After a glut of movies during the middle of the holiday things have slowed down a tad again. I say “a tad” — you can see how much by the sheer volume of weeks included in this entry and the relatively sparse number of films! (To be technical, the average-films-per-week in this entry is 1.75, compared to 2.72 overall and 6 (yes, 6!) last time.)
Nonetheless, things are progressing, and overall I’m still on track to make it well past the 100 mark. That’s from the overall average mind, not from the one for this period. From that I’ll make it to about 90. Maybe I should worry… except that summer movie season is on the way! Plenty of new films there. Plus all the ones I’ve recently missed out on DVD.
Well, that sure is shiny.
This time, I break my self-imposed rule about the length of reviews to witter on about Hidden for double the time. I also didn’t watch a single new film in week sixteen (Three Colours Red fell right at the end of week fifteen, Hidden a little way into week seventeen). And I’ve nearly hit the halfway point, a third of the way through the year. Oh my!
For anyone who may be trying to keep track, this period covers nearly all of April — from the 9th to the 30th, in fact — plus pretty much the first week of May (up to the 6th). That’s basically a month. Well well well…








Emily Blunt steals every scene, which is impressive alongside an Oscar-nominated Meryl Streep (that being the now-customary acting-nominee-from-a-blockbuster, est. 2004 by Mr Depp). Anne Hathaway provides the plot/emotional through-line against these performances, which is somewhat impressive when playing a lead character who morally sells out (albeit into a lifestyle that is undoubtedly desirable to the film’s intended audience).
Slowly paced and beautifully photographed, this is about as far from Disney’s telling of the story (in
Judi Dench puts in her fourth appearance in this list (far and away the most represented actor, I should think) in Charles Dance’s first film as writer and director.





While it might not be in quite the same league as
I seem to recall reading that Secretary attempts to depict a realistic and sympathetic dominant/submissive relationship. Unfortunately this seems to come a bit unstuck with the feeling that the relationship is initially based in an emotionally (and physically) abusive act against a clearly vulnerable character, leaving the following events and mutually loving resolution tinged with a hint of something akin to Stockholm Syndrome, in my opinion.











