, but didn’t find time to write them up. So now they’ll languish in my backlog, probably to also be dumped in a 100-Week Roundup in mid-2022. Bother.

The Audience Award for Most-Viewed New Post of the Month
None of this month’s new posts seem to have particularly piqued the interest of my readership and/or the general public who stumble across this blog. The most seen was 100-Week Roundup XXVI, with its reviews of Paperman and Waltz with Bashir, but it was in a lowly 82nd place overall. Roundup XXVII was right behind it, too.



This month, I continued to rewatch films, while also continuing to slowly slip behind on my target. There’s always time to catch up, though — if I ever get round to watching a trilogy or something, I’ll shoot along. And with the Indiana Jones films just announced for 4K, it’s long overdue that I actually watch my Blu-ray set…

#7 The Sound of Music (1965)
#8 Casablanca (1942)
#9 Runaway Jury (2003)

The Sound of Music and Casablanca were both films I haven’t watched in about 15 years, which I feel like is a pretty standard kind of revisit time for me — long enough that I begin to think “I should really rewatch that”, plus half-a-decade-or-so of not quite getting round to said rewatch (for example: I’ve owned Casablanca on Blu-ray since 2014). Brief thoughts on both (here and here, respectively) on Letterboxd.

It’s been even longer since I saw Runaway Jury. It’s not the kind of film I necessarily thought I’d ever rewatch — it’s good, I liked it, but not really exceptional — but sometimes you just get an itch. It was worthwhile, because I do love this kind of stuff: just a solid, well-played thriller. I guess it’s the province of TV rather than movies now, but there’s something to be said for wrapping it all up in one 120-minute hit rather than dragging it out for eight-to-thirteen hours.


The big news this month was the long-awaited release of Zack Snyder’s Justice League — direct to Sky Cinema / Now on this side of the pond, limiting most (legal) viewers to a relatively low quality stream. But hey, at least it was available as part of a subscription package rather than having to fork out £16 to rent one single film. Other “would’ve been in cinemas under normal circumstances” flicks that went down that route included Ammonite, Judas and the Black Messiah, The Little Things, Locked Down, Raya and the Last Dragon, and Tom and Jerry, and that’s why I’ve not seen any of them. Justice League, on the other hand, I just haven’t made room for its four-hour running time yet.

Other big streaming debuts this month included Coming 2 America, once slated for a cinema release but now an Amazon Original. I presume they paid a pretty penny for the privilege, given how mercilessly they were pushing it on their homepage. I’ve heard it’s quite good, which can’t also be said for their other debuts, The War with Grandpa and Made in Italy. Elsewhere, Netflix had Jennifer Garner vehicle Yes Day, while Apple TV+ offered the Russo brothers’ attempt to prove they can do more than MCU flicks, Cherry. I won’t be racing to watch either.

Also out to buy or rent this month, but at a more normal price point, was the Russian remake of The Raid, cannily titled Russian Raid; another DC flick, Wonder Woman 1984 (no 3D release in the UK (but there is one overseas) means no purchase from me); and a belated release for Richard Linklater’s Where’d You Go, Bernadette. Plus, straddling the two price points, documentary Stray, about street dogs in Istanbul. Sounds like the kind of thing that would be ripe for misery and depression for a dog lover like myself, but apparently it isn’t at all, so I’ll give that a shot when it’s a bit cheaper.

Dozens more films made my watchlist across all the streamers this month (between regular subscriptions, discounted ones, and free services, I’m currently keeping an eye on six different services), but not a huge amount that merit special mention here. Well, maybe Train to Busan Presents: Peninsula, which I blind bought on Blu-ray, haven’t watched yet, and is now streaming on Amazon Prime. Oh well. And, talking of Korean thrillers, iPlayer magicked up one I hadn’t heard of — The Gangster, the Cop, the Devil — that sounds up my street. Or that I really should catch Wild Tales before it leaves All 4 again. Or the fact that between Amazon and iPlayer I could catch up on two different versions of A Star Is Born (1937 and 1954, respectively), which would just leave the 1976 one. Or that Disney+ adding Star to their lineup is causing a dilemma for my viewing of the Die Hard films I’ve never seen: they have all the sequels in 4K, so now I have to choose between watching the Blu-rays I own and paid for, or plump for streaming in lovely UHD. I find this choice easy when it’s DVD vs HD streaming (the latter almost always looks noticeably better), but I find that sometimes a poor/mediocre UHD version (especially if they’ve been over-aggressive with the HDR, for example) is actually worse than the Blu-ray. Frankly, I probably won’t get round to watching any of them before I cancel my D+ subscription, so it’s a bit of a moot point.

We end, as always, with my insatiable habit of buying things on disc — always the true failures here, because it’s all stuff I’ve actively spent money on. Once again, sales tempted me — it feels like some label or another is always running one these days, usually several at once. So, I picked up piles from Indicator (90° in the Shade, The Odessa File, The St. Valentine’s Day Massacre, The System, and Town on Trial), Network (Deadlier Than the Male, Some Girls Do, the 1928 Moulin Rouge, and Things to Come), HMV’s Premium Collection (kinda-noir Possessed and the 1932 Scarface), and a couple from the Criterion twofer that’s currently on (The Awful Truth and the 1936 Show Boat). I definitely intend to get more from the latter before the offer ends, but my wishlist is long (I could easily spend a couple of hundred quid on that alone). Plus, Arrow currently have a sale going too. Eesh. I also dropped a couple of quid each on The Amazing Spider-Man and its sequel in 3D — I’m not a massive fan of those films, but they were actually shot in 3D and I’d like to see them in that form. I also nabbed The Meg in 3D for dirt cheap, but that one I thought that was a lot of fun.

And there were brand-new releases, too, all of them blind buys: animes Children of the Sea and Children Who Chase Lost Voices (aka Journey to Agartha); Fanny Lye Deliver’d, with an extended cut in 4K; the Lucky Stars trilogy of Jackie Chan / Sammo Hung action-comedies; and Russian horror Viy. As ever, my taste is nothing if not eclectic.


Later than usual, the Oscars are here (at almost the end of the month). So far I’ve seen precisely none of this year’s Best Picture nominees — let’s see how much that changes in the next four-and-a-half weeks…

But what is February, if not 2021 persevering?

WandaVision’s penultimate episode, and one particular quote from it, has been the talk of the town lately (or: the argument of the weekend on Twitter), but here we can set aside such concerns (I mean, I’ve got a whole post with a WandaVision review in it if you did want to get into it) and just look back at all the films I watched in February 2021…


#27 Weird Woman (1944)
#28 Coming to America (1988)
#29 The Burning Buddha Man (2013), aka Moeru butsuzô ningen
#30 High Life (2018)
#31 When the Wind Blows (1986)
#32 Star Trek: The Motion Picture (1979)
#33 The Dig (2021)
#34 Isn’t It Romantic (2019)
#35 The Adventures of Prince Achmed (1926), aka Die Abenteuer des Prinzen Achmed
#36 Make Way for Tomorrow (1937)
#37 Tangerines (2013), aka Mandariinid
#38 The White Tiger (2021)
#39 Shakespeare in Love (1998)
#40 The Last Warning (1928)
#41 Mortal Kombat (1995)
#42 The Guilty (2018), aka Den skyldige
#43 The Quatermass Xperiment (1955)
#44 The House of Fear (1939)
#45 Muse: Simulation Theory (2020)
#46 News of the World (2020)
#47 The ’Burbs (1989)
#48 Xchange (2001)
#49 Vampyr (1932)
#50 Resident Evil: Extinction (2007)
#51 Zu: Warriors from the Magic Mountain (1983), aka Shu Shan – Xin Shu shan jian ke
#52 Radioactive (2019)
#53 Frankenstein (1931)
Star Trek: The Motion Picture

The Last Warning

The Quatermass Xperiment

Frankenstein

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  • I watched 27 new feature films in February.
  • That puts it in the top 10 months of all time, in 10th place — the exact same feat January only just managed (so January is now pushed out to 11th, obv).
  • It’s the best February ever, topping 2014’s 24, and is far past the February average (previously 13.2, now 14.2), as well as the rolling average for the last 12 months (previously 23.2, now 23.9), and sets the average for 2021 so far at 26.5.
  • In terms of yearly milestones, I passed both #30 (the quarter-way point of my current 120-film goal) at the earliest time ever (4th February, beating 13th February in 2016), and #50 (the halfway point of my eponymous goal), also at the earliest ever (beating 2016’s 6th March). And #53 is the furthest I’ve ever reached by the end of February, surpassing #44 from (when else) 2016. (2016 wasn’t my best year ever, just a fast starter, so if I keep this up then at some point it’s going to be different year(s) that I’m passing.)
  • Last March I commented on how many letters of the alphabet I’d ticked off — seven in January, eight in February, nine in March. Of the two remaining, I never did get to X. Well, this year I’ve finished all 26 before the end of February. In fairness, that’s because I noticed how well I’d done in January — 15! — and made a point of finishing it off. But it’s also a side effect of watching so many films so much earlier. If I looked at other years up to around the 50-film mark, whenever that was reached, perhaps I’d find those too had hit most/all letters.
  • It’s not something I mention often, but as February began I was in the middle of watching or rewatching 23 film series. That’s quite a few — I certainly wasn’t looking to add any more to the list. But sometimes you just fancy watching a ’70s big-screen spin-off of a ’60s sci-fi TV series, or a big-screen remake of a ’50s British serial, or a classic Universal horror movie. And now I’m up to 26 series underway. (I track which I’m watching via the one I need to watch next on Letterboxd here, if you’re interested.)
  • This month’s Blindspot film: the classic Universal adaptation of Frankenstein. It’s only 70 minutes long, and I always try to save such shorter films on my list for later in the year, just in case for some reason I really need ones I can easily squeeze in; but sometimes you just have to accept that, although you don’t need a 70-minuter you can easily squeeze in, that’s all you want. Also, it paired quite nicely with The Last Warning, which (as I learnt from the audio commentary on the Masters of Cinema Blu-ray) was one of the films that was essentially the forebear to Universal’s famed horror cycle.
  • Talking of The Last Warning, at #44 is The House of Fear — not the Basil Rathbone Sherlock Holmes film (I reviewed that here), but a remake of The Last Warning that used the title of the original novel (that was then reused for the Holmes film — Universal were terrible for that in the ’30s and ’40s, apparently).
  • From last month’s “failures” I watched The Dig, The Guilty, High Life, Weird Woman, and The White Tiger.



