The Best of 2020

And so, we reach the end of 2020.

I don’t know about you, but this feels like a, “what, already?!” moment to me. Putting my year-in-review posts together used to seem to take ages, but this year it feels like I’ve barely begun and now it’s over. But that’s enough about my subjective perception of time — let’s talk about movies in 2020, like Tenet, which is partly about… um, never mind.

This final year-in-review post does what it says on the tin: it’s a list of my favourite films that I saw in 2020 (normally my least-favourites would be here too, but I did those already). A note for newcomers and/or reminder to the forgetful: rather than just 2020 releases, I select my list from all 264 movies I saw for the first time during 2020. That’s partly because there are tonnes of new releases that I never see in time — which is also why this post contains a list of 50 significant films I missed.

Compiling this year’s lists has taken a lot of thinking, rearranging, cutting, reflecting, re-adding, re-rearranging, and a certain amount of “oh, that’ll do, what does it matter anyway” to actually get them out the door. Here’s what I ended up with…



The 26 Best Films I Saw For the First Time in 2020

Since 2016, I’ve replaced the usual “top ten” with a “top 10%”. As I watched 264 films in 2020, that means this year’s list has 26 films. (If you think that’s too many, feel free to scroll down and start from wherever you like.)

Although all the movies I watched for the first time in 2020 are eligible, I did watch 57 films that had their UK release in 2020, so I’ve noted the ‘2020 rank’ of the eight that made it in. (I also saw a couple of 2020-UK-release films at FilmBath Festival in 2019. As they were already ranked as 2019, I’ve not factored them in here.)

26 Klaus

The animation is absolutely gorgeous in this Oscar-nominated BAFTA-winning Netflix original about a disaffected postman who helps originate the legend of Santa.

25 The Looking Glass War
The mundanity of real-life espionage; conflicted morals; the futility of the whole thing — this John le Carré adaptation is full of all the things that made his work so great.

24 Dial M for Murder

As intelligent and tense a thriller as you’d expect from Hitchcock; so good it even manages to make you overlook its obvious stage-bound roots. Superb in 3D, too.

23 The Invisible Man
2020 #8 This #MeToo-era reimagining of the HG Wells / Universal Horror classic could hardly be more timely. But even leaving that aside, it’s a chilling exercise in ratcheting tension.

From its astounding opening to its hard-hitting final act, Last Black Man is an astonishing cinematic experience about the stories we tell ourselves about ourselves. [Full review.]

21 Aniara
A space ship full of colonists is sent irretrievably off course in this Scandi sci-fi that’s driven by big ideas about human behaviour in extremis.

20 Paris When It Sizzles

William Holden and Audrey Hepburn are clearly having a whale of a time in this marvellously cine-literate ’60s romp about a struggling screenwriter.

19 Philomena
Judi Dench is extraordinary and Steve Coogan is a revelation in this intensely affecting drama about a wronged woman searching for her son who was taken decades earlier.

18 Fanny and Alexander

Ingmar Bergman described this as “the sum total of [his] life as a filmmaker”. Blending familial drama with a dash of magical realism and the supernatural, it’s a masterful work.

17 Belladonna of Sadness
Delicate watercolour artwork and medieval folklore smash against a storyline fuelled by rape and a penis-shaped devil in this astonishing animation full of psychedelic imagery and experimental music. I’ve never seen anything quite like it.

2020 #7 It’s “Agatha Christie meets the Coen brothers in a nudist camp” as the eponymous handyman searches for his missing hammer in a world full of wobbly bits, where anyone might’ve taken it. [Full review.]

15 Tenet
2020 #6 If you let go of the need to fully understand the mechanics of the film’s time-reversal conceit, Christopher Nolan’s latest is an audacious and exciting spy thriller. It’s a shame real-world arguments have come to overshadow what is actually a suitably thrilling spectacle.

14 Soul

2020 #5 Pixar have often been praised for making films for grown-ups. That’s not something I’d wholly agree with, until now. Not as cutesy as the rest of their output (largely), Soul asks big questions about what makes us who we are. All wrapped up in a buddy-quest storyline, of course.

13 Knives Out
Rian Johnson’s tribute to whodunnits a la Agatha Christie pulls off something that genre can’t always manage: rewatchability. It barely matters who actually dunnit when it’s this much fun spending time with the outrageous suspects and Daniel Craig’s implausibly-accented detective.

