Monthly Archives: December 2019

A seasonal message from 100 Films

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It’s Christmas Day now here in the UK, so time for some seasonal good will and reflection.

You see, it’s been a funny old year here at 100 Films. On the one hand, the number of new films I’ve watched already puts it in my top five years ever (as I mentioned in November’s monthly review). And I’ve had easily my most number of visitors ever, with the number of hits already up over 24% from last year (the second highest).

But on the other, my sub-goals have faltered: my Rewatchathon only recently passed the halfway mark, and neither Blindspot nor WDYMYHS look likely to be completed (I expect both to fall around 25% short). My actual blogging has been much more sporadic too, with only 124 posts published so far this year (for comparison, every year from 2015 to 2018 ended up with over 200). And consequently my review backlog has reached insane proportions — that page now lists a whopping 178 films I’ve watched but not reviewed.

So, some rethinking might be needed going forward (e.g. am I really going to get round to writing reviews for 178 films, some of which I watched almost two years ago, especially when there are still new ones being added?) But the time for that reflection will come later… as will my usual reviews of the year, of course — starting a week from today (give or take), in fact.

For now, I’m here primarily to wish you a merry Christmas — and if it isn’t, I hope it’s at least peaceful and safe.

The Past Months on TV #52

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I didn’t post a TV column again last month, so this roundup is thoroughly overdue. So before the Christmas TV season gets properly underway (it kind of already has, but shh), here’s my final regular TV review for 2019. (I still intend to post my usual Christmas-TV-focused one at some point.)

His Dark Materials  Series 1 Episodes 1-3
His Dark Materials series 1If I’d posted this column on time, this series would’ve just been getting underway. As it is, the final episode airs tonight. And, obviously, I’m quite far behind. I do intend to catch up, but I’m not entirely sure what I make of it.

Philip Pullman’s novels are acclaimed and beloved, of course; there’s a starry and talented cast, naturally; the production values are sky high; there are plentiful interesting ideas and threads to be explored… but the execution is a tad confusing, offering little quarter to those of us who are pretty new to this world (I have seen the film, but that made significant changes) and need it explaining to them — well, aside from a text prologue that feels like it was a late addition when someone realised they hadn’t explained things particularly clearly for newcomers. Even if you get a handle on it all, though, it feels like there’s an indefinable spark missing that would really bring it all to life as an engrossing drama.

Or maybe I’m just expecting too much — this has been a long time coming, with an attendant amount of hype. Perhaps it’ll all cohere as it goes on. As I said, I do intend to stick with it to find out, but I don’t feel it hit the ground running in quite the way I’d hoped.

Watchmen  Season 1 Episodes 2-9
Cause for celebrationWhen I reviewed the premiere episode of this last time, I said “there’s a lot of promise and potential here.” Well, reader, I do believe the series lived up to that and then some — it just got better as it went along, with a lot of the very best stuff coming in the final third.

Last time I also wrote about how it was both a sequel and a so-called ‘remix’ of the original novel, and that only became more apparent as the season went on. For the former, there’s no denying this is a follow-up to the book — it explicitly references and builds out of events and characters from Alan Moore and Dave Gibbons’s original work. But it also takes a lot of the iconography, themes, and storytelling devices from the book and rearranges them to help support its own narrative. That kinda makes it sound like just a remake, but that undervalues it — creator Damon Lindelof and his team of writers have brought a lot of other ideas to the table too, mixing those with what’s taken from the book to make a work that is new. So, whereas a traditional sequel would just be “the next adventure of the same characters”, maybe this is more of a companion piece. Whatever you want to call it, I think it’s a worthy addition. But it’s definitely an addition — I dread to think how this plays if you haven’t read the book.

And just like the book, there’s an awful lot more that could be written about what this series has to say and how it says it. I’ll leave that to others — there’s plenty of writing out there about it already. Some of that is a bit clickbaity (well, when isn’t stuff nowadays?), in particular with reference to the ending, which some sites have taken to calling a “cliffhanger”. It isn’t. Indeed, there may not even be a season two — not because HBO don’t want one, but because Lindelof doesn’t necessarily have a story to tell. It’s admirable that they’re not forcing it to happen just because season one has been a success (learning their lesson from True Detective, I suspect), but I also hope Lindelof does alight on an idea for more — if it can equal this, it would certainly be worth seeing.