The 69th Monthly Arbitrary Awards

Favourite Film of the Month
This month, I boldly went where I’ve never gone before and started the Star Trek movie series from the beginning. Star Trek: The Motion Picture has never had a particularly good rep, but you’ve gotta start at the start, right? So it was a pleasant surprise when I really enjoyed it — to the point where I gave it five stars and a heart-thing on Letterboxd. I nearly didn’t go so high, because Wrath of Khan is “the best one” and now I’ve got nowhere to go if I do like it even more; but I don’t think you can go around rating films on that basis (you’d never give anything full marks just in case there was ever anything better), so…

Least Favourite Film of the Month
This month ended on a bit of a downer, with a run of films that didn’t live up to my hopes and expectations. Nonetheless, they weren’t as outright bad as some I watched earlier in the month — like Mortal Kombat, which was supposedly a mid-’90s blockbuster but actually looked like a mid-’90s syndicated TV series, with writing, acting, and fight choreography of a similar or lesser quality.

Most Recent Best Picture Winner I Hadn’t Seen of the Month
Shakespeare in Love is the only Oscar Best Picture winner from the last 30 years that I hadn’t seen. Hurrah! Now that I’ve ticked that one off, my oldest unseen is 1988’s Rain Man, which is helpfully on this year’s Blindspot list. After that, I’ll slip back just one year further, to 1987’s The Last Emperor. Indeed, my track record with ’80s winners isn’t great: I’ve seen more from the ’50s, ’60s, and ’70s (plus, obviously, the ’90s, ’00s, and ’10s). Well, I’ll tick ’em all off someday.

Film Just Barely on the IMDb Top 250 of the Month
When I watched it, Tangerines was the 249th film on the IMDb Top 250. It’s not there now, but it might be again tomorrow — those ones near the end are very volatile; a handful of films that switch places back and forth, jumping on and off the list, on a regular basis. So why focus any viewing efforts there? After all, eventually they’re certain to drop off when something darts in higher up (even in a movie-poor year like 2020, two films made it onto the Top 250; there are eight from 2019). Well, I feel like once these movies do definitively drop off the list, they’re liable to become a bit forgotten. Not all of them, obviously — films in the “danger zone” like Three Colours Red or It Happened One Night have enough cache to keep them talked about for other reasons — but smaller, often foreign films like Tangerines are liable to just slip away. And, in theory, they’re still great films. I mean, they may disappear from the top 250, but they’re still theoretically among the top 260, or 275, or 300 (etc), greatest films ever made. But then they won’t be on a list, so I won’t think to watch them — so better to do it now, right?

The Audience Award for Most-Viewed New Post of the Month
Although it only went live early yesterday evening, my 67th TV column still managed to storm past all last month’s film reviews to by February’s most-viewed post. (A distant second, with almost exactly half as many hits, was my review of Muse: Simulation Theory — which had also been on TV. Really, TV’s the game to be in if you want those page views.)



My Rewatchathon was right on pace this month, although that means I still have to catch up for last month’s shortfall.

#3 Frozen 3D (2013)
#4 The Adventures of Prince Achmed (1926), aka Die Abenteuer des Prinzen Achmed
#5 Crocodile Dundee II (1988)
#6 Apollo 13 (1995)

In a rare (I think probably unique) feat, The Adventuress of Prince Achmed is both 2021’s #35 and Rewatchathon 2021’s #4. This isn’t just because I enjoyed it so much (although it is very good), but because the BFI Blu-ray has a choice of soundtracks: the original 1926 musical score, or an English voiceover narration, recorded in 2013 but based on director Lotte Reiniger’s own English translation of her original German text. I watched them in that order, and felt the narration added nothing of value to the experience, especially as it sounds like it comes from a preschool storybook. Just stick to the original music.

As for the others, I rewatched Frozen in readiness to finally watch Frozen II sometime soon (though I didn’t get round to it this month, did I). I hadn’t seen it in 3D before; the effect was solid but surprisingly low-key, although it took off anytime it snowed, etc. If you want some idea of when that “sometime soon” for the sequel might be, look to Crocodile Dundee II, which I’ve been meaning to watch since I enjoyed a rewatch of the first one… in March 2019. I’m sure I watched it as a kid (hence why it’s a rewatch), but I didn’t remember a second of it — probably because it’s a rather perfunctory sequel; kinda slow and lacking most of the charm of the original.

Finally, Apollo 13 completed a mini Tom Hanks kick, as I watched it immediately after News of the World and The ’Burbs. It’s a great movie — indeed, I had a little word with Letterboxd about how it’s not getting the kind of ratings it deserves.


At one point this month Twitter was all over new comedy Barb and Star Go to Vista Del Mar, but as a premium VOD release it’s £14 and I’m not paying that to rent anything, thanks. Also going straight to rental was the latest Nic Cage craziness, Willy’s Wonderland, although at a normal rental price. Mixed reviews put me off so far, though. I did rent David Byrne’s American Utopia (on offer from Amazon), so that’ll be in next month’s viewing, and I was going to fork out for the interesting-looking documentary A Glitch in the Matrix until I saw a raft of negative reactions.

The streamers continued to throw out brand-new exclusives, with Netflix’s Malcolm & Marie probably the most talked-about this month. It sounds irritating, to be honest, whereas Korean sci-fi Space Sweepers is probably more in my lane. Over on Amazon, Gerard Butler disaster flick Greenland, Rosamund Pike’s Golden Globe-winning I Care a Lot, and Bliss, starring Owen Wilson/Salma Hayek in a sci-fi romance from the writer/director of Another Earth, all made my watchlist but didn’t actually grab my viewing time. The same is true of teen time loop romcom The Map of Tiny Perfect Things, which feels a bit like a placeholder before Palm Springs‘ belated UK release in April.

Talking of stuff finally making it to the UK, Netflix added Josh Trank’s Capone this week, so that can go on my watchlist out of curiosity but never actually get got to because it’s meant to be rubbish. More in my lane, perhaps, is Cold War thriller The Catcher Was a Spy, which apparently came out in 2018, but not here in the UK, where it’s just popped up as an Amazon Original. Going even older, Netflix added a mass load of Swedish films this month, including three silents — Terje Vigen, Ingeborg Holm, and Herr Arnes Pengar — that are all in IMDb’s Top 50 for the 1910s, so that’s interesting. Meanwhile, Amazon added 2013 Jason Statham actioner Homefront, which came onto Netflix US last month and shot to #1, despite being a flop on its theatrical release. I do like a bit of Statham action now and then, and this one comes recommended, so it’s probably worth a shout at some point. Another discovery was The Grand Heist — the kind of film I only hear of when it randomly pops up on a streamer or whatever, this Korean flick appears to be a period Ocean’s 11 about stealing ice… literally, blocks of ice. Sounds like it might be fun.

My cheap MUBI subscription is still going, but even with a new title everyday they managed to add little this month that caught my interest — just Cathy Yan’s feature debut, Dead Pigs, and Ridley Scott’s Legend, which is usually on Amazon Prime anyway; plus a few titles I own on disc anyway (The African Queen, Heat, and The King of Comedy, the latter two of which I’ve seen but are long overdue a rewatch). This month’s BBC TV premiere of Stan & Ollie means that’s now on iPlayer, although it’s also still on Prime, where it’ll be in higher quality; and on All 4 I managed to miss my chance to watch Love, Simon (its spin-off series is now on Disney+ but not, apparently, the original film) and Song Kang-ho in A Taxi Driver.

Finally, my disc purchases continued unabated. There was the release of Indicator’s second Columbia Noir set — I haven’t started the first yet, so that’s 12 minor-league noirs for me to catch up on now. Other new releases included a lavish edition of Jackie Chan classic The Young Master, restored with a choice of three different cuts, and Roger Corman’s The Masque of the Red Death, with a choice of two cuts, only one restored. But it was sales and random discounts where people really got me: from Arrow’s 30th anniversary sale, I picked up The Apartment, Horror Express, and Jesus Shows You the Way to the Highway; from a BFI offer at HMV, I scooped up the original British Gaslight, Penda’s Fen, Ian McKellen’s Richard III, That Sinking Feeling, The Wages of Fear, and their four-film Hirokazu Koreeda box set; and I also got Ken Russell’s The Devils on offer on DVD from elsewhere.

Physical media fans will surely have noticed that Zoom changed hands this week. The new owners haven’t got their version fully up and running yet, so it remains to be seen if they’ll ruin one of the best Blu-ray retailers there was. Just before they shut down, I managed to get in one final Criterion gift card order — if you missed it’s existence, sorry to tell you now, but they sold a Criterion gift card for £50 that allowed you four titles (from a selected list). That works out at £12.50 each, which was a bargain, and because it’s been a while since I looked they had plenty in their selection that I wanted. So I snaffled up The Age of Innocence, Buster Keaton’s The Cameraman, The Cranes Are Flying, and Three Outlaw Samurai, but I could’ve chosen another four easily, maybe even eight — if I’d known for sure Zoom-as-we-knew-it was going away, I might’ve put up the extra £50, but hey-ho.


It’s gonna be a monstrous March with Godzilla vs. Kong. Whoever wins, we win, I reckon.

The Tenacious Monthly Review of January 2021

Some people have decided that January is actually the 13th month of 2020, given how most of the woes of last year didn’t magically evaporate when our arbitrarily-appointed start-time for a “new year” rolled around. Funny that. It’s a nice idea — to think that we can write off this month by association with last year — but, the way things are going, I think if you want to carry that idea through you’re going to end up with a 2020 that has 17 or 18 or 19 months… perhaps even a full 24, who knows.

So, back in the real world, the inevitable “second year of shittiness” that is 2021 began with January. Here’s what I watched during it…


#1 Bill (2015)
#2 WolfWalkers (2020)
#3 Ernest & Celestine (2012), aka Ernest et Célestine
#4 Happy Death Day 2U (2019)
#5 Festen (1998), aka The Celebration
#6 You Only Live Once (1937)
#7 The Frighteners: Director’s Cut (1996)
#7a Meshes of the Afternoon (1943)
#8 Hotel Transylvania 3D (2012)
#9 Wolf Warrior (2015), aka Zhan lang
#10 Mission Control: The Unsung Heroes of Apollo (2017)
#11 One Night in Miami… (2020)
#12 Kind Hearts and Coronets (1949)
#13 Joint Security Area (2000), aka Gongdong gyeongbi guyeok JSA
#14 Calling Dr. Death (1943)
#15 Under Siege (1992)
#16 Who? (1974)
#17 The Pinchcliffe Grand Prix (1975), aka Flåklypa Grand Prix
#18 Blithe Spirit (2020)
#19 Tower Heist (2011)
#20 The Social Dilemma (2020)
#21 3 Idiots (2009)
#22 Who’s Afraid of Virginia Woolf? (1966)
#23 The Secret Garden (2020)
#24 Cats (2019)
#25 Sansho Dayu (1954), aka Sansho the Bailiff
#26 Psycho Goreman (2020)
WolfWalkers

Joint Security Area

Who's Afraid of Virginia Woolf?

Psycho Goreman

.