12 The Old Dark House

As amusing as a droll comedy and as atmospheric as a creepy old-school horror, James “director of Frankenstein” Whale’s genre classic is just a lot of fun.

If this anime were live-action, it would be an action-adventure blockbuster. It’s got it all: thrills, humour, emotion, wonder… That makes it so accessible, it would be a perfect starting point for any Westerner new to anime. [Full review.]

Taron Egerton stars as Elton John for this unusual biopic of the singer. Part traditional musician biopic, part jukebox musical, director Dexter Fletcher remixes John’s music into some imaginatively staged sequences, while Egerton and his supporting cast (in particular Jamie Bell) give thoughtful, nuanced performances. The cumulative effect is a movie that is highly enjoyable but not without depth. [Full review.]

9
The Lady Vanishes

Alfred Hitchcock is probably most renowned for his Hollywood movies (Pyscho, Vertigo, Rear Window, etc), but we shouldn’t forget his British output — these are the films that got him Hollywood’s attention, after all. The director’s second appearance on this year’s list is one of the last films he made before that jump across the pond. It’s a mystery thriller about an old lady who somehow disappears from a moving train, and a couple of youngsters who try to find out how and why. It’s witty, it’s clever, and it’s exciting — all the things for which Hitch is best known.

8
Judgment at Nuremberg

This fictionalised account of the military tribunals that took place following the Second World War sets its sights not on the trials of major Nazi leaders, but on the subsequent trials that assessed the guilt of people further down the chain — here, four judges and prosecutors who helped facilitate the Nazi’s crimes. For such weighty material, this is an appropriately weighty film — a long, complex, methodical, harrowing account. Boldly directed by Stanley Kramer, and with an incredible cast all giving first-rate performances, this remains a powerful, brilliant film.

7
Tim’s Vermeer

Computer graphics pioneer and inventor Tim Jenison is an art enthusiast, fascinated by the work of Dutch master Johannes Vermeer, in whose work his engineer’s brain sees a near-impossible photographic accuracy. So, he sets out to prove and expound upon existing theories that Vermeer painted with the aid of some kind of optical device. What unfolds is an astonishing story of obsession, dedication, and art historiography, which challenges your idea of where the line lies between art and technology.

2020 #4 Sam Mendes’s single-take(-kinda) World War One adventure ended up losing many of the big prizes to Parasite last awards season (FYI, they both count as 2020 films here due to UK release dates in January and February, respectively). But that doesn’t mean it’s any less of an extraordinary experience. I love a long single take (fake or not), and I love stories that unfold in real-time, and I feel World War One has been under-represented on screen — so when Mendes takes all of those things and executes them brilliantly (having Roger Deakins on cinematography helps), you get a film that’s right up my street. [Full review.]

If 1917 uses all the skills of modern tech to craft an almost old-fashioned epic, Bait is practically the polar opposite: old-school techniques (a wind-up camera; hand-developed 16mm film; post-sync sound) to tell a very modern story (broadly, about the economic plight of Cornish fishermen). It could be pretentiously arthouse or an insufferable polemic, but it’s neither. Instead, the story is told with genuine heart, drama, and humour, and the handmade aesthetic adds an appreciable, beautiful texture. [Full review.]

4
Parasite

2020 #3 If you use Letterboxd, the latest film from acclaimed South Korean director Bong Joon Ho comes with a heavy millstone round its neck: according to that site’s users, it’s the greatest film ever made. Like Citizen Kane before it, such a label can be a distraction, and makes some people want to push back against it (is that why I’ve only ranked it at #4? You decide). “Best film ever” or not, the first non-English-language film to win the Best Picture Oscar is a timely deconstruction of class systems — just who are the eponymous parasites, actually? Even aside from big societal questions, it’s a thrilling piece of filmmaking; tense, exciting, and surprising.

2020 #2 Can a filmed stage production be the year’s best film? Um… Well, that’s a major reason why Hamilton is in 3rd place for my 2020 viewing and 2nd place for 2020 releases: it’s not really a film, right? Well, it’s definitely some kind of historical record — not of the life of Alexander Hamilton, but of a theatre production that took the world by storm. Here we get to witness the original Broadway cast in the show’s original staging, allowing us all the chance to witness a genuine cultural phenomenon first-hand. But this is not merely a couple of cameras plonked into the audience for the sake of posterity: director Thomas Kail users multiple cinematic techniques to make a film that truly feels like a film. Yes, it’s still theatrical, but it feels like this is how this story is meant to be (cf. something like Dogville: also very theatrical; also definitely a film). Theatres will reopen and we’ll be able to see Hamilton in the flesh again; and someday they’ll inevitably make a ‘real’ movie adaptation; and even still, this film will stand as a legitimate, magnificent experience in its own right. [Full review.]

