The Knockout Monthly Update for November 2018

When Rocky snuck its way onto my “What Do You Mean You Haven’t Seen” list back in January, I didn’t have particularly high hopes — I’ve never liked boxing movies, and I was only going to watch it because I ‘should’. Well, in the eight months since I watched it I’ve gone on to watch all six sequels, ending this month when I gave Creed full marks precisely because of how much it was a Rocky movie. And that’s why this month is a knockout.

Also, because I watched a tonne of films.


#223 Their Finest (2016)
#224 Going for Golden Eye (2017)
#225 Jurassic World: Fallen Kingdom 3D (2018)
#226 The Other Side of the Wind (2018)
#227 Batman & Mr. Freeze: SubZero (1998)
#228 Jodorowsky’s Dune (2013)
#229 Have a Good Funeral, My Friend… Sartana Will Pay (1970), aka Buon funerale amigos!… paga Sartana
#230 Bohemian Rhapsody (2018)
#231 Attack the Block (2011)
#232 Outlaw King (2018)
#233 Incredibles 2 3D (2018)
#233a Bao 3D (2018)
#234 They Shall Not Grow Old (2018)
#235 Paper Moon (1973)
#236 Hitchcock/Truffaut (2015)
#237 The Greatest Showman (2017)
#238 The Ballad of Buster Scruggs (2018)
#239 The Tale of the Princess Kaguya (2013), aka Kaguyahime no monogatari
#240 Redline (2009)
#241 Zatoichi’s Cane Sword (1967), aka Zatôichi tekka-tabi
#242 Creed (2015)
#243 Danger: Diabolik (1968), aka Diabolik
#244 Boy (2010)
#245 Dad’s Army (2016)
#246 Teen Titans Go! To the Movies (2018)
#247 Ant-Man and the Wasp 3D (2018)
Bohemian Rhapsody

Paper Moon

Creed

Teen Titans Go! To the Movies

.


  • With 25 new films watched, November is the fourth best month of 2018. That’s not particularly impressive — it’s only just inside the year’s top third — but on an all-time scale…
  • That number makes November 2018 my joint fifth best month of all time (tied with August 2007), putting it in the top 5% of all months. Sounds a lot more impressive put like that, doesn’t it?
  • It’s the best November ever by some margin (the previous was 2016’s 14), in the process dragging the month’s average from 8.8 to 10.3. That leaves just July with an average below 10.0 (but it’s on 9.9, so hopefully I’ll get it over the line next year).
  • Also, as this is the first November with over 20 films, that leaves just December as the only month never to have reached the 20s. Will next month be the first? Only time will tell.
  • This month’s Blindspot film: aliens invade a London council estate in Attack the Block. The aliens may be violent, feral monsters, but they didn’t count on chavs…



The 42nd Monthly Arbitrary Awards

Favourite Film of the Month
There were many films I really liked this month, including a couple that surprised me, and ending with two colourful superhero movies that I enjoyed as much or more than the genre’s more serious-minded efforts earlier in the year. But, as the introduction to this post probably made clear, the victor has to be Creed.

Least Favourite Film of the Month
Where Creed worked because it had respect for its legacy, this month’s loser is a film that puts on the surface sheen of caring about its forebear, but doesn’t demonstrate that reverence — because it’s pretty rubbish. The film in question is 2016’s Dad’s Army remake.

Most Listened-to Song from a Movie of the Month
I thought this was going to be Last Breath by Future from the Creed soundtrack, which makes nice use of the famous Rocky theme to give that inspirational anthem a modern spin. But iTunes informs me the actual winner is the number I highlighted in my Greatest Showman review, the almost-titular The Greatest Show. Well, I did bung it on loop while I was writing that review…

Most Surprising Male Nudity of the Month
Sure, everyone was talking about Chris Pine’s penis in Outlaw King, but did you know Teen Titans Go! To the Movies features baby Superman’s naked, wiggling arse? Okay, he’s just a cartoon, but still.

The Audience Award for Most-Viewed New Post of the Month
November 2018 was my second largest month ever for views and visitors, much of that powered by the continued popularity of my Bodyguard review (which has now entered my top ten of all time). As for new posts, regular readers may know that the winner of this award is often a review of a just-released film posted while that film is still brand spanking new. So when I posted my review of Bohemian Rhapsody a whole 18 days after its UK debut and 9 days after its US release, I didn’t expect much hit-wise. But, lo and behold, a mega-popular film is a mega-popular film, and Bo Rhap bested the likes of Outlaw King (a review I posted the day after it popped up on Netflix) and They Shall Not Grow Old (a review I posted the morning after it was on TV) to be November’s most-viewed new post.



This month, a few recent blockbusters I watched for the first time in 3D…

#42 Jurassic World 3D (2015)
#43 Dodgeball: A True Underdog Story (2004)
#44 Thor: Ragnarok 3D (2017)
#45 Justice League 3D (2017)

People seem to have become increasingly sour towards Jurassic World in the years since it came out, but I still think it’s pretty great, a blockbuster ride with sufficient spectacle. In 3D, the extra dimension is superb, really adding to the film’s scale.