  • As should be self-evident, I watched 26 new feature films in January.
  • I used that exact wording for my opening note last year too, which I only discovered after I wrote the above sentence and then went to look up how I’d worded it last year. I guess you could call it consistency, or style, or something like that. “Unimaginatively repetitious” would be a less kind label…
  • Anyway, that tally actually edges January 2021 into my top 10 months ever, in 10th place. With 169 months in 100 Films history, that means it’s in my top 6% of months ever.
  • There are no other Januarys in the top 10 — which is another way of saying, this is my best January ever, beating 2016’s 21.
  • Naturally, that also means it obliterated the January average (previously 11.46, now 12.50), as well as toppling the rolling average of the last 12 months (previously 22.0, now 23.2).
  • As you may also have already extrapolated, being my best-ever January means this is the furthest I’ve ever reached by the end of January. It’s also the earliest I’ve passed the quarter-way point of #25, beating 6th February in 2016. (Though these days I’m ‘officially’ aiming for 120 Films in a Year, which makes the quarter-way point #30.)
  • As we know from past experience, trying to use any month to make a prediction about the whole year is futile. But, just for fun, if I kept up this rate for the entire year, I’d make it to #312. Well, never say never…
  • Another achievement: I watched a new film on January 5th for the first time in recorded history (i.e. since 2009, at least). Regular readers will know I’ve been tracking these ‘missing dates’ and ticking them off for a few years now (since July 2017, to be precise), and now there’s just May 23rd outstanding.
  • One thing I didn’t do this month was post any reviews of the films I watched. That comes after a 2020 where I performed similarly poorly in that regard, averaging 1.6 reviews a month of films I’d watched that month (it was zero or one review in eight months of last year, with better tallies in April, June, July, and August bolstering the average). At this rate, the 100-week roundups in 2022 are going to be chocka (heck, the 2021 ones are going to be pretty busy).
  • With Calling Dr. Death (#14), the Inner Sanctum Mysteries joins the list of film series I’m in the middle of watching, which currently numbers 23. I’ve got a list of them on Letterboxd, if you’re interested.
  • This month’s Blindspot film: Kenji Mizoguchi’s gut-punching folklore drama, Sansho Dayu (aka Sansho the Bailiff).
  • From last month’s “failures” I only watched WolfWalkers.



The 68th Monthly Arbitrary Awards

Favourite Film of the Month
Cartoon Saloon have produced several excellent movies, but WolfWalkers may be their best yet — gorgeously animated, an exciting adventure, with plenty of heart too. Such a shame it’s buried away on Apple TV+ where most people will never see it.

Least Favourite Film of the Month
Wholly predictably, it’s Cats. I mean, really, did you expect anything else?

Worst Dinner Party of the Month
Sure, the antics of the couple at the heart of Who’s Afraid of Virginia Woolf? may be famously uncomfortable and wild and weird, but that’s nothing on standing up at your father’s birthday meal to announce to dozens of assembled friends and family that… well, that would be a spoiler. Suffice to say, Festen’s got this one.

Most Jingoistic Action Movie of the Month
Joint Security Area may deconstruct and expose the futility of war and nationalism, but that’s hardly stopped other action movies indulging in it aplenty. Under Siege comes with the prerequisite praising of America’s military might, but the villains are its own agents gone rogue, so at least there’s some acknowledgement of their own (potential) flaws. Wolf Warrior, on the other hand, sometimes borders on propaganda piece… although the fact they feel the need to send basically their entire army to track down a handful of insurgent mercenaries isn’t actually the great advertisement someone might’ve thought it was…

The Audience Award for Most-Viewed New Post of the Month
Now, normally I’m quite strict about this category — which means that if, say, I post something on the last day of the month it basically stands no chance of making it, because it doesn’t have as much time to build up the hits. However, I published my review of Death to 2020 at 11pm on December 31st — having only a single hour to qualify for last month’s count seems a particularly unfair fate. So that’s why I’ve declared it this month’s winner, especially as it got more than four times the views of the ‘genuine winner’, my Christmas TV post. (Talking of “posts on the last day not doing well”, the TV column I posted yesterday afternoon amassed enough views in that short time to come a close-ish second/third, which just goes to show, um, something.)


In case you missed them, I began January with my usual extensive multi-post review of the previous year…

Now, as for actual film reviews…


A new year means a new Rewatchathon, too. My goal of 50 rewatches means I need to average four a month, so this year isn’t off to the best start…

#1 Happy Death Day (2017)
#2 Crimson Tide (1995)

I rewatched Happy Death Day immediately before its sequel (see #4 on the main list). Their shared “reliving the same day” conceit means the second film has a lot of references back to the first, so they work quite nicely as a double-bill.

I’ve fancied rewatching Crimson Tide for a while, but it never seems to be available anywhere, so I gave in and bought it from Apple — it was only 50p dearer than renting it. Then they went and announced the Disney+ Star slate and it’s going to be on there. Oh well.


With cinemas still shuttered here due to lockdown, it once again falls to streamers to provide the brand-new releases. Netflix are promising at least one original movie premiere every week throughout 2021 (with some 70-odd films coming in total). Once upon a time you would’ve assumed that was based on a technicality — i.e. lots of cheap made-for-TV-style filler to bolster the numbers — but, so far at least, they’ve been keeping the standard at a level of noteworthiness. For example, January’s offerings included the hard-hitting drama Pieces of a Woman, which comes with plenty of awards buzz; blockbuster-ish sci-fi action with Anthony ‘the Falcon’ Mackie in Outside the Wire; adaptations of bestselling books like The White Tiger and Penguin Bloom; and they even wheeled out that good old Brit-flick formula of quality actors + period setting in The Dig, with Carey Mulligan, Ralph Fiennes, and Lily James starring in a true story from the 1930s. Meanwhile, Amazon had Dave Franco’s directorial debut, The Rental. Not quite as high-profile a slate, eh.

In terms of catalogue stuff, it was really the TV catch-up services that were catching my eye in January, including Korean Cold War spy thriller The Spy Gone North on iPlayer, alongside acclaimed sports doc Hoop Dreams, Beatles classic A Hard Day’s Night, and recommended gambling drama Mississippi Grind. Over on All 4, I missed some classics I’ve been meaning to see for years, like Animal Farm and Withnail & I, but still available (for a few weeks yet) are the likes of A Taxi Driver starring Song Kang-ho, and Danish crime thriller The Guilty, which is currently being remade for Netflix by Antoine Fuqua and Jake Gyllenhaal.

Because I don’t have enough to watch as it is, this month I subscribed to MUBI. Okay, I have plenty to watch, but the offer of £1 for three months was hard to pass up — I mean, at that price, watch just one film and it was worth it. I’ve already watched a couple, but films on my watchlist for the remaining time of my cheap subscription include Bacurau, High Life, Paterson, Rocco and His Brothers, Transit, and… Showgirls. Yes, Showgirls is on MUBI.

None of which stopped me from buying more stuff on disc, of course. In terms of brand-new releases, I’ve got The New Mutants in 4K, Arrow’s new edition of Southland Tales (including the longer Cannes cut), and the bells-and-whistles-less 4K reissue of Total Recall (the 1990 one, obviously), plus Eureka’s release of the Inner Sanctum Mysteries, which I have at least started (see #14). Watching JSA (#13) inspired me to plug some of the gaps in my Park Chan-wook collection, so I picked up I’m a Cyborg and Thirst nice and cheap; and Kind Hearts and Coronets (#12) prompted me to buy StudioCanal’s bells-and-whistles-full 4K edition of The Ladykillers. Finally, thanks to an HMV sale I continued to fill out my Ray Harryhausen collection with The Beast from 20,000 Fathoms and The Valley of Gwangi. Between those and the various Indicator box sets, I’m only a couple away from owning all his feature film work. Just need to watch some more of them now…


Slightly belated UK releases for Promising Young Woman with Carey Mulligan, and Tom Hanks in Paul Greengrass’s News of the World. Hopefully I’ll have reviews of both.

2020: The Full List

As I already revealed in my December monthly review, 2020 is the biggest year of 100 Films ever. That’s thanks to me watching 264 films I’d never seen before, a figure that just pips 2018’s 261. I didn’t quite reach my Rewatchathon goal of revisiting 50 films I’d seen before, but I finished up on a not-unrespectable 46. Combined, their total of 310 is slightly behind 2018’s equivalent 311; but I also watched a frankly extraordinary (by my standards) number of shorts this year — 65, enough to increase my shorts review list by over 76%.

More on all that in my annual statistics post, which is coming soon. For now, it’s time to look back over the year as a whole with these lovely long lists of all I watched. As well as films of all lengths, there are links to my monthly reviews (which contain all sorts of other goodies, donchaknow) and, further down, a list of my TV reviewing from the past year. To help you find what you’re looking for amongst all that, here’s a nice little set of contents links…


  • As It Happened — 2020’s monthly updates, with a chronological list of my viewing.
  • The List — an alphabetical list of every new film I watched in 2020; plus other stuff.
  • Television — an alphabetical list of every TV programme I reviewed in 2020.
  • Next Time — still to come: actual analysis of last year.

Below is a graphical representation of my 2020 viewing, month by month. Each of the images links to the relevant monthly review, which contain a chronological list of everything I watched this year. There’s also other exciting stuff in there, like my monthly Arbie awards and what I watched in my Rewatchathon.

I’ve often felt this section looks a bit unwieldy, so this year I’ve made it half the size. Any opinions on the change (or, indeed, anything else) are always welcome in the comment section.