2020 #1 Writer-director Eliza Hittman’s story of a Pennsylvanian teenager forced to travel to New York for an abortion is told with documentary-like subtlety and understatement, but the result is incredibly moving and powerful. Without ever explicitly stating it, the film is an eloquent condemnation of US systems that force poor and struggling individuals to jump through hoops to access care that those of us in the rest of the developed world might consider basic rights. It’s a potent reminder that, for all its claims of being a highly-developed world-leader, for many of its citizens the US is as regressive, prejudiced, and unequal as the ‘Third World’ countries it so often seeks to demonise. [Full review.]

1
Do the Right Thing

If there’s one feature that links many films on this year’s list, it’s timeliness: films that connect with some of the big sociopolitical issues of our day. Do the Right Thing was made over 30 years ago, but in its subject matter — a stiflingly hot day in a Brooklyn neighbourhood causes tensions to boil over into white-on-black violence — it could scarcely be more 2020. But this is not about “which film best encapsulates the year”, and so Spike Lee’s film tops my list because of all its other qualities, too. It’s a portrait of a place; a day-in-the-life hangout movie, where we follow myriad characters as they go about their business; 90-or-so minutes in which we get to understand the neighbourhood, to know its inhabitants… before the powder keg explodes and everything changes. Except, as we now know, nothing’s really changed at all.


As usual, I’d just like to highlight a few other films.

First, the cinematic masterpiece that is Love on a Leash. If you’re unfamiliar with this feat of cinematic excellence, may I recommend my review. It’s not exactly #27, because at various points while curating my list I had it in the top ten, the top twenty, in 26th place… but, eventually, not in the list at all. As I discussed in my review, it’s a film that’s hard to categorise: it’s simultaneously a one-star disaster and a five-star artistic experience. It’s an object lesson in why criticism of art can never be objective, because it’s unquestionable that it’s terribly made in every respect, and yet it’s nonstop entertaining, even thought-provoking, and certainly unique. (Of course, some people would say it’s objectively bad. Those people are wrong.)

I’m someone who believes “best” and “favourite” can be different things: in 2020, I saw some movies I would acknowledge as great but that didn’t make the Top 26 because they didn’t really entertain me; equally, some films got in that are indeed great but I may never rewatch, whereas I left out simpler fare that I’m sure I’ll revisit. In a ranking of the “best” films I saw this year, no way does Love on a Leash get close; but in terms of my “favourite” films, it might’ve been pretty damn high. My final Top 26 falls somewhere between those two stools, but does carry the “best of” name, and so it felt insulting to any other film in the list (or, indeed, to those that tried but failed to squeeze in) to rank Love on a Leash above them. So here it is instead: first among my “honourable mentions”, with two solid paragraphs dedicated to it — more than any film in the actual list. So who’s the real winner, eh?

Next, let’s recap the 12 films that won Favourite Film of the Month at the Arbies, some of which have already been mentioned and some of which haven’t. In chronological order, with links to the relevant awards, they were Laputa: Castle in the Sky, All Quiet on the Western Front, The Lady Vanishes, Aniara, Belladonna of Sadness, Paris When It Sizzles, Hamilton, Bad Boys for Life, Fanny and Alexander, Tim’s Vermeer, An American Werewolf in London, and Klaus.

Finally, I always list every film that earned a 5-star rating this year. It’s especially pertinent this year, given how few reviews I’ve actually posted; although, as I noted in my stats post, it’s possible some of these ratings will be revised when I come to write a full review. But, for now, the 39 films with full marks are 1917, All About Eve, All Quiet on the Western Front, An American Werewolf in London, Anand, Aniara, Bait, Belladonna of Sadness, Dial M for Murder, Do the Right Thing, E.T. the Extra-Terrestrial, Fanny and Alexander, The French Connection, Hamilton, Harakiri, I Am a Fugitive from a Chain Gang, In the Mood for Love, The Invisible Guest, Judgment at Nuremberg, Knives Out, Lady Bird, The Lady Vanishes, Laputa: Castle in the Sky, The Last Black Man in San Francisco, Little Women, The Looking Glass War, Love on a Leash, The Lunchbox, A Man for All Seasons, Man on Wire, Marriage Story, Never Rarely Sometimes Always, Parasite, Paris When It Sizzles, Philomena, Rocketman, Safety Last!, Soul, and Tim’s Vermeer. Plus, this year I also gave five stars to Mission: Impossible – Fallout in 3D, and (earmarked for the ‘Guide To’ treatment at some point) Tim Burton’s Batman and Monty Python’s Life of Brian. There were also several short films that merited the accolade, namely Flush Lou, The Last Video Store, The Monkeys on Our Backs, and The Starey Bampire.