Indeed, some commentators have been calling Watchmen a late entry for best TV series of the decade, or even one of the very best TV series of all time. Well, I don’t know about that, but it is very good — certainly better than it has any right to be, considering its provenance. That’s an achievement not to be undervalued.

World on Fire  Series 1 Episodes 3-7
World on FireThis is good enough that it probably would’ve been A Major Series if it had been made 15 to 20 years ago; heck, maybe even 10 years ago. Today… well, as my previous comment implies, it just doesn’t feel slick enough in the modern TV landscape. It has its plus points (the recreation of Dunkirk was suitably epic, at least compared to the low-key-ish earlier episodes, and Lesley Manville is always magnificent), and it’s done well enough to get recommissioned (thank goodness, because the finale left a tonne of stuff dangling as if it was a midseason episode), but I’ll be surprised if it ends up in the zeitgeist in the manner of, say, Downton Abbey. (Brief thoughts on episodes 1 and 2 last month.)

Shetland  Series 5
Shetland series 5This ITV-produced BBC-aired crime drama is so popular that they recently recommissioned it for both a sixth and seventh series. Originally it took the form of two-parters adapted from novels, but for the past few series they’ve done original season-long six-episode storylines. For this run, the gang find themselves up against human traffickers, using Shetland as a waypoint to get slaves into the UK. Overall it’s not as engrossing or remarkable a story as the ones told in the last two series, but it remains a more-than-solid cop show bolstered by a likeable regular cast. That double series recommission is welcome news.

Also watched…
  • Comedians Giving Lectures Series 1 — Dave’s latest comedy concept is to give comedians the titles of real scientific lectures and have them deliver their own version, judged by an actual expert and a studio audience. Some go for all-out laughs, some actually deliver surprisingly decent lectures with gags thrown in. As with all mixed-bill standup, the overall result is variable depending on the skill of the performers, but it’s a nice little format.
  • Death on the Tyne — Comedy murder mystery sequel to Murder on the Blackpool Express, which aired back in 2018 but I’ve only just got round to watching (because they’ve recently aired a third). My review of Blackpool Express sounds quite dismissive, but I did enjoy it overall. Sadly, this follow-up is quite a bit worse. I’ll still watch the third one, though it may yet take me another year to get round to it…
  • Doctor Who Series 12 Trailers — At the risk of getting ahead of ourselves, the new series of Who looks like an attempt to move away from the slower-paced, kinda-serious Series 11 and back into the action-packed monster-stuffed fun that made the show a hit on its return in 2005 (almost 15 years ago now! Jeez…) It begins with a Bond-parodying two-parter in the new year.
  • The Great Model Railway Challenge Series 2 — A fabulously nerdy show. As this is a film blog, I have to recommend the second semi-final (episode 7), in which the teams created magnificent layouts based on Jurassic Park, Harry Potter, and James Bond.
  • There’s Something About Movies Series 1 — This Sky comedy panel show about (you guessed it) movies passed me by when it was on back in April, only coming to my attention by coincidence when the second series started. Unsurprisingly, it’s daft and aimed at general audiences — nothing special for avowed film buffs.
  • World’s Most Scenic Railway Journeys Series 1 Episodes 3 — No offence to the featured people of New Zealand, who all seem thoroughly lovely and likeable, but this travel doc kind of plays like a Taika Waititi mockumentary.

