Tag Archives: 100 Films in a Year Challenge

The Slapping Monthly Review of March 2022

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In my last post, a little over three weeks ago, I wrote that it had been “a hectic time, both at work and in my personal life, these past few weeks.” Well, that didn’t really let up, hence the extended period of radio silence here. Hopefully that is now behind me, however, and both posting and film watching can return to the decent pace I’d established in the first two months of the year.

If it doesn’t, maybe I need a jolly good slap… or not, eh?

Alright, that’s what amounts to “topical satire” for now. Let’s get on with how March’s film viewing went…



This month’s viewing towards my yearly challenge

#21 Dirty Rotten Scoundrels (1988) — Decades #10
#22 West Side Story (1961) — Rewatch #3
#23 Cobra (1986) — WDYMYHS #3
#24 Django & Django (2021) — New Film #3
#25 A Man Escaped (1956) — Blindspot #3


  • I watched nine feature films I’d never seen before in March.
  • Four of them counted towards my 100 Films in a Year Challenge, along with one rewatch.
  • That means I end the month bang on target: we’re a quarter of the way through the year, and I’m a quarter of the way to #100.
  • My overall viewing is going less well, failing to reach ten new films in a month for the first time since November. (You can see all my latest viewing, both Challenge-related and not, on my Recently Watched page.)
  • That said, while it didn’t reach the magic double figures, it’s not that far short of 2022’s other months: the year’s monthly average only drops from 12 to 11.
  • That said, in the world of viewing averages, a whole film drop is moderately large. For comparison, the rolling average of the last 12 months dropped by 0.9 films (from 14.8 to 13.9), and the all-time average for March by just 0.46 (from 15.79 to 15.33).
  • For the third month in a row, my “2022 film” is a 2021 film that didn’t get a UK release until 2022. This should’ve been the month to buck that trend, with The Batman, but unfortunately I haven’t had a chance to get to the cinema.
  • This month’s Blindspot film was Robert Bresson’s World War 2 prison drama A Man Escaped — or, to fully translate its original French title, One Condemned to Death Escaped, or, The Wind Blows Where It Wants. Classy.
  • This month’s WDYMYHS film was ’80s Sly Stallone actioner Cobra. That doesn’t have an intelligent-sounding extended title. Or much intelligence on the whole, really. It’s kinda fun, though.
  • From last month’s “failures” I watched The King’s Man.



The 82nd Monthly Arbitrary Awards

Favourite Film of the Month
I watched both versions of West Side Story this month, and, heretical as it may sound, I think I thought Spielberg’s was better. (As a rewatch, the original isn’t eligible for this award anyway). Not only that, but Spielberg’s pure cinematic skill sees it stand out easily from the rest of the month’s viewing.

Least Favourite Film of the Month
I actually quite enjoyed The Very Excellent Mr. Dundee — certainly more than most other people seem to have — but there’s also no doubt it was the weakest film I saw this month.

Film You’d Most Like to Hang Out In of the Month
Who wouldn’t want to spend time nattering with the grandes dames of British theatre and cinema in Nothing Like a Dame? Not only would you get fabulous anecdotes, but they seem like a right giggle.

Film You’d Least Like to Hang Out In of the Month
No one said life in a Nazi prison would be fun, and A Man Escaped certainly bears that out.

The Audience Award for Most-Viewed New Post of the Month
Just three posts to choose from, last month, and the victor of those was 2022 Weeks 7–8. Of the other two, my ‘failures’ proved more popular than my general monthly review for the second month running. Could just be the appeal of the title, I suppose.



Every review posted this month, including new titles and the Archive 5


The much-discussed