It may have felt like 2020 was a year bereft of movies, as blockbuster after blockbuster got kicked into 2021, but plenty of stuff still came out — both major releases that took the streaming plunge, and smaller titles that probably wouldn’t’ve seen huge theatrical box office anyway; not to mention stuff that’s going to count as 2020 due to festival screenings but won’t really be released anywhere until 2021; and, of course, all the streamers’ own original movies.

Even though I did watch 57 movies that had a UK release in 2020, there were a considerable number I missed. So, as always, here’s an alphabetical list of 50 films from 2020 that I’ve not yet seen. (I normally use IMDb’s dating to decide what’s eligible for inclusion, but I’ve allowed a handful that are listed as 2019 only because of festival screenings.) These have been chosen for a variety of reasons, from box office success to critical acclaim via simple notoriety. There are many more I want to see that I could have included, but I always attempt to feature a spread of styles and genres, successes and failures.

Another Round
Da 5 Bloods
The Hunt
The New Mutants
Promising Young Woman
WolfWalkers
Bill & Ted Face the Music
The Eight Hundred
I'm Thinking of Ending Things
Nomadland
Rebecca
Wonder Woman 1984
An American Pickle
Ammonite
Another Round
Artemis Fowl
Bill & Ted Face the Music
The Call of the Wild
Da 5 Bloods
David Byrne’s American Utopia
The Devil All the Time
Dolittle
The Eight Hundred
The Father
The Gentlemen
The Half of It
Happiest Season
Hillbilly Elegy
Host
The Hunt
I’m Thinking of Ending Things
Kajillionaire
The King of Staten Island
Ma Rainey’s Black Bottom
Mank
The Midnight Sky
Military Wives
Minari
Miss Juneteenth
Mulan
My Spy
The New Mutants
News of the World
Nomadland
One Night in Miami…
Onward
Peninsula
Possessor
Promising Young Woman
Rebecca
Saint Maud
Scoob!
The Secret Garden
Shirley
The Social Dilemma
Sonic the Hedgehog
Supernova
The Trial of the Chicago 7
True History of the Kelly Gang
The Witches
WolfWalkers
Wonder Woman 1984


And that is 2020 over and done with — hurrah!

Ignoring for a moment all the news that’s currently telling us how 2021 will be just as bad, if not worse, one thing to look forward to is that it’s my 15th year writing this blog. 15 years! I feel old… The actual date of the blog’s 15th birthday is at the end of February 2022, so I’ve got a little time yet to prepare some kind of celebration.

In the meantime, let’s watch some more films…

0202 tsuguA fo weiveR ylhtnoM ehT

It’s been quite a year, but now things are returning to normal… or some people are pretending they are, anyway. I mean, schools are going back, cinemas have reopened, and my film viewing has dropped back down towards 2019 levels.

Worse, my reviews are lagging. It’s been a whole year since I hit 2,000 listed reviews, but I’m still over 50 away from actually being able to say I’ve published 2,000 film reviews. Hopefully I’ll get there before the end of 2020. In particular, I’ve fallen behind with my 100-week roundups already; and there was no new TV column this month, which was also a mistake. I’m aiming to get both back on track in September.

For now, though, let’s reflect on what I did watch and post in August…


#185 Much Ado About Nothing (2012)
#186 The Mystery of the Rocks of Kador (1912), aka Le mystère des roches de Kador
#186a The Stunt Double (2020)
#187 RoboCop 3 (1993)
#188 Color Out of Space (2019)
#188a Frankenstein (1910)
#189 The Man Who Laughs (1928)
#189a The Dancing Pig (1907), aka Le cochon danseur
#190 Pearl Harbor (2001)
#191 Yes, God, Yes (2019)
#192 The Assistant (2019)
#193 Never Rarely Sometimes Always (2020)
#194 Bad Boys for Life (2020)
#195 A Beautiful Day in the Neighborhood (2019)
#196 Tolkien (2019)
#197 The Show Must Go On: The Queen + Adam Lambert Story (2019)
#198 Entrapment (1999)
Never Rarely Sometimes Always

Bad Boys for Life

Entrapment

.