    Things to Catch Up On
    Jack Ryan season 2This month, I have mostly been missing Jack Ryan season 2 — perhaps not the most high-profile show I could mention here (it’s on Amazon Prime, which never gets the same buzz as Netflix, however hard they try), but I enjoyed the first series a lot so I really do want to make time for this. Speaking of Netflix, they’ve just released The Witcher, which they clearly hope is going to do for fantasy what, er, Game of Thrones did for fantasy — i.e. be a much-talked-about series that brings big ratings. They’re pushing it hard, which for a company that claims to only use word of mouth and let the cream of their output rise naturally… well, it certainly suggests it cost a pretty penny. One show that has generated plenty of word-of-mouth self-promotion is The Mandalorian. Okay, it’s a Disney-produced Star Wars spinoff, it hardly needs the help, but you can’t’ve missed everyone going on about Baby Yoda. It’s not out on this side of the pond until Disney+ launches in the UK on March 31st, but where there’s a will there’s a way… And that’s without mentioning the BBC’s new War of the Worlds (which was poorly received but, as a sci-fi fan, I still feel compelled to watch); or thriller Giri/Haji (which was well-reviewed and sounds right up my street); or… oh, loads of stuff!

    Next month… Diddily-dum diddly-dum diddly-dum ooo-weee-ooo, it’s Doctor Who.

    • Star Wars: The Rise of Skywalker (2019)

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    aka Star Wars: Episode IX – The Rise of Skywalker

    2019 #147
    J.J. Abrams | 142 mins | cinema | 2.39:1 | USA / English | 12A / PG-13

    Star Wars: The Rise of Skywalker

    Remember those people who tried to crowdfund a shitty fanwank-filled remake of The Last Jedi? Turns out J.J. Abrams let them make Episode IX under his name instead…

    Before I expand on that, the ever-important note on spoilers. This review is mostly spoiler free. I say “mostly” because if you want to know absolutely nothing whatsoever, you should look away now (after saving this to read later, natch). I’m going to give my opinion on some things (obviously I am, this is a review), and so while I won’t give away the film’s revelations and surprises, what I say might sometimes indicate that there’s something there to be spoiled… if that makes sense. If you’re less fussy (e.g. if you’ve watched the trailers; if you’re only trying to avoid explicit details of things the film plays as a reveal) — or, of course, if you’ve already seen it — please read on.

    I won’t bother to recap the plot, because it launches into what some would consider full-on spoilers right from the start of the opening crawl. Put another way: there’s stuff in the trailers that some thought was a spoiler that shouldn’t’ve been there; but, really, the promos are almost necessary background info, because stuff that was played as a reveal in trailers is simply stated as information in the film itself. So, suffice to say this is the continuing adventures of Rey, Finn, Poe, and their Resistance friends as they fight Kylo Ren and the First Order, and it wraps up the whole nine-film saga. Or it intends to, at any rate. I mean, the sequel trilogy starts with the premise of “what if those bad guys who were defeated… just came back?”, so who’s to say in a decade or two’s time they won’t pull the same trick again for Episode X?

    Rey and friends

    But, okay, let’s take them at their word for now: this is the end of The Skywalker Saga (as it’s now definitely officially known — presumably so as they can keep producing lots more Star Wars stuff without the awkwardness of the nine-film saga being “real Star Wars” and everything else being “A Star Wars Story” or whatever). For my money, the saga here ends with so many bangs it amounts to a whimper. Abrams, serving as director and co-writer (with Chris Terrio, who seems to still be getting big-name work off the back of his Oscar win for Argo, despite the fact his only produced work since has been Batman v Superman and Justice League) seems to have no understanding of pace or nuance. It starts at a screaming gallop and doesn’t let up, often feeling like little more than a two-hour montage of fan service.

    Well, it must have a lot to do, right? Wrong — it moves at that lick so it can cram in far more plot than it needed to. Most of the business here is not a story worth telling, it’s just one MacGuffin chase after another. If Abrams and Terrio had streamlined the story — had cut out all the unnecessary faffing about; the needlessly over-involved running around after various plot-furthering objects — then there would’ve been more room in the running time for light and shade; for such important and welcome things as character beats; even for something as simple as giving the audience a chance to breathe. The only time they step aside from the relentless plotting is to forcibly insert bits that seem to exist merely to look good in trailers. Maybe that’s unfair, but to me it did feel like there were bits where characters all but said, “hang on a minute guys, I’ve just got to go over here and play out something that’ll look super in a teaser.”