And now, the main event…


An alphabetical list of all the new-to-me films I watched in 2020 (though some series are in chronological order within their alphabetisation). That’s followed by lists of other things I watched this year: alternate versions of films I’d already seen; rewatches I’ve marked out for ‘Guide To’ posts; and short films. Where a title is a link, it goes to my review; when there’s no link, it’s because I haven’t reviewed it yet (that’s probably self-evident…)

  • 127 Hours (2010)
  • 1917 (2019)
  • 3:10 to Yuma Hours (2007)
  • The 40 Year Old Virgin (2005)
  • 6 Underground (2019)
  • 7500 (2019)
  • 8½ (1963)
  • Ad Astra (2019)
  • The Adventures of Ichabod and Mr. Toad (1949)
  • Agatha and the Midnight Murders (2020)
  • Aladdin [3D] (2019)
  • All About Eve (1950)
  • All Is True (2018)
  • All Quiet on the Western Front (1930)
  • American Animals (2018)
  • The American President (1995)
  • An American Werewolf in London (1981)
  • Anand (1971)
  • Andrei Rublev (1966)
  • Aniara (2018)
  • The Armour of God (1986), aka Lung hing foo dai
  • The Assistant (2019)
  • August 32nd on Earth (1998), aka Un 32 août sur terre
  • Bad Boys for Life (2020)
  • Bait (2019)
  • Batman: Under the Red Hood (2010)
  • The Battle of Algiers (1966), aka La battaglia di Algeri
  • A Beautiful Day in the Neighborhood (2019)
  • Belladonna of Sadness (1973), aka Kanashimi no Belladonna
  • Bill & Ted’s Excellent Adventure (1989)
  • Bill & Ted’s Bogus Journey (1991)
  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)
  • Black Angel (1946)
  • Blind Fury (1989)
  • Blockers (2018)
  • Bloodshot (2020)
  • Booksmart (2019)
  • Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
  • Borat Subsequent Moviefilm (2020)
  • The Breakfast Club (1985)
  • Bridge to Terabithia (2007)
  • A Bug’s Life (1998)
  • Burning (2018), aka Beoning
  • Cairo Station (1958), aka Bab el hadid
  • Can You Ever Forgive Me? (2018)
  • Chariots of Fire (1981)
  • Chicken Run (2000)
  • The Children Act (2017)
  • The Christmas Chronicles: Part Two (2020)
  • Clueless (1995)
  • Coded Bias (2020)
  • Color Out of Space (2019)
  • Crawl (2019)
  • Crazy Rich Asians (2018)
  • Crooked House (2017)
  • Dangal (2016)
  • The Dead Don’t Die (2019)
  • Death to 2020 (2020)
  • Dial M for Murder [3D] (1954)
  • The Diamond Arm (1969), aka Brilliantovaya ruka
  • Dick Johnson is Dead (2020)
  • Do the Right Thing (1989)
  • A Dog’s Will (2000), aka O Auto da Compadecida
  • Dolemite Is My Name (2019)
  • Down with Love (2003)
  • Driving Miss Daisy (1989)
  • Dune: The Alternative Edition Redux (1984/2012)
  • E.T. the Extra-Terrestrial (1982)
  • Emma. (2020)
  • End of the Century (2019), aka Fin de siglo
  • Enola Holmes (2020)
  • Entrapment (1999)
  • The Equalizer 2 (2018)
  • Escape Room (2019)
  • Eurovision Song Contest: The Story of Fire Saga (2020)
  • Evil Under the Sun (1982)
  • Extraction (2020)
  • The Face of Fu Manchu (1965)
  • Falling (2020)
  • Fanny and Alexander (1982), aka Fanny och Alexander
  • Fast & Furious: Hobbs & Shaw (2019)
  • Film Stars Don’t Die in Liverpool (2017)
  • Fisherman’s Friends (2019)
  • For the Love of Spock (2016)
  • The French Connection (1971)
  • Fun & Fancy Free (1947)
  • The Gay Divorcee (1934)
  • Gemini Man (2019)
  • Godzilla: King of the Monsters [3D] (2019)
  • The Good Liar (2019)
  • The Goonies (1985)
  • Greyhound (2020)
  • Guinevere (1994)
  • Hamilton (2020)
  • Harakiri (1962), aka Seppuku
  • He Dreams of Giants (2019)
  • The Head Hunter (2018)
  • Hotel Artemis (2018)
  • Der Hund von Baskerville (1914), aka The Hound of the Baskervilles
  • Hunter Killer (2018)
  • Hustlers (2019)
  • I Am a Fugitive from a Chain Gang (1932)
  • Ice Age: Dawn of the Dinosaurs [3D] (2009)
  • Ice Age: Continental Drift [3D] (2012)
  • Ikiru (1952), aka Living
  • An Impossible Project (2020)
  • In the Mood for Love (2000)
  • Influence (2020)
  • Intolerable Cruelty (2003)
  • The Invisible Guest (2016), aka Contratiempo
  • The Invisible Man (2020)
  • The Ipcress File (1965)
  • It Chapter Two (2019)
  • Jingle Jangle: A Christmas Journey (2020)
  • Johnny English Strikes Again (2018)
  • Joker (2019)
  • Judgment at Nuremberg (1961)
  • Jumanji: The Next Level (2019)
  • K-19: The Widowmaker (2002)
  • The Karate Kid Part II (1986)
  • The Karate Kid Part III (1989)
  • The Kid (1921/1971)
  • Klaus (2019)
  • Knives Out (2019)
  • Lady Bird (2017)
  • The Lady Vanishes (1938)
  • Lancelot du Lac (1974), aka Lancelot of the Lake
  • Laputa: Castle in the Sky (1986), aka Tenkû no shiro Rapyuta
  • The Last Black Man in San Francisco (2019)
  • Last Chance Harvey (2008)
  • Late Night (2018)
  • Le Mans ’66 (2019), aka Ford v Ferrari
  • The LEGO Movie 2: The Second Part [3D] (2019)
  • The Lie (2018)
  • The Lighthouse (2019)
  • Little Women (2019)
  • Long Day’s Journey Into Night [3D] (2018), aka Di Qiu Zui Hou De Ye Wan
  • Look, Up in the Sky! The Amazing Story of Superman (2006)
  • The Looking Glass War (1970)
  • Lost in La Mancha (2002)
  • Love on a Leash (2011)
  • Lovers Rock (2020), aka Small Axe: Lovers Rock
  • The Lunchbox (2013)
  • Luxor (2020)
  • The Mad Magician [3D] (1954)
  • Maelström (2000)
  • Make Mine Music (1946)
  • Mamma Mia! Here We Go Again (2018)
  • A Man for All Seasons (1966)
  • Man on Wire (2008)
  • The Man Who Killed Don Quixote (2018)
  • The Man Who Laughs (1928)
  • The Man Who Shot Liberty Valance (1962)
  • The Man Who Sleeps (1974), aka Un homme qui dort
  • Mangrove (2020), aka Small Axe: Mangrove
  • Marriage Story (2019)
  • Mary Poppins Returns (2018)
  • The Mask of Fu Manchu (1932)
  • Melody Time (1948)
  • Men in Black: International (2019)
  • Millennium Actress (2001), aka Sennen joyû
  • Minions [3D] (2015)
  • Misbehaviour (2020)
  • Misery (1990)
  • Miss Fisher and the Crypt of Tears (2020)
  • Missing Link (2019)
  • The Mole Agent (2020)
  • Monty Python’s The Meaning of Life (1983)
  • Mr. Blandings Builds His Dream House (1948)
  • Much Ado About Nothing (2012)
  • My Favourite Wife (1940)
  • My Mexican Bretzel (2019)
  • The Mystery of the Rocks of Kador (1912), aka Le mystère des roches de Kador
  • Near Dark (1987)
  • Never Rarely Sometimes Always (2020)
  • Never Surrender: A Galaxy Quest Documentary (2019)
  • Never Too Young to Die (1986)
  • The Next Karate Kid (1994)
  • The Nightingale (2018)
  • The Old Dark House (1932)
  • The Old Guard (2020)
  • One Cut of the Dead (2017), aka Kamera wo tomeruna!
  • Ordet (1955), aka The Word
  • Out of Africa (1985)
  • Palm Springs (2020)
  • Parasite (2019), aka Gisaengchung
  • Paris When It Sizzles (1964)
  • Patrick (2019), aka De Patrick
  • The Peanut Butter Falcon (2019)
  • Pearl Harbor (2001)
  • Phase IV (1974)
  • Philomena (2013)
  • The Platform (2019), aka El hoyo
  • Polytechnique (2009)
  • Power of Grayskull: The Definitive History of He-Man and the Masters of the Universe (2017)
  • Puzzle (2018)
  • Quartet (2012)
  • Rambo: Last Blood (2019)
  • Rang De Basanti (2006)
  • Ready or Not (2019)
  • Red Joan (2018)
  • The Rhythm Section (2020)
  • RoboCop 3 (1993)
  • Robolove (2019)
  • Rocketman (2019)
  • Rose Plays Julie (2019)
  • Safety Last! (1923)
  • Scooby-Doo 2: Monsters Unleashed (2004)
  • Scooby-Doo! & Batman: The Brave and the Bold (2018)
  • The Scorpion King (2002)
  • The Secret Life of Pets 2 [3D] (2019)
  • Shadowlands (1993)
  • A Shaun the Sheep Movie: Farmageddon (2019)
  • Shazam! [3D] (2019)
  • The Sheik (1921)
  • Shoplifters (2018), aka Manbiki kazoku
  • The Show Must Go On: The Queen + Adam Lambert Story (2019)
  • Showman: The Life of John Nathan-Turner (2019)
  • Showrunners (2014), aka Showrunners: The Art of Running a TV Show
  • The Sky’s the Limit (1943)
  • So Dark the Night (1946)
  • Some Beasts (2019), aka Algunas Bestias
  • The Son of the Sheik (1926)
  • Soul (2020)
  • Spaceship Earth (2020)
  • Spider-Man: Far from Home [3D] (2019)
  • Split Second (1992)
  • A Star Is Born (2018)
  • Stop Making Sense (1984)
  • Stuber (2019)
  • Superman IV: The Quest for Peace (1987)
  • Tag (2018)
  • Tenet (2020)
  • Terminator: Dark Fate (2019)
  • The Thin Red Line (1998)
  • The Three Caballeros (1944)
  • Tim’s Vermeer (2013)
  • Tolkien (2019)
  • Tomb Raider [3D] (2018)
  • Top Secret! (1984)
  • The Two Popes (2019)
  • Ugetsu Monogatari (1953)
  • Uncut Gems (2019)
  • Under the Skin (2013)
  • Us (2019)
  • Vampires Suck (2010)
  • The Vast of Night (2019)
  • Venom (2018)
  • Vice (2018)
  • The Viking Queen (1967)
  • Waking Ned (1998)
  • Waxworks (1924), aka Das Wachsfigurenkabinett
  • The Wedding Guest (2018)
  • Who Killed Captain Alex? (2010)
  • Without a Clue (1988)
  • The Wolf’s Call (2019), aka Le chant du loup
  • Won’t You Be My Neighbor? (2018)
  • Yes, God, Yes (2019)
  • Yesterday (2019)
  • You Will Die at Twenty (2019)
  • Zatoichi in Desperation (1972), aka Shin Zatôichi monogatari: Oreta tsue
  • Zero Charisma (2013)
  • Zombieland: Double Tap (2019)
Alternate Versions
The 100 Films Guide To…
Shorts
  • Adnan (2020)
  • Alan, the Infinite (2020)
  • Anoraks (2020)
  • Appreciation (2019)
  • Befriend to Defend (2019)
  • Blue Passport (2020)
  • Booklovers (2020)
  • Chumbak (2019)
  • Clean (2020)
  • Closed Until Further Notice (2020)
  • The Crimson Permanent Assurance (1983)
  • The Dancing Pig (1907), aka Le cochon danseur
  • David Lynch Cooks Quinoa (2007)
  • The Day of the Coyote (2020)
  • DC Showcase: Jonah Hex (2010)
  • Destructors (2020)
  • The Devil’s Harmony (2019)
  • Embedded (2020)
  • The Escape (2016)
  • Flush Lou (2020)
  • Frankenstein (1910)
  • Frayed Edges (2020)
  • The Fruit Fix (2020)
  • Fuel (2020)
  • Guardians of Ua Huka (2020)
  • Hold (2020)
  • Home (2020)
  • Interstice (2019), aka Mellanrum
  • Keratin (2020)
  • The Last Video Store (2020)
  • Life in Brighton: An Artist’s Perspective (2020)
  • Man-Spider (2019)
  • A Map of the World (2020)
  • The Monkeys on Our Backs (2020)
  • My Dad’s Name Was Huw. He Was an Alchoholic Poet. (2019)
  • My Life, My Voice (2020)
  • Nelly (2020)
  • Nut Pops (2019)
  • One Piece of the Puzzle (2020)
  • Our Song (2020)
  • Pardon My Backfire [3D] (1953)
  • Peter’s To-Do List (2019)
  • Players (2020)
  • Quiescent (2018), aka Anvew
  • Quiet on Set (2020)
  • Reconnected (2020)
  • Shuttlecock (2019)
  • Siren (2020)
  • Slow Burn (2020)
  • So Far (2020)
  • Spooks! [3D] (1953)
  • A Spring in Endless Bloom (2020)
  • The Starey Bampire (2019)
  • Sticker (2019)
  • Stitch (2020)
  • The Stunt Double (2020)
  • Swivel (2020)
  • Talia (2020)
  • Time and Tide (2020)
  • Under the Full Moon (2020)
  • Water Baby (2019)
  • We Farmed a Lot of Acres (2020)
  • What Did Jack Do? (2017)
  • The Wick (2020)
  • Window (2019)
1917