  • I watched 14 new feature films in August.
  • That beats January’s 12, so it’s not the lowest month of 2020, but it’s also the first month since February with a total below 28.
  • It’s my eighth month in a row with 10 or more features, which is my second-longest streak of months with 10+ films. (The longest is 60 months, from June 2014 to May 2019, so there’s literally years to go before I rival that again.)
  • It tops the August average (previously 12.5, now 12.6), but falls short of the rolling average of the last 12 months (previously 19.3, now 18.9) and the average for 2020 to date (previously 26.3, now 24.75).
  • I may not have quite got to #200 this month, but #198 is still the furthest I’ve ever reached by the end of August. It also means 2020 overtakes 2016 to become my third highest year ever, with four months still to go.
  • Further to what I wrote last month about years from which I’d never seen a feature film, The Mystery of the Rocks of Kador is my first from 1912. That just leaves 1915 as the only year since the US and UK started producing features (in 1912) from which I haven’t seen a film.
  • Watching Pearl Harbor means I’ve now seen all of Michael Bay’s films. That and 6 Underground are still scheduled for review, leaving only The Island unreviewed on this blog. I last saw it at the cinema back in 2005. I quite liked it and always meant to revisit it (I even own the DVD, but obviously never watched it (typical)). At some point I’ll get round to that rewatch and cover it then.
  • From last month’s “failures” I watched The Assistant, Bad Boys for Life, A Beautiful Day in the Neighborhood, Color Out of Space, and Never Rarely Sometimes Always.
  • Talking of failures, I didn’t watch a Blindspot film this month. That’s the first time I’ve slipped in 2020, so hopefully I’ll just catch it up next month.



The 63rd Monthly Arbitrary Awards

Favourite Film of the Month
The notion of whether “favourite” means “best” or “most enjoyable” is on my mind with this month’s selection. Probably the best film I saw this month was abortion drama Never Rarely Sometimes Always, but, understandably, it wasn’t “enjoyable” per se. On the other side, then, the film I’m most likely to end up purchasing and rewatching is, a bit to my surprise, Bad Boys for Life — as a belated threequel it should by all rights be mediocre, but I think it might actually be the best instalment of the trilogy.

Least Favourite Film of the Month
Nothing truly terrible this month (at least not among the features — some of the shorts I was less enamoured of), but something must be chosen. I enjoyed Pearl Harbor more than most, so it would seem unfair to pick that. Instead, I’ll say The Mystery of the Rocks of Kador, which I was sold on by Movies Silently’s review but unfortunately didn’t enjoy that much. Never mind.

Film I Haven’t Actually Seen But Nonetheless Used as a Title Theme of the Month
It’s Tenet, ylsuoivbo.

Decade I Most Miss of the Month
Entrapment reminded me how much fun a solid studio programmer could be. Two stars, a few reasonably-scaled action scenes, and a mid-range budget add up to a couple of hours of fun. Not a great movie, but one I enjoyed enough to not regret the time spent watching it. It’s the kind of thing the major Hollywood studios are backing away from in favour of just making mega-budget super-blockbuster tentpoles, but that smaller indie studios aren’t up to providing. I feel like the ’90s did that kind of thing particularly well, too.

The Audience Award for Most-Viewed New Post of the Month
No one post really caught on this month — this month’s highest charting new post was down at 55th overall (behind mostly TV columns, but also a dozen older film reviews). Even my review of a new release (Yes, God, Yes) didn’t generate a huge number of clicks (I guess it is a pretty niche title), although the victor only beat it by one hit. Said victor was Ready or Not.



My Rewatchathon continues at pace, which means I’m still about a month ahead of schedule. Although this month I finished a series that’s been a major part of it this year…

#34 Pursuit to Algiers (1945)
#35 The Great Mouse Detective (1986)
#36 Terror by Night (1946)
#37 Dressed to Kill (1946)

The first time I watched the Basil Rathbone Sherlock Holmes series, it took me eight years. Now, I’ve rewatched them all in eight months. A much more reasonable pace, let’s be honest (the first time I was spacing them out so as not to rush them, but took it a bit far…) My original reviews are linked above, and I put some new thoughts on Letterboxd about Pursuit to Algiers, Terror by Night, and Dressed to Kill in these links.