    This shot doesn't mean what everyone thought it meant

    Also awkwardly forced in is Carrie Fisher’s General Leia. We all know the backstory there, and it’s completely understandable they wanted her to have a presence and part in the film, rather than leaving her out or killing her off-screen. Sadly, what they’ve come up with is largely uncomfortable. Rather than recast her part (impossible!) or do a fully CGI recreation (which didn’t go down so well in Rogue One), they’ve taken the more respectful option of trying to cobble something together from offcuts from the last two films. The result unfortunately feels cobbled together from offcuts. Other characters’ dialogue jumps through hoops to set up replies from Leia that are only one or two words long and could just about be said to have some passing relevance to what she’s replying to. That said, there are plenty of other dialogue exchanges in the film that feel similarly forced — perhaps Terrio and Abrams were trying to make the Leia scenes seem more natural by making every dialogue scene as awkward… or perhaps the writing is just crap throughout.

    Leia isn’t the only familiar face that’s revived here. This is both the third and final film in the Sequel Trilogy and the ninth and final film in the Trilogy of Trilogies, so of course there’s plenty of stuff from the past. The problem is how these elements are introduced and handled. Familiar faces and rivalries and lines and whatnot are dragged out for a last hurrah, but the film doesn’t really do anything with them beyond trotting them out to say “remember this?” And so they’re not hurrahs, it’s merely empty repetition. I suppose that will satisfy some — the kind of people who didn’t enjoy Last Jedi because they didn’t like how it chose to move things onwards. But if you were unhappy with, say, how little backstory Snoke received in Episode VIII — if you thought writer-director Rian Johnson basically dismissed the character as an irrelevance — then can you honestly claim to be happy with the manner in which Abrams brings back Emperor Palpatine here? Again, some will, because they hated Last Jedi so irrationally that they’re going to find excuses for why Abrams’ “greatest hits” approach is better. But it isn’t. It’s hollow.

    Hollow

    Abrams does seem to have taken certain parts of the Last Jedi criticism to heart. I agree with the view that it is in fact a vocal minority of hardcore fans who utterly despise that film (it did well at the box office and has good scores on websites that haven’t been subjected to a negativity campaign, after all), but that group are indeed very, very vocal in certain circles and maybe that’s persuaded someone in the Star Wars camp that they should be listened to. Or maybe Abrams’ own storytelling instincts align with what they were after. So while The Rise of Skywalker doesn’t ignore The Last Jedi in a literal sense (there are nods and references to stuff from it), really Abrams has made a sequel to The Force Awakens here. That’s not always a bad thing (it picks back up on Finn’s past as a Stormtrooper, for example; though, as I say, there’s no time spared to properly dig into character stuff like that), but at others he undoes some of the good ideas Rian Johnson brought. Of course, for those who viscerally hated Last Jedi that will be seen as a good thing. But, like the use of Snoke vs Palpatine, can you seriously say this film’s reveal about Rey’s parentage is better than what Johnson offered? I know some will just because it’s different to the thing they disliked, but… c’mon, is this really better? Is it more surprising or imaginative? I don’t think so.

    When it occurred, after I was done groaning, I hoped there was going to be a further twist to come, but no, Abrams doesn’t have that much imagination. I felt the same about various other bits of business too: the film states or shows a thing, and if you’re like me you’ll think “surely that’s a bit obvious and there’s going to be a twist to it”, but no twist ever comes. I suppose that shouldn’t be a surprise: Abrams doesn’t do proper mysteries or twists, he does “mystery boxes” — i.e. we’re told there’s a mystery, but rather than clues for either the characters or audience to piece together for a reveal, all there is to be done is wait for someone to open the metaphorical box and reveal it to us. He tried to set such a game in motion in The Force Awakens. Johnson threw some of those away in The Last Jedi, which I felt he was right to do — simply disregarding those wannabe-mysteries was more surprising and interesting than any ‘reveal’ could’ve been. Here Abrams plays that game again by revisiting some of the stuff Johnson dealt with to give different answers, but I feel like his modified reveals prove my point: they’re not surprising, and they’re certainly not interesting. (This caveat should be obvious, but as it isn’t always: this is all just my opinion. Some will feel these new answers fix mistakes that Johnson made. I don’t. I think we’ll have to agree to disagree on that.)