The Adventures of Ichabod and Mr. Toad

Anand

Bait

Bill & Ted’s Bogus Journey

Borat Subsequent Moviefilm

Chicken Run

Crazy Rich Asians

Do the Right Thing

Enola Holmes

The Face of Fu Manchu

Fanny and Alexander

Greyhound

Harakiri

Ice Age: Dawn of the Dinosaurs

The Invisible Man

The Karate Kid Part II

The Lady Vanishes

The Lighthouse

Lost in La Mancha

The Lunchbox

Small Axe: Mangrove

Millennium Actress

Monty Python’s The Meaning of Life

Never Rarely Sometimes Always

Ordet

Patrick

Rambo: Last Blood

RoboCop 3

Shadowlands

Showrunners

The Son of the Sheik

Split Second

Tomb Raider

Under the Skin

The Wedding Guest

Zatoichi in Desperation

Zero Charisma

The Avengers

Alan the Infinite

The Crimson Permanent Assurance

The Escape

Interstice, aka Mellanrum

My Life, My Voice

Pardon My Backfire

Shuttlecock

The Stunt Double

What Did Jack Do?

.

As well as all those films, I also covered many TV programmes in my monthly(-ish) review columns. Just listing those individual posts would be meaningless, so instead here’s an alphabetical breakdown of what I covered, each with appropriate link(s).


Get ready for the best bit of the entire year: it’s the statistics!

The “Thank God That’s Over” Monthly Review of December 2020

Yes, the rumours are true: 2020 is finally over! Though if you think 2021 is going to be significantly better, you haven’t been watching the news. But hey, there’s 12 whole months of it to come — maybe it’ll improve, like, halfway through?

Anyway, we’ll leave worries of the future for later. Right now, it’s time to kick off my annual look back at the year just gone. Yeah, I’m going to spend the next week or so reliving 2020 — but don’t worry, it’ll be limited to my film viewing (like, y’know, it always is).

The headline news is my final total: 264 feature films I’d never seen before, which sneaks past 2018’s tally of 261 to be my biggest year ever! Plus, as I wrote about earlier this month, if you combine that with my Rewatchathon total (46) then I’ve passed 300 features once again. Throw in my shorts too (a whopping 65 this year) and I can claim a final total of 375 films. Whew!

More lists and stats and whatnot about that in the days to come. First: focusing in on the last twelfth of the year, aka December.


#255 Klaus (2019)
#256 Agatha and the Midnight Murders (2020)
#257 Lovers Rock (2020), aka Small Axe: Lovers Rock
#258 The Christmas Chronicles: Part Two (2020)
#259 Soul (2020)
#260 Tenet (2020)
#261 Power of Grayskull: The Definitive History of He-Man and the Masters of the Universe (2017)
#262 Under the Skin (2013)
#263 Minions 3D (2015)
#264 Death to 2020 (2020)
Soul

Tenet

.


  • I watched 10 new feature films in December.
  • On the downside, that makes it my smallest month of 2020. On the bright side, it means I’ve achieved my goal of watching at least ten new films every month (something I failed in 2019).
  • It’s below my December average, though (previously 11.2, now 11.1).
  • It means the monthly average for 2020 is finalised at exactly 22.0. That’s down from 23.1 at the end of last month, but is my highest yearly total ever (it has to be — I’ve watched more films than ever; that’s how it works).
  • But it does mean December remains the only month of the year never to have reached the 20-film mark. Maybe next year.
  • Talking of long-term goals, for a while now I’ve been tracking the dates on which I’ve never watched a film during the lifetime of this blog. You’d think after doing it for 14 days I’d’ve hit every date at least once, but that’s not the case: still missing were January 5th, May 23rd, and December 22nd. Despite knowing about those for a couple of years, I keep forgetting at the right time and so miss them; and this year I again forgot all about the December date until after the fact… but I’d happened to watch a film that evening anyway. Hurrah! Maybe I’ll finally hit the other two in 2021.
  • This month’s Blindspot film was arty sci-fi Under the Skin. That means I’ve completed the challenge, although I didn’t get through all my overflow films, sadly.
  • From last month’s “failures” I watched The Christmas Chronicles 2 and Lovers Rock.



The 67th Monthly Arbitrary Awards

Favourite Film of the Month
A couple of very enjoyable films this month, not least the latest from Pixar and Christopher Nolan (yes, I’m in the “Tenet was good” camp), but, in a Christmassy spirit, I’m giving this to the gorgeously-animated Netflix original, Klaus.

Least Favourite Film of the Month
For some it was the film of the year (it topped Sight & Sound’s poll and placed in Empire’s top ten, among others), but I thought the second Small Axe film, Lovers Rock, was a dull slog.

Best Double Entendre of the Month
Patting myself on the back for this one, but I was particularly pleased with my Letterboxd description of Under the Skin as Scarlett Johansson’s Twin Peaks — because it’s abstruse and meditative sci-fi like David Lynch’s TV series, and also boobies.

Best Re-use of Music of the Month
There are many reasons to look down on Minions, but the Minionisation of various classic pop and rock tunes is surprisingly entertaining.

The Audience Award for Most-Viewed New Post of the Month
For the fifth and final time this year, my most-read post was my monthly TV column. (The highest film-related post was my Christmas review roundup.)



I didn’t find as much time for film viewing in December as I would’ve liked; and so, as the month drew to an end, I decided to prioritise my goal of watching a minimum of ten new films a month over my Rewatchathon target. That means I’ve failed to reach 50 rewatches for a second year in a row — but last year I only made it to 29, so at least I got a lot closer this time…

#45 Die Hard (1988)
#46 Presto (2018)

I watched Die Hard on Christmas Eve Eve — because, y’know, it’s a Christmas movie. It’s still a great film, whatever time of year you choose to watch it.

As for Presto, it is, of course, a short film, so I probably shouldn’t count it as a whole number (I don’t on my main list). But, hey, I make the rules around here, and as my chances of making #50 by honest means didn’t look great, I wanted to count everything I could. Besides, the point of the Rewatchathon is to make me rewatch stuff, and I’ve been meaning to rewatch Presto for years.


If I’d found the time to watch more films this month, I would have loved to make space for David Fincher’s latest, Mank, on Netflix; and the new animation from Cartoon Saloon, Wolfwalkers, on Apple TV+. They’re top of my watchlist for January.

Other new releases for December included the surprisingly-controversial Wonder Woman 1984 (its UK digital release is in a couple of weeks, but I’ll probably just wait for the Blu-ray); and, all on Netflix, awards contender Ma Rainey’s Black Bottom, George Clooney sci-fi The Midnight Sky, lambasted musical The Prom, and Robert Rodriguez’s surprise spinoff from The Adventures of Sharkboy and Lavagirl, We Can Be Heroes. Steve McQueen’s Small Axe series finished up on the BBC and iPlayer, with the fourth and fifth episodes/films, Alex Wheatle and Education. Meanwhile, the best Amazon could manage was A Christmas Gift for Bob, an unexpected sequel to that movie about a cat or whatever (I dunno, I’m not a cat person).

In terms of not-new streaming additions, those catching my eye on Netflix included Jessica Chastain actioner Ava, Saoirse Ronan and Margot Robbie facing off in Mary Queen of Scots, Hugh Jackman political drama The Front Runner, and Robert Zemeckis’s Welcome to Marwen; plus Wild Rose, though that’s just jumped over from Amazon Prime. Netflix also added a bunch of stuff on December 31st, but I haven’t had time to go through that lot yet, so I’ll roll them into next month’s failures (or maybe I’ll even watch th— hahaha, no I won’t). Amazon added Greta Gerwig in Frances Ha, while iPlayer has a speedy debut for Monsoon starring Henry Golding.

Finally, I had another ridiculous haul of new Blu-rays this month. Highlights include Arrow’s 4K releases of Cinema Paradiso, Crash (both now contenders for 2021’s Blindspot list), and Tremors, plus their release of Japanese zombie actioner Versus; Indicator’s new edition of Roadgames (which I loved when I watched the Australian Blu-ray back in 2016), plus neo-noir Devil in a Blue Dress; a pair of Samuel Fuller titles from Eureka, Hell and High Water and House of Bamboo; and All The Anime’s 4K release of Makoto Shinkai’s Weathering With You, plus their new edition of his 5 Centimeters Per Second. If that wasn’t enough, there were 13 (yes, 13) more titles, mostly from sales — including the BFI’s 18-film Werner Herzog box set. Now I just need to get better at actually watching this stuff…


A new year begins. But first, there’s a lot more looking back at 2020 to be done. Stay tuned.

300 Films in a Year (sort of) (again)

I don’t really expect to ever again be in the position where I could whip out a natty ‘300 Films’ logo

That’s me, writing in December 2018. I really ought to stop saying stuff like that because, well, here I am again!

To clarify, it’s the same as last time: I haven’t reached 300 films according to the rules of my main count (i.e. films I’ve never seen before), but when you bundle together my ‘main list’ of new films and my Rewatchathon, I’ve reached 300.