My fourth film this month was also Sherlock Holmes themed, albeit turned into a mouse courtesy of, appropriately enough, the Mouse House. Disney’s 26th animated film used to be known as Basil the Great Mouse Detective here in the UK, but it’s been brought in line with the US for the Disney+ era. I’m only surprised it took them so long. (Now, if they could just sort out the UK list of the Animated Canon…) I’ve been on a bit of a Sherlock Holmes kick this year, so it was only natural I’d revisit Disney’s version. It manages to be both a very good Disney movie and a very good Sherlock Holmes one at the same time, mixing the comedy and charm of Disney animation with a healthy dash of the investigation and adventure of a Holmes story. It comes just before what fans call the Disney Renaissance, but it’s also directly responsible for it: after the failure of The Black Cauldron, Disney’s animation studio was under threat, but the success of The Great Mouse Detective allowed them to continue. The rest, as they say, is history.


After four months of no cinema releases to comment on, they’re back! It’s a gradual re-opening, of course, with Tenet the only truly major title on wide UK release so far (The New Mutants had previews, but isn’t technically out until this Friday). At least some people I follow on Twitter seem to have dived back in headfirst, but I remain a little wary — as I said earlier, I’ve not seen Tenet yet; whether that’ll change in the coming week or two, I’m undecided.

Netflix attempted to fill the blockbuster void with originals like Project Power, a super-powered action-thriller starring Jamie Foxx and Joseph Gordon-Levitt, but the mediocre reviews put me off actually watching it (so far). This month they also bolstered their catalogue with the fourth and final Ip Man movie, and the only Tim Burton film Iv’e not seen, Pee-wee’s Big Adventure. Over on Amazon Prime Video, meanwhile, new-ish additions included Justin Kurzel’s True History of the Kelly Gang and true-story whistleblower thriller Official Secrets. Other newcomers of note include Mississippi Grind, which I heard recommended a couple of years ago and have been waiting for a chance to see since, and Roger Corman / Vincent Price horror The Masque of the Red Death, which is supposedly due on disc in a new 4K restoration later this year, but I don’t know if Amazon are streaming that.

As for the other streamers, Sky Cinema / Now TV had Terry Gilliam’s much-delayed The Man Who Killed Don Quixote; Disney+ had diverted-from-cinemas The One and Only Ivan (which I think I’ll give a miss anyway) and a doc about lyricist Howard Ashman, Howard (which does interest me); BBC iPlayer has a pair of films I’d like to rewatch, The Lost Boys and Love & Friendship, not to mention the original Poltergeist, which I’ve never seen; and on All 4 I missed the chance to see Wild Tales (the 183rd greatest film ever according to IMDb voters).

Finally, my new purchases on disc, of which there were a lot — some 54 films I could list (egads!) The bulk of those come from Arrow’s Gamera box set (with 12 films plus four alternate cuts), although Criterion’s Bruce Lee set was no slouch (with seven films plus one extended cut). The latter came as part of a belated order placed during Barnes & Noble’s Criterion sale back in July, which also included 1984, Come and See, and the four-part 1966-7 War and Peace; plus their editions of films I’ve already seen like The Grand Budapest Hotel, Portrait of a Lady on Fire, and Alfred Hitchcock’s Notorious. There were also a bunch of silents (I got good deals on eBay for US DVDs of the French serials Judex and The House of Mystery; plus an import of a French DVD set of French films from French director Raymond Bernard; and Masters of Cinema’s latest Buster Keaton three-feature box set) and a bunch of noirs (more from Masters of Cinema in the shape of No Way Out and Fritz Lang’s The Woman in the Window; and Blu-ray upgrades for the BFI’s releases of three Otto Preminger noirs and Jules Dassin’s Night and the City). Meanwhile, on 4K, I got Arrow’s UK format debut, Pitch Black, and their US format debut, but in its UK edition from StudioCanal, Flash Gordon (in a tat-filled box set. I love tat. It’s always kinda disappointing when you actually get it, but I can’t resist).

And that isn’t even everything, but it’s more than enough to be going on about.


Mulan comes to Disney+ for an additional fee (which varies by region). I’ll tell you this for nothing: I won’t be paying it.