    Goodbye

    For all of that, The Rise of Skywalker is not entirely a disaster — there were bits I felt worked. Sure, I thought several of the obvious ‘big moments’ were too corny, and some of the one-shot cameos too cheap, and Keri Russell is wasted, and Naomi Ackie’s character is good but there’s no time to develop her… sorry, this was meant to be positives. So, C-3PO kinda gets an emotional arc that’s quite effective. Tied to that is a new character, Babu Frik, who’s a lot of fun. New droid D-O is a brazen attempt to create toys, as are the red-hued Sith Stormtroopers… Oops, slipped into the negatives again. Adam Driver gives a pretty good performance, but he also gets a bit sidelined. Okay, almost everyone gets a bit sidelined — as I’ve said, there’s too much going on and not enough time to cover it. And yet the film still feels too long — I spent an awful lot of the climax wondering how much more of this could be left.

    Following all that criticism, my middling score may look generous. But The Rise of Skywalker is not an entirely incompetent movie, just a deeply flawed and disappointing one. And, frankly, there’s part of me that simply doesn’t want to have to give it 2 stars. I’m not a dyed-in-the-wool Star Wars fanboy, but this saga has been with me throughout my film-viewing life — I don’t want to dislike its finale so much that I give it an outright bad score. Well, I guess I wouldn’t’ve given 2 stars to The Phantom Menace in 1999 either, but I did in 2007. Someday I’ll rewatch Episode IX, and maybe that’ll smooth out the cracks and cement this 3-star rating (I struggle to imagine it’ll go up); or maybe it’ll make the problems even more apparent and I’ll have to accept it’s really a 2 after all.

    3 out of 5

    Star Wars: The Rise of Skywalker is in cinemas virtually everywhere now.

    It featured on my list of The Five Worst Films I Saw For the First Time in 2019.

    The Festive Monthly Review of November 2019

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    Regular readers will no doubt have cottoned on to the fact this year has been rather turbulent in my life away from the blogosphere — nothing terrible or tragic, thank goodness, but time- and attention-consuming nonetheless. Well, it’s hopefully the (beginning of the) end for that now, as November ends and December begins with me finally moving into a new permanent home.

    I know people have “moving day”, but geez, it’s a process, isn’t it? One I’m in the middle of — and has affected my blogging once again at the end of November, as I missed another TV review (which would’ve covered the likes of His Dark Materials, Watchmen, The Mandalorian (even though I’m in the UK), and the BBC’s long-awaited take on War of the Worlds), and didn’t post reviews of major new releases like The Irishman and The Report (both of which I’ve seen, neither of which I’ve had time to write about in full).

    My film viewing has suffered once again as well. I’m way behind on both Blindspot and WDYMYHS, not to mention various new releases — not only on the big screen but also stuff I missed earlier in the year that’s now on disc / streaming.

    On the bright side, earlier in November was the 2019 FilmBath Festival, and that’s almost single-handedly responsible for this being my highest-totalling month since the summer.

    But I’m getting ahead of myself slightly. Here are the films I watched last month…


    #135 The Report (2019)
    #136 The Personal History of David Copperfield (2019)
    #137 Portrait of a Lady on Fire (2019), aka Portrait de la jeune fille en feu
    #138 Little Monsters (2019)
    #139 Harriet (2019)
    #140 La Belle Époque (2019)
    #140a My Theatre (2019)
    #141 Filmfarsi (2019)
    #141a Terra (2019)
    #141b Spooning (2019)
    #142 And Then We Danced (2019)
    #142a Woman in Stall (2018)
    #143 Judy & Punch (2019)
    #144 Making Waves: The Art of Cinematic Sound (2019)
    #145 Jojo Rabbit (2019)
    #145a Hey You (2019)
    #145b Gladiators on Wheels (2019)
    #145c Tight Spot (2018)
    #145d When Voices Unite (2017)
    #145e Facing It (2018)
    #146 The Irishman (2019)