I actually got there on December 8th, but I didn’t twig at the time because I’ve been engulfed in FilmBath still (it had finished this time last year, but this year we’ve been delayed by lockdowns and what have you). The date matters because that’s actually one day earlier than I got there last time. It would’ve been more remarkable if it was the exact same date, but still, what’re the odds it would be so close?

At one point this year it looked conceivable that I’d reach a ‘true’ 300 Films in a Year. That’s not going to happen (I’d have to watch 44 new films in the next 18 days — an average of 2.4 per day, every single day, for the rest of the month. Some people watch that kind of volume, but for me it’s just not feasible; doubly so when some of those days include the enforced family time of Christmas). But if the history of this blog has taught me anything, it’s to never say never — perhaps someday I’ll be telling you that I’ve reached that elusive true #300…

The Amplified Monthly Review of November 2020

Normally I avoid starting Christmas until at least December 1st. Shops and TV channels can begin to flood themselves with Christmas-related product throughout November (if not before), but I feel like “the day you open the first door of your advent calendar” is when Christmas can begin.

This year’s a bit different, though. Never mind the whole “2020 has been shit” of it all — despite that, I was still aiming for December 1st — but then family wanted to watch Netflix’s Jingle Jangle in the middle of November, and that opened the door a crack, until eventually Christmas fully barged in on the final weekend of the month. Presents bought! Decorations up! Built a festive LEGO set I didn’t get round to doing last year!

What I didn’t do is watch another Netflix original Christmas movie: Klaus. I didn’t get round to it last festive season, and as it’s (surprisingly) on the IMDb Top 250, I’ve been waiting impatiently all damn year for the time to roll around when I felt I could watch it. Well, it’s December now, so…

But before I get stuck into Christmas properly, let’s remember the month that just was.


#237 An American Werewolf in London (1981)
#238 Robolove (2019)
#239 Rose Plays Julie (2019)
#240 Showrunners (2014), aka Showrunners: The Art of Running a TV Show
#241 Falling (2020)
#242 An Impossible Project (2020)
#243 Coded Bias (2020)
#244 Jingle Jangle: A Christmas Journey (2020)
#245 The Lie (2018)
#246 Mangrove (2020), aka Small Axe: Mangrove
#247 The Mask of Fu Manchu (1932)
#248 You Will Die at Twenty (2019)
#249 Influence (2020)
#250 My Mexican Bretzel (2019)
#251 Borat Subsequent Moviefilm (2020)
#252 Ordet (1955), aka The Word
#253 Never Surrender (2019), aka Never Surrender: A Galaxy Quest Documentary
#254 Millennium Actress (2001), aka Sennen joyû
An American Werewolf in London

An Impossible Project

Never Surrender

.

Normally I include any short films I’ve watched in amongst the list of features, but this month I watched 53 short films. No, that’s not a typo. In the almost-14-year history of this blog to October 2020, I’d watched 97 shorts; now, AMPLIFY! alone has increased my count by 55%. That seemed an overwhelming amount to include in the above list, so I’ve separated them off here.

A quick guide: #247a–e were the IMDb New Filmmaker nominees; #249a–k were in the Cornwall Film Festival South West Regional programme; #249l–s were in the Cornwall Film Festival International programme; #249t–z were in the New Voices programme; #250a–i were in the CINECITY Open programme; and #250j–v were in the FilmBath programme.

#247a Under the Full Moon (2020)
#247b Flush Lou (2020)
#247c The Monkeys on Our Backs (2020)
#247d Players (2020)
#247e Home (2020)
#249a Shuttlecock (2019)
#249b Stitch (2020)
#249c Nut Pops (2019)
#249d Swivel (2020)
#249e Anoraks (2020)
#249f Frayed Edges (2020)
#249g So Far (2020)
#249h Man-Spider (2019)
#249i Slow Burn (2020)
#249j Closed Until Further Notice (2020)
#249k Quiescent (2018), aka Anvew
#249l Clean (2020)
#249m Appreciation (2019)
#249n Adnan (2020)
#249o Sticker (2019)
#249p Interstice (2019), aka Mellanrum
#249q The Day of the Coyote (2020)
#249r Chumbak (2019)
#249s Guardians of Ua Huka (2020)
#249t Destructors (2020)
#249u Nelly (2020)
#249v Life in Brighton: An Artist’s Perspective (2020)
#249w My Life, My Voice (2020)
#249x Embedded (2020)
#249y One Piece of the Puzzle (2020)
#249z Time and Tide (2020)
#250a The Wick (2020)
#250b We Farmed a Lot of Acres (2020)
#250c A Spring in Endless Bloom (2020)
#250d Booklovers (2020)
#250e The Fruit Fix (2020)
#250f Keratin (2020)
#250g Blue Passport (2020)
#250h Siren (2020)
#250i Reconnected (2020)
#250j The Last Video Store (2020)
#250k Water Baby (2019)
#250l Window (2019)
#250m Alan, the Infinite (2020)
#250n Our Song (2020)
#250o Hold (2020)
#250p Befriend to Defend (2019)
#250q Fuel (2020)
#250r My Dad’s Name Was Huw. He Was an Alcoholic Poet. (2019)
#250s Quiet on Set (2020)
#250t A Map of the World (2020)
#250u Talia (2020)
#250v The Starey Bampire (2019)


  • I watched 18 new feature films in November.
  • That’s the exact same tally as last month (and also February), so the same applies: it’s in the lower-middle for the year, coming =7th out of 11 months.
  • However, it’s below my average for 2020 to date (previously 23.6, now 23.1), and below the rolling average of the last 12 months — although, because I only watched 12 films last November, that still goes up slightly (from 21.1 to 21.6).
  • But it does pass the November average (previously 10.4, now 11.0).
  • Plus, #254 is the furthest I’ve ever reached by the end of November, beating #248 in 2018. It sets me up well to beat that year’s record for my highest ever final total — although victory is by no means guaranteed: I need eight more films to reach a new record, and last December I only watched five…
  • I’ve already noted above how the number of shorts I watched this month is measurable on an “entire history of the blog” scale, but, for what it’s worth, the next closest month came last November, also thanks to a film festival, when I watched… 9. Pales in comparison, doesn’t it?
  • This month’s Blindspot films: first, to catch-up for last month, a belated Halloween pick (that I therefore watched right at the start of the month), An American Werewolf in London; and second, Carl Th. Dreyer’s acclaimed meditation on religion, Ordet.
  • From last month’s “failures” I watched Borat Subsequent Moviefilm and The Lie.



The 66th Monthly Arbitrary Awards

Favourite Film of the Month
Not that this was a bad month by any means, but it started on a high that was never quite equalled: An American Werewolf in London is exactly the kind of film “What Do You Mean You Haven’t Seen?” was created for (honestly, I’m surprised it’s taken this many years for it to make it onto the list), and it didn’t disappoint.

Least Favourite Film of the Month
Conversely, failing to live up to expectations was The Mask of Fu Manchu. I didn’t exactly expect great things of it (there’s the inherent racism, for one thing), but even as a pulpy ’30s pre-code adventure movie, it didn’t tick the right boxes for me.

Favourite Short Film of the Month
With so many short films watched this month, it seems only right to extend the Arbies to them; though I won’t do a “least favourite” (seems unfair when shorts struggle to gain attention enough as it is). There are lots of entertaining little numbers in the 53-strong field, but undoubtedly my personal favourite was The Last Video Store, a documentary about Bristol’s still-running independent video rental place, 20th Century Flicks. It’s all about the importance and brilliance of physical media — right up my street. It’s available free on Vimeo, so do check it out.

Best Documentary Where the Tagline Gets Listed as Part of the Title of the Month
I watched two behind-the-scenes-y documentaries this month, Showrunners and Never Surrender — those are the titles they use on screen, anyway, but look online and you’ll mostly find them listed as Showrunners: The Art of Running a TV Show and Never Surrender: A Galaxy Quest Documentary. Regular readers will know how much this kind of imprecision / inconsistency annoys me. Anyway, they were both interesting, but Never Surrender was really warm-hearted and lovely as well as informative — if you love Galaxy Quest (and who doesn’t?) then you must see it. It’s on Amazon Prime, at least in the UK.

The Audience Award for Most-Viewed New Post of the Month
A very deserving victor this month, in my opinion: my review of “missing hammer in a Belgian nudist camp” comedy-thriller (that should totally by a subgenre) Patrick.



After being ahead of target most of the year, last month saw me slip behind slightly, and I haven’t caught it up… but I’m close enough that December could yet see me reach my goal of 50 rewatches.

#42 Hot Fuzz (2007)
#43 Fisherman’s Friends (2019)
#44 Knives Out (2019)

Considering how much I’ve always enjoyed Hot Fuzz (and how often it’s on ITV2), it’s a little remarkable that I’ve only watched it once since seeing it at the cinema in 2007; and, according to my records, that was around when it came out on DVD, in late ’07 or early ’08 — so I haven’t seen it in over 12 years. (Don’t ask me how long it’s been since Shaun of the Dead…) To think: all the mediocre movies I’ve watched in that time, and I could’ve just been rewatching this classic. Oh well.

At the other end of the time spectrum, I only first watched Fisherman’s Friends this May, and Knives Out this March. Both were family-appeasing viewing choices — not that I dislike either (indeed, I’d been specifically wanting to rewatch Knives Out). I’ve not got round to reviewing either in full yet, but I will someday (probably).


Cinemas may’ve been closed again thanks to Lockdown 2, but new releases continue to debut online — like Christmas lesbian romcom Happiest Season, which I’ve heard good things about; or Netflix’s The Christmas Chronicles 2, which hopefully is as likeable as the first one; or Ron Howard’s Hillbilly Elegy, which I’ve not heard anything good about. It does star Amy Adams and Glenn Close, though, so I expect it’ll be part of the awards conversation nonetheless.

The same conditions that have kept theatrical releases to a minimum have seen the streamers all pile on new content, though little of it’s brand-new. Particularly drawing my attention on Netflix was Assassination Nation, and Spider-Man: Into the Spider-Verse, the latter because it’s reminded me I still haven’t watched the 3D Blu-ray I imported from Australia. On social media, they made a big fuss of having Spider-Verse in 4K — I believe it’s a 2K upscale, but its visual style seems made for HDR enhancement. So, basically, I need to rewatch it twice, once in 3D, once in 4K…

iPlayer is also offering original movies at the minute — kind of — with Steve McQueen’s Small Axe series. I watched the first, but need to catch up on Lovers Rock and Red, White and Blue. They also have a speedy TV premiere for recent UK release Monsoon. Over on Amazon, the best they could offer is Military Wives — the kind of thing I might watch with my mum over Christmas. They also added Parasite, but I (a) have seen it, and (b) own it on disc.