The same can be said of Thor: Ragnarok, which also benefited from a shifting IMAX aspect ratio. I enjoyed it even more on a second viewing — having been reminded of what a ‘normal’ Marvel movie is like tonally by Black Panther and Infinity War, Taika Waititi’s influence was much more pronounced.

Conversely, I was a bit more attuned to Justice League’s flaws this time around. Not that I was unaware of them before, and I still mostly enjoyed it, but it’s so clearly a compromised movie. Its 3D is fine, but rarely as spectacular as a film of this scope should be.


2018’s record-obliterating total.

Plus, could the combined final tallies of the main list and Rewatchathon result in— no, shh, it’s a secret…

The Greatest Showman (2017)

2018 #237
Michael Gracey | 105 mins | streaming (UHD) | 2.39:1 | USA / English | PG / PG

The Greatest Showman

There’s nothing inherently festive about The Greatest Showman (if it has even one scene set around Christmas, I can’t immediately recall it), yet it was initially released on Boxing Day last year and now kicks off December’s premieres on Sky Cinema, and somehow the association feels entirely fitting. I guess it’s something to do with the tone and style of the film itself: a big, cheesy, schmaltzy, cheery musical — just the kind of thing many people like to wallow in during the big, cheesy, schmaltzy, cheery end-of-year festival. It’s almost a John Lewis advert in feature film form, only with upbeat original songs instead of whispery female covers of old hits.

Inspired very, very, very loosely by a true story, the eponymous gentleman is P.T. Barnum (Hugh Jackman), a man of low station in mid-19th century America who, via a cunning fraud, manages to buy a building that he turns into a museum of curiosities. With attendance poor, he adds a floor show featuring acrobatics and freaks. It’s slated by the critics, but curious audiences flock en masse. Barnum is suddenly a massive success — but at what cost to his personal life?

Well, virtually none, because there’s barely any jeopardy to be found here (apart from a little forced something to push it into a third act). But jeopardy is not the point of The Greatest Showman, which is all about being a crowd-pleasing a good time — like the show-within-the-show, it was poorly received by critics but a huge word-of-mouth success: it never made it to #1 at the US box office, but nonetheless stayed in the top ten for 11 weeks and earned $434 million worldwide; it’s soundtrack album was such a hit that they’ve already released another album of cover versions. It’s a phenomenon, basically, and I do think the lack of worry or tension in the story is a contributing factor, especially in these troubling times. That kind of lightweightness doesn’t please the critically-minded, but it doesn’t bother those simply after a good time. And why should it?

The greatest show

It’s a Musical through and through, the movie equivalent of a broad stage grin and jazz hands. The numbers are of a different ilk to traditional Broadway style, but not misplaced — it’s modern chart-pop style songs and music video choreography, wrapped up in a big showy old-school musical vibe. I know everyone’s latched onto This Is Me as the film’s anthem, and Rewrite the Stars earned a single release because it’s a pop love song sung by kid-friendly Zac Efron and Zendaya, but the one number that really works for me is opener/closer The Greatest Show (it’s even better on the soundtrack, because it isn’t awkwardly sliced in two with the rest of the movie shoved in between, as it is on screen). If that song doesn’t end up being co-opted for opening ceremonies and things like that, it’ll be kind of a shame. And if I was to point to a runner-up favourite, I’d go for The Other Side purely for how its staged: a barroom duet between Jackman and Efron with impressive drinkography. And talking of the songs, the Honest Trailer contains some excellent spoofs of them.

Still probably best known as surly superhero Wolverine, Jackman was an established musical theatre star before his big-screen breakthrough, so this stuff is very much within his skill set — indeed, as his recently-announced world tour could attest, this show of song and dance may be more in his comfort zone than the superhero shenanigans. Either way, that he’s so effortlessly consummate at both proves he’s a performer of underestimated range. Less remarkable as allrounders are former Disney brats Efron (as a bored rich kid roped into Barnum’s enterprise) and Zendaya (whose qualifier for a freakshow seems to be that she’s somewhat dark skinned), but they’re perfectly adequate for their poppy against-all-odds romantic subplot. Less at home is Michelle Williams — not that she’s bad, but seeing her smiling and happy is weird

Drinkography

Altogether, I can see why The Greatest Showman was unpopular with critics but a huge hit with audiences — it’s a proper crowd-pleaser; a big, cheesy, easy extravaganza, similar to its pop-style music. That’s not the sort of thing critics are enamoured of, but it is the kind of thing that tickles the fancy of the masses. On the whole, it didn’t appeal to me — there were things it could’ve done better without betraying what it was aiming for, I think, like that total lack of risk in the plot, but also things I was never going to like, such as the music style — but it did have its moments.

3 out of 5

The Greatest Showman will be available on Sky Cinema from midnight tonight.