    • So, I watched 12 new feature films in November.
    • I also watched 9 short films, which is more than I’ve seen in entire years before now.
    • The latter were all thanks to FilmBath Festival, as were 92% of the features — as I said at the start, it almost single-handedly rescued this month from being another disappointment.
    • Talking of disappointment, I didn’t watch any of last month’s “failures” either.
    • Comparisons of averages are hardly “not disappointing”, but they’re also not a total disaster. 12 is above the November average (previously 10.3, now 10.4), though it is slightly below the average for 2019 to date, which even with all those ‘bad’ months was still 13.4. It’s now 13.3, and the rolling average of the last 12 months also comes down to the same (it was previously 14.4).
    • One final positive worth mentioning: I passed #137 this month, which puts 2019 into my top five highest-totalling years. So much for all those “terrible” months, eh? Getting any higher than 5th place is unlikely, because for that I’d have to watch 29 films in December… but I have watched more than that in a single month on a handful of previous occasions — so, literally speaking, it’s not impossible.



    The 54th Monthly Arbitrary Awards

    Favourite Film of the Month
    It’s a closely-fought field this month, with about four 5-star films and a couple of highly likeable 4-star-ers too. For the surprise factor — because I hoped I’d like it but ended up absolutely loving it — I’m going to give this to La Belle Époque, but I fully expect a certain other French film to end up above it in my end-of-year rankings.

    Least Favourite Film of the Month
    I hate to dunk on what’s probably the smallest, most obscure, least-likely-to-get-seen-anyway (feature) film I saw this month, but I’m afraid to say this has to be Filmfarsi. It’s not that I thought it was bad, just a bit rough around the edges, for various reasons. But if its subject sounds interesting to you, I’d still encourage you to see it if you can.

    Favourite Short Film of the Month
    Last month I watched so many short films that I gave them a category. This month I watched almost twice as many, so it’s back. There are several great ones among the nine I watched, but for being an incredibly impressive technical achievement — all in aid of conveying real emotions and experiences, not showing off for the sake of it — my pick is Facing It.

    Best Film Festival of the Month
    Okay, I only attended one film festival this month, and I may be a little biased, but FilmBath was a great experience — a nice atmosphere and I saw some fantastic films.

    The Audience Award for Most-Viewed New Post of the Month
    Two posts were closely vying for this award in November, but in the end… it was a tie! I’m not sure I’ve ever had a tie in this category before. (There are 53 previous editions of these awards and I can’t be bothered to check them all right now, sorry.) So the joint winners were my coverage of FilmBath Festival’s opening night and my review of Judy & Punch. (If you really wanted to break the tie, the latter was online for 8 days vs the former’s 23, so therefore amassed a higher average of views per day.)



    We begin this month with a Rewatchathon first: a rewatched short.

    #24a Pleased to Eat You! (2019)
    #25 What We Did on Our Holiday (2014)
    #26 Easy Virtue (2008)

    I first saw Pleased to Eat You last month as part of the prep for FilmBath Festival, then saw it again before the screening of Little Monsters. It merits revisiting, though, because it’s such great fun.

    As for the two features rewatched, they’re both movies I feel have been somewhat undervalued. My original reviews of both are linked above, as always. Sometimes I re-read old reviews and am pleasantly surprised by the quality of my own writing (which sounds rather smug and self-gratifying, but I’m talking about very old reviews re-read with some distance, not going back over something I just wrote, which I think makes it different). Sometimes, however, I’m less impressed (which hopefully shows I’m not simply uncritical of my own work). Unfortunately, my review of Easy Virtue from 2011 is one of the underwhelming ones. I stand by its sentiment, but I don’t think I expressed that sentiment very well.

    My piece about What We Did on Our Holiday is better, though still not totally clear. I also think it’s a film that improves with rewatching — any faults fade into the background behind the bits that are hilarious, heartfelt, humanist, and sometimes quite beautiful.