In fact, I own it on disc twice, thanks to picking up the US 4K release back in July (they’ve just released it on 4K here, but I think the import still cost me less), and buying the Criterion edition this month. I’m not one of those Criterion completists buying it for the sake of it being a Criterion — I want the special features, and also the black-and-white version (though that’s on Amazon Prime too, so…) It was one of many titles I imported thanks to Barnes & Noble’s biannual Criterion sale — although, as they still refuse to ship to the UK, I actually bought stuff price-matched from Amazon.com. Other titles I picked up included Ghost Dog (been waiting for that on Blu-ray for years), Christopher Nolan’s Following, Alfred Hitchcock’s The Lady Vanishes, Marriage Story, and the Three Fantastic Journeys bu Karel Zeman box set — the UK editions were still slightly cheaper, but pop-up packaging? Yes please! While I was at it, I also imported a bunch of other US stuff I’ve wanted for a while: Billy Lynn’s Long Halftime Walk (I’ve never heard great things about the film, but the US release is a 4K-HFR / 3D combo pack that entices me), Shout’s release of Creepshow (as the UK release is long out of print and it’s one of the few George Romero titles I didn’t own), the 4K restoration of Rian Johnson’s Brick, animation Long Way North, The Mask of Zorro in 4K, the 26th Zatoichi film (upgrading my Arrow DVD)… and a few others too (this list is getting plenty long enough, and I’ve not even started on my UK purchases).

Yes, various UK sales further decimated my bank account this month. There was a UK Criterion offer, too, in which I picked up The Life Aquatic with Steve Zissou, The Life of Oharu, and Metropolitan; Indicator had a Hammer sale, from which I nabbed two of their box sets (Volumes Three and Four, if anyone’s interested); from Arrow’s Noirvember offer I snagged Dark City, Hangmen Also Die, and (after many years of never quite buying them) both the 1946 and 1964 versions of The Killers; plus random discounts on the 4K box sets of Sicario 1 and 2, and the Three Flavours Cornetto trilogy.

Oh, and there were new releases too! The headliner has to be Second Sight’s incredible 4K box set of Dawn of the Dead, a behemoth packed with alternate cuts, special features, and books — not booklets, literal books. Amazing. Also available in multiple fancily-packaged editions was the 4K release of V for Vendetta, though I just went for the regular version in the end. There were also two new Jackie Chan titles from 88 Films (Shaolin Wooden Men and New Fist of Fury); plus another Eastern action classic from Eureka, The Bride with White Hair; and Japanese sci-fi from Eureka too, in the form of Mothra, The H-Man, and Battle in Outer Space. More noir, as well, in the form of Indicator’s Columbia Noir #1 box set — that number at the end promising I’ll be spending much money on this series in the years to come. And, finally, rounding out the month, a Train to Busan trilogy box set, meaning I finally picked up that zombie modern classic, along with the anime prequel (which I don’t much care for) and the new sequel, Peninsula.

Christ, look at that list — anyone’d think I’d just had a Christmas present haul! And I left half-a-dozen titles out just to speed things up. But no, Christmas is still to come…


Iiiiit’s Chriiiiiistmaaaaas! I have been waiting pretty much all year to be able to watch Klaus (can’t watch a Christmas film from January to November, no no no), so if I don’t get round to it I’ll be doing some serious self-chastising in my December review.

The Horrific Monthly Review of October 2020

Don’t be fooled by the title, dear reader: I’m not one of those people who spends all of October watching horror movies. But the world we live in is horrifying enough for that adjective to apply to pretty much any month this year, isn’t it?

So as England prepares — not for No Time to Die, as we’d hoped for from November — but for Time to Try Not to Die in Lockdown 2, let’s look back at the month that was the tenth in the seemingly-never-ending year that is 2020…


#219 Lancelot du Lac (1974), aka Lancelot of the Lake
#220 Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
#221 Patrick (2019), aka De Patrick
#222 Dick Johnson is Dead (2020)
#223 The Good Liar (2019)
#224 Driving Miss Daisy (1989)
#225 Some Beasts (2019), aka Algunas Bestias
#226 Luxor (2020)
#227 The American President (1995)
#228 Down with Love (2003)
#229 Puzzle (2018)
#230 Misery (1990)
#231 The Mole Agent (2020)
#232 Waxworks (1924), aka Das Wachsfigurenkabinett
#233 Vampires Suck (2010)
#234 The Face of Fu Manchu (1965)
#235 Tim’s Vermeer (2013)
#236 Crazy Rich Asians (2018)
Patrick

Tim's Vermeer

Crazy Rich Asians

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  • I watched 18 new feature films in October.
  • That’s in the lower-middle for 2020 so far — 7th out of 10 months, to be precise.
  • Unsurprisingly, then, it fails to equal my 2020 average (previously 24.2, now 23.6).
  • It also fails to equal my rolling average for the last 12 months, but as last October was so poor (just four films), it still increases the average, from 19.9 to 21.1.
  • Continuing on the bright side, it surpasses the October average (previously 13.2, now 13.5).
  • #236 is also the furthest I’ve ever reached by the end of October, besting #222 in 2018.
  • You might think that makes 2020 a lock for my #1 year ever, but it’s not so simple (as my previous overviews of predictions have shown). There are 26 films to go to a new record — 13 per month for November and December, which sounds very doable (my worst month this year totalled 12), but it’s worth noting that the November average is 10.4 and for December it’s 11.2, so never say never.
  • As for the once-seemingly-possible target of #300, that would mean 32 per month in November and December. Literally, not impossible (I’ve managed over 30 in two consecutive months twice before), but also not likely (I’ve only managed over 30 in two consecutive months twice before). Time will tell…
  • This month’s Blindspot film was supposed to be An American Werewolf in London. For most of the year I’d had that singled out to be October’s pick, for obvious reasons. I considered watching it earlier in the month, but decided to leave it for nearer Halloween. Then as Halloween neared I thought, “why not save it for the day itself?” Because Halloween is the last day of the month and the best-laid plans are apt to be upended, that’s why not! So, yeah — oops. I’m aiming to watch it today to catch up quickly.
  • From last month’s “failures” I watched Crazy Rich Asians and The Good Liar.



The 65th Monthly Arbitrary Awards

Favourite Film of the Month
I watched a lot of films I liked this month — indeed, there was only really one choice for the “least favourite” category. But in terms of favourites, it was quite easy to single one out, too, because one film really blew me away: Tim’s Vermeer, a documentary about the point where art, technology, and obsession meet. It’s fascinating and genuinely awe-inspiring.

Least Favourite Film of the Month
I was able to watch a few screeners this month for films showing as part of AMPLIFY! Maybe it’s wrong for me to pick one of those here (shh, don’t tell anyone!), but, well, Some Beasts was easily the worst film I watched this month. Not because it’s badly made, but a final-act plot swerve struck me as wholly distasteful and poorly handled. More on that whenever I get round to reviewing it.

Most Layers in a Title of the Month
Before viewing, I wondered if Crazy Rich Asians was about Asians who were crazy-rich or rich Asians who were crazy. Turns out, it’s both! So many layers! (Two. That’s two layers.)

Most Penises of the Month
One of Borat’s most famous scenes may be a nude wrestling/chase scene between two men, but that’s got nothing on Patrick, a whole film set in a nudist camp. (Don’t let that turn you off / switch you on, mind — there’s a lot of good stuff in Patrick, and the nudity is fairly incidental.)

The Audience Award for Most-Viewed New Post of the Month
…goes to my latest TV column again, for the fourth time this year. I’ve gotta say, this one did have one of my favourite header collages I’ve put together (the entire thing uses mirroring! Me so clever). (The highest film-related post was a distant second, Bloodshot.)



At one point I was over a month ahead on my Rewatchathon goal for the year. That lead has been slowly eroded, and now I’m officially one film behind. Still, with just two months to go, it’s certainly not impossible that I’ll get there.

#40 Live and Let Die (1973)
#41 Mystery Men (1999)

As a Bond film, Live and Let Die will get my ‘Guide To’ treatment at some point. For now, I put some thoughts on Letterboxd.

Superhero comedy Mystery Men was included in my 100 Favourites series back in 2016, but I hadn’t actually watched it in a decade or more. I’m happy to report that I did still enjoy it. It takes a while to warm up — basically until the whole team has been introduced, which takes longer than you might think — but, once it gets there, it’s frequently gold. Will it make the next iteration of my 100 Favourites list? It’s more borderline than I might’ve expected. It’s not a perfect movie, but it is very enjoyable overall.


Big titles have continued to flee, and with a new lockdown cinemas will be closing again, but a few releases did sneak out in the meantime, like acclaimed horror Saint Maud, and… um… Cats & Dogs 3? Eesh. London Film Festival organised outreach screenings across the UK, but the only one that made it into the schedule at my local was closing-night film Ammonite. And in the sort-of-cinema column, Robert Zemeckis’s re-adaptation of The Witches went straight to premium streaming. I wouldn’t pay £16 for a rental of that anyway, so the mixed-to-poor reviews certainly didn’t sway me.

Another re-adaptation, The Secret Garden, finally had a cinema release, but having been sold off to Sky as a Sky Cinema Original, it was more readily accessible at home. This month the streamer also offered up Underwater, Seberg, and films not starring Kristen Stewart, like Waves. But Now TV finally stopped giving me good cut-price offers to resubscribe, so I likely won’t be able to consider watching any of those until next Oscar season, when I resubscribe to watch the ceremony.

The other two big streamers had some significant originals too. Netflix offered yet another re-adaptation of classic English literature, Rebecca, plus Aaron Sorkin’s latest, The Trial of the Chicago 7; plus David Attenborough bio/polemic, A Life on Our Planet, and another Adam Sandler thing, Hubie Halloween. Over on Amazon, the headline grabber was Borat Subsequent Moviefilm (as you might’ve noticed in my viewing list, I finally watched the original in preparation, but haven’t watched the sequel yet), and a quartet of original chillers from Blumhouse — Black Box, The Lie, Evil Eye, and Nocturne — which I don’t think have garnered great reviews, but which look interesting nonetheless. Amazon also boasted another quartet this month: the Indiana Jones series. I’ve been meaning to rewatch them forever — indeed, I’ve owned the Blu-ray set since 2012 and never watched it. I ought to get round to that before they turn up on 4K and I buy them again…

And talking of purchases, I’m still failing to stop myself buying tonnes more stuff. Indy may not be on 4K yet, but that other Spielberg-related ’80s geek trilogy, Back to the Future, did make its bow on the format this month. Of course I bought it. I nabbed an even bigger box set in Amazon’s Prime Day sale: the Universal Classic Monsters complete 30-film Blu-ray set, which includes 38 films (because, thanks to Universal’s lazy bundling of existing sets, there are seven duplicate movies in the set (whole discs could’ve just been taken out), and one film they only count as an extra, the Spanish version of Dracula). Other horror-ish pickups included Indicator’s new Fu Manchu set (officially out tomorrow; I’ve already watched the first (#234 above)); Japanese classic House; and another Universal / James Whale / Boris Karloff effort, The Old Dark House (which I watched on streaming back in June and loved). New releases included interactive DC animation Batman: Death in the Family, 88 Films’ latest Jackie Chan classic, Spiritual Kung Fu, and an import of Requiem for a Dream in 4K (it’s out in the UK later this month, but the import was cheaper). Finally, a few more to rewatch in 4K, thanks to a 3-for-2 offer: Bad Times at the El Royale, Die Hard, and Spielberg’s War of the Worlds. Whew!


