As a final salvo in my fifth birthday celebration (yes, normal service resumes next week), here’s something I was kindly awarded by Colin of Riding the High Country… back in December. Couldn’t find quite the right outlet for it. Or, to be more honest, couldn’t think of the answer to one of the questions. You’ll spot my solution.
But now is most appropriate, because what better time for such a self-reflective award than when I’m already looking back at five years of my own blog? Hurrah! Thank you, Colin.
1) Tell everyone something that no one else knows about.
100 Films is certainly my most successful blog, in terms of both longevity and readership, but over the years I’ve set up loads of others for various reasons. To give you some idea of how good I am at sticking at them, there are nine blogs currently associated with my Blogger account and here’s how long each lasted, arranged from shortest to longest:
0 posts
1 post
1 post
1 post
29 posts
40 posts
91 posts
3,749 posts
OK, one other I stuck at.
2) Link to one of my posts that I personally think best fits the following categories:
Most Beautiful Piece
I suppose there’s an element of interpretation involved when applying this category to a film review blog. I toyed with a few where I got clever with the pictures (try the filenames on that last one), but decided that was too literal and I should look at the writing. So I say Is Anybody There?, because I think I did a decent job of tapping in to and explaining the film’s own beauty.
Most Helpful Piece
I don’t know if I’m ever particularly helpful, but my review of Inception is ludicrously long and detailed and was described as “great” — that must have something useful in it, right?
Most Popular Piece
I looked to my hit stats for this, but the top few are bolstered by regular spam hits (based on where my spam comments go) so I thought I best discount them. Instead I’m going to say my reviews of The Dark Knight and The Dark Knight: The IMAX Experience, a connected pair that sat pretty atop my list of most-viewed posts until the spam started flooding in. (Neither are in the top 10 any more, but, as I said, I don’t trust that.)
Most Controversial Piece
I wouldn’t say I’m all that controversial… though I did put the widely reviled Alien Resurrection in a top ten, so… But it’s not my love for that I’ve chosen, but instead Sucker Punch. It was slagged off by everyone, but I was impressed enough to defend it for over 1,900 words.
Most Surprisingly Successful Piece
Looking back, this one surprises me even now: Wallander: The Revenge, the theatrically-released second season premiere of the Krister Henriksson Wallander series. It got three comments — that’s a lot for me anyway, especially on something like that — and is the second most-viewed post. But that might be spam.
Most Underrated Piece
All of them! No, I jest. There are a few lengthy in-depth ones I could choose, but maybe I’d go with Trainspotting — I was very pleased with the concept behind that one.
Most Pride-worthy Piece
I could say the fact that I’ve written lengthy reviews of all seven Saw films, but that would be seven posts not one. Looking back, I surprised myself with how many of my reviews I’m actually quite proud of, so I’m going to really cheat and say two, for different reasons: Ministry of Fear, because I liked the idea of how much I go on about the cake and I think I nailed it (unlike some of my other attempts at humour), and Watchmen, because it’s rare one gets to write a well-informed review on a blog all about first viewings, and I think that (and its companion Director’s Cut review) are exactly that.
I feel like I should now go on to highlight seven that fail in these regards (especially as I’ve basically cheated and linked to 23 posts across those seven categories), and I’m sure I could, but maybe that wouldn’t be in the spirit.
3) Pass this award on to seven other bloggers.
This is where I once again realise I don’t read enough blogs. It rather defeats the object to leave this one out (it’s called a “link” award, after all), but I fear I shall have to return to it at a later date. But I will — I’m making a list, and checking it twice.
(That I’m actually Santa would’ve been good for that first fact, eh.)
Time to stop patting myself on the back and get back to regular business. And so, I shall.
Léon is one of my favourite films. I’ve loved it since a friend lent me the VHS at some point in secondary school. And that’s why, though the extended Version Intégrale was different enough to merit inclusion on the main list (it’s some 23 minutes (21%) longer), I would feel uncomfortable including it in a list culled from new films I’ve seen in the past five years. But it’s still one of my all-time favourites.
After a couple of decades, Ridley Scott was finally able to realise his ideal Blade Runner. Some prefer the 1992 Director’s Cut; some even like the largely-ignored original release; but, unlike his 
because I found 
And I didn’t really get either of them. I don’t think they’re bad films, but I struggled to get what they were for (especially the latter), and I certainly didn’t like or enjoy either. You don’t have to like a film for it to be great, but these two… Maybe I need to take the time to re-evaluate them, but I’ve already seen No Country two or three times and I’m not sure I can face it again.
Despite being on the IMDb Top 250 when some of my other choices aren’t (
Congratulations, you have the good taste to be reading this post on my snazzy new blog (though I do still love 
As 
Winnie the Pooh, as many reviews on its release were keen to point out, is for small children. It doesn’t have the attempts to placate adults with their own jokes that elevate/plague most American animation; it’s only an attention-span-friendly hour long; and it has a lovely, genial, friendly tone, with brightly coloured characters, plinky-plonky songs and heartwarming moral messages.
The majority of the film’s other elements click into place nicely too. The traditional animation is gorgeously executed, the voices are the ones we surely all know from growing up alongside Disney’s Pooh output, particularly Jim Cummings pulling double time as both Pooh and Tigger, as he has for decades. The exception I’d make is Bud Luckey’s Eeyore. I don’t know if he’s always sounded like that and I’d forgotten, but his voice didn’t work for me. It’s not the only problem: the songs can be a bit insipid; equally, a couple transcend that to work beautifully; and there’s no denying that it is a bit short; but then it doesn’t outstay its welcome, and hey, 
I liked Ip Man, but as we know from experience there are times when I find myself with little to say about a film, or I fail to make any notes, and this was an example of both. So I’ve decided to try something a little different.
Though that’s an amusing thought, the film’s not quite that simplistic:
Indeed, fighting is still what the film does best:
On the other hand, as that “sinister Japanese general”:
“This year’s 
I, however, thought it was rather good. I can see what turned some people off though. It’s a thriller, but it moves leisurely, especially early on. It’s also quite elliptical at times, not so much requiring you to pay attention as put the pieces together yourself. Plus it lacks a grand finale in which the hero triumphs, or at least loses in dramatic style — it’s quieter than that. Yet I liked the ending, finding it triumphant in a whole other way. But I won’t go spoiling that here.
What’s better in a thriller than not actually knowing what will come? There should be twists in this genre — genuine twists when possible, not a stock array of “small character played by famous actor turns out to be vitally important” or ” good guy is actually bad guy” or what have you — and Glorious 39, with its balanced uncertainty, pulls some of those off.