    Unsurprisingly, there’s plenty to mention here — more than normal, in fact. I say that because there are usually three or four cinema releases I name, but November brought loads. From high-profile releases such as Frozen II, Knives Out, Last Christmas, and Le Mans ’66 (that’s Ford v Ferrari to some of you); to films that were surprises, either because they were hits, or flopped, or provoked controversy, or just seemed to come out of nowhere, like Midway, The Good Liar, Charlie’s Angels, and Blue Story (you can match up which of those is which); to smaller releases of note, like The Nightingale (the new one from Jennifer “The Babadook” Kent) and Greener Grass; to ones that probably fit into one or more of those other categories, though I’m not sure which, like The Aeronauts and 21 Bridges. Sure, some of those are films I never would’ve made the effort to see in the cinema anyway, but they’re all ones I’ll look out for in the future nonetheless.

    It was also an uncommonly productive month for Netflix — they release new series all the damn time nowadays, but it feels like their original films that are worthy of note congregate at the end of the year. As well as the obvious one (see #146) there was The King, Earthquake Bird, and Christmas movie Klaus (which I’ve saved for December, because duh). Talking of the incoming season, there were a bunch more tacky-looking Christmas originals, foremost among which is surely The Knight Before Christmas — a film where they definitely came up with the title first and worked backwards. It looks and sounds terrible, obviously, and yet there’s something about its reputed awfulness (and that marvellous pun) that’s tempting me to watch it… Back on the sensible end of the spectrum, festival winners like Atlantics and I Lost My Body also popped on in the last couple of days.

    Also added in the past month was Dragon Ball Super: Broly. That’s a franchise that’s never otherwise interested me, but I’m tempted to see what all the fuss was about for this particular entry: it was the highest-grossing anime film of 2018 and one of the highest of all time, including in the UK, where it became the second highest-grossing anime ever (behind only Spirited Away) and an advance screening sold out in just 23 seconds. Is its success thanks to a dedicated fanbase and limited number of screenings, or is it actually something special? There’s one way to find out… Lastly on Netflix, not a film but a series about films: The Movies That Made Us, a spin-off from their successful series about toys that, as far as I can tell, basically trades in ’80s nostalgia. Of course, the making of movies is a lot better documented than the making of toys, so whether it has anything new to say about the likes of Die Hard or Ghostbusters seems doubtful.

    Amazon didn’t have too many originals to offer — or perhaps any, besides one (see #135). But there were a few catalogue additions I want to see, like Magic Mike and Umberto D (not two films you’d normally see mentioned side-by-side…), and a few oddities that caught my eye, among them Tsui Hark’s directorial debut, Butterfly Murders, and Too Late, which is billed as “a sexy, smart noir detective thriller… told in non-linear fashion, in a series of five true long takes… with stunning 35mm cinematography.” They also say the latter is “a cinephile’s dream” and, yeah, it does sound a bit like that. They also have a bunch of reduced price rentals for Prime members, in which I recently hoovered up Missing Link, Booksmart, Brightburn, and Eighth Grade — now I’ve just got to make sure to make time for them before the rentals expire.

    Finally, there’s the new stuff I bought on disc, like Apollo 11 in 4K, and in 3D Spider-Man: Far from Home, Aladdin, and Pokémon: Detective Pikachu (the latter two only thanks to sale prices). Then there were new catalogue releases, like Masters of Cinema editions of The African Queen and Der Golem, and Arrow’s release of RoboCop; a sale purchase of Candymen: Farewell to the Flesh (I enjoyed the first one a lot so figured this sequel was worth a punt); and the HD box set of Batman Beyond… which, for its UK release, replaced the Blu-ray disc of spin-off movie Return of the Joker with a censored DVD copy. WTF, Warner?

    And all that without even dipping into any Black Friday deals! Which, actually, are mostly still ongoing. Hmm…


    It’s been a very up and down kind of year here at 100 Films — will December end it on another higher, or in another dip? There’s only one place to find out: right here, in 31 days’ time.

    (Unless I also mention it on Twitter.)

    (Or Instagram.)

    (Or Letterboxd.)

    (So… yeah.)