Lockdown 2: Covid Boogaloo.

The Man Who Killed the Monthly Review of September 2020

This month started off strong: reaching #200 (for only the third time ever); watching plenty of films; posting a lot of reviews… but then it tapered off on all fronts. Partly this is because I’ve found myself back in the employ of FilmBath Festival — yes, even in this crazy COVID world, we’re putting on a film festival. Plus an online offering that will be accessible nationwide… but shh, that’s not been officially announced yet! More details in the coming weeks.

For now, back to the last month on this blog…


#199 All Is True (2018)
#200 In the Mood for Love (2000), aka Fa yeung nin wah
#201 Anand (1971)
#202 Ikiru (1952)
#203 The Man Who Sleeps (1974), aka Un homme qui dort
#204 All About Eve (1950)
#205 A Shaun the Sheep Movie: Farmageddon (2019)
#206 Vice (2018)
#207 The 40 Year Old Virgin (2005)
#208 For the Love of Spock (2016)
#209 Guinevere (1994)
#210 Blind Fury (1989)
#211 Waking Ned (1998)
#212 Out of Africa (1985)
#213 The Hippopotamus (2017)
#214 Enola Holmes (2020)
#215 Fanny and Alexander (1982), aka Fanny och Alexander
#216 The Man Who Killed Don Quixote (2018)
#217 Lost in La Mancha (2002)
#218 He Dreams of Giants (2019)
Anand

Farmageddon

Fanny and Alexander

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  • I watched 20 new feature films in September.
  • That makes it my 25th month with 20+ films, and my first 20+ September in five years.
  • It surpasses my September average (previously 11.9, now 12.5) and the rolling average of the last 12 months (previously 18.9, now 19.9), but falls short of 2020’s average to date (previously 24.75, now 24.2).
  • Early in the month I reached my 200th film for this year. I wrote about the history and stats of that achievement here.
  • Moving beyond #200 means 2020 is already my second biggest year ever, with three months still to go
  • #218 is the furthest I’ve reached by the end of September (my previous best was #206 in 2018), meaning a new all-time record is not impossible — but there are still 44 films to go to get there, more than double the number I watched in October-to-December last year.

As for the films themselves…

  • Back in July, I identified that Vice was the only film I needed to see to complete the last five years of Oscar Best Picture nominees (that’s 43 films). So, now I’ve done that, it’s on to the last decade of the same (which is 88 films), for which I still need to watch another ten. Let’s see how long that takes…
  • From last month’s “failures” I watched The Man Who Killed Don Quixote (see the Arbies for more about this).
  • This month I watched four Blindspot films. That makes it sound like I’m doing it very, very wrong, but allow me to explain.
  • Firstly, I needed to catch up for missing one last month — that was In the Mood for Love.
  • Then I needed to watch one for this month, of course — that was Ingmar Bergman’s magnum opus, Fanny and Alexander.
  • Then you may remember I had a list of eight ‘overflow’ films to also consider watching — this month, I watched two, Ikiru and All About Eve.
  • So, I’m now back on track for the main list and over halfway through the overflow. But I’ll still need to watch exactly one overflow film a month (in addition to a main list film) for the rest of the year if I want to finish all 20.



The 64th Monthly Arbitrary Awards

Favourite Film of the Month
Rather spoilt for choice this month, what with four Blindspot films that mostly lived up to expectations, plus several other great and/or very enjoyable movies too. Perhaps the most pleasant surprise was Fanny and Alexander — I’ve not always got on with Ingmar Bergman’s films before, so his over-three-hour magnum opus could’ve been horrific for me, but I actually thought it was fantastic.

Least Favourite Film of the Month
Un homme qui dort? More like Un homme qui t’endort.

Best Blind Swordsman of the Month
I had intended to save Blind Fury until after I’d finished the Zatoichi series (which I really should have done by now, but I’ve let various things get in the way). For those who don’t know, it’s a modern-day US-set remake of Zatoichi Challenged — a thoroughly bizarre idea, so it seemed best to leave it until I was done with the series proper. But then I noticed it was leaving Amazon Prime imminently, so I decided I’d better get on it. Such are the ways of the streaming era. It’s not as good as the real thing, but it was more fun than I expected.

Most Debatable Viewing Order of the Month
I’ve owned acclaimed (un)making-of documentary Lost in La Mancha on DVD but never got round to watching it — so long, in fact, that Terry Gilliam was finally able to actually make the film it’s about, The Man Who Killed Don Quixote, and it’s now streaming on Sky. The makers of La Mancha also documented that successful effort, in a new film called He Dreams of Giants, which I recently had access to a screener for. So the question became: which order to watch them in? I’m not sure the one I plumped for (see #216–218) was the right way to go about it, but then neither of the alternatives (La ManchaDon QuixoteGiants; or La ManchaGiantsDon Quixote) seemed perfect either, so this was as good as any. In fact, with hindsight, I think it might have been the best way — watching the docs before the resultant feature would’ve set too many unnecessary expectations.

The Audience Award for Most-Viewed New Post of the Month
For only the third time this year (there have been other years where it happened most months), my most-viewed new post was my latest TV column. (The most-viewed film post was, as befits its status as a modern masterpiece, my review of Love on a Leash.)



The Basil Rathbone Sherlock Holmes movies have made up over a third of my Rewatchathon so far this year. With them finished, there’s now a hole where they used to be as a go-to choice, meaning my pace has slipped slightly… but I’m still currently on target for 50 by the end of the year, so that’s okay (for now).

#38 Jodorowsky’s Dune (2013)
#39 Mission: Impossible II (2000)

I wrote my review of Jodorowsky’s Dune after that rewatch, so my Letterboxd log adds little more than that I enjoyed it more second time round.

M:I-2 is a different kettle of fish: you can find my latest opinion of the film itself on Letterboxd (short version: I still really like it). As for its place in the Rewatchathon, it continues my rewatch of the Mission: Impossible movies in 4K that I started back in May. Then I mentioned that it’s the first two films that feature the biggest upgrades in PQ with their 4K transfers. M:I-1 is the more strikingly good-looking film, but this one looks great most of the time too. The downsides are that the overall improvement reveals how much softness there is in some of the original photography, and skin tones look too hot in a couple of scenes (though I couldn’t quite be sure if I needed to fiddle with my TV settings, or if it was the transfer’s fault, or just the way the film was shot). Still, a resounding improvement over the old Blu-ray.


The reopening of cinemas continues with Bill & Ted Face the Music making its UK debut on the big screen only, and… that’s probably it: Tenet’s underperformance at the US box office has the studios running scared again. Bond is still on schedule for November, but will that hold? Only time will tell.

Another film that got a cinema release in some territories was Disney’s live-action remake of Mulan. Of course, it went direct to streaming everywhere that Disney+ is available, and that includes the UK, even though our cinemas are open. £20 vs a £6 cinema ticket? Hmm… Anyway, I guess that didn’t do well either, given that Disney have moved the rest of their big titles into 2021 rather than send them to Disney+ too.

Also on streaming, Netflix had a couple of big originals in the shape of Charlie Kaufman’s I’m Thinking of Ending Things and The Devil All the Time. Both set Film Twitter and Letterboxd abuzzing, but I haven’t been in the mindset for their heaviness yet. There was also the hugely controversial Cuties, which is a debate I’m not interested in reigniting, and they ended the month with a new adaptation of gay play The Boys in the Band. Also catching my eye on Netflix were a string of titles I’ve bought on Blu-ray but not got round to watching: First Man, The Handmaiden, the new Halloween… Shame on me. (They’ve also added various things I have seen and reviewed, of course, but that’s not the point of this section.)

Over on Amazon, no brand-new films that I could see, but they did have the streaming premieres of Guy Ritchie’s The Gentlemen and acclaimed crime drama Queen & Slim. They’ve also now got Crazy Rich Asians, after it ended its time on Now TV / Sky Cinema. Talking of which, after having a subscription to that for most of the year — first for the Oscars, then via a series of free and heavily discounted months — I cancelled it at the start of this month because it was going to be full price, only for them to now offer me a free month. Additions there this month include The Good Liar, Motherless Brooklyn, and Judy.

BBC iPlayer’s also had a pretty strong slate of movies recently, including recent-ish titles moving in from other streamers (Molly’s Game, I, Tonya) and HD versions of classics (Doctor Zhivago, The Life and Death of Colonel Blimp, etc). Also, Christopher Nolan’s Memento, which I’ve not seen for a very long time indeed and ought to take the chance to rewatch in HD (that feels like the kind of film that’s due a 4K release from someone like Arrow, but who holds the rights I don’t know).

Finally, my disc purchases were a lot calmer than last month’s 54 films. It’s taken five years, but I finally completed my collection of the “Top 5 Films I Hadn’t Heard of Before Watching The Story of Film But Now Really Want to See” by importing the US release of Hyenas. I managed to find a copy of Doctor Sleep with the director’s cut included (if I’d realised they really meant it when they said it was “limited edition”, I’d’ve bought it sooner! After being out of stock on HMV’s website for months, they seem to have found some additional copies, so fortunately I only paid normal price for it). Rewatching Jodorowsky’s Dune inspired me to purchase Arrow’s new Jodorowsky box set, which I fear I may regret (his films aren’t half odd looking), but there we go (knowing me, I’ll not get round to them for years / ever anyway).

I also picked up… Bullitt (primarily for one of its special features, feature documentary The Cutting Edge: The Magic of Movie Editing) … the US 4K release of anime Ghost in the Shell (though I accidentally ended up with two copies, so I need to get that on eBay) … and re-bought all three Ghostbusters films (the original pair in a new-to-the-UK 4K box set, which duplicates the discs from last year’s limited and expensive US 35th anniversary set; and the 2016 reboot in 3D, which I got brand-new for £1.50. The fact most people have given up on 3D is a boon for those of us who haven’t).


October means one thing for some people: Halloween. I doubt I’ll be so singularly focused (I never have been before — why start now?), and I’m not even sure what I’ll do for the day itself (because it is just a day, not a season, or even a month — sorry, people). Between 2015 and 2019 I spent it covering the Twilight saga, but I finished that last year (thank God) so need a new notion. Although there’s always that Twilight spoof — which, according to IMDb voters, is the 46th worst film of all time, ranking lower than any real Twilight film. Dare I brave the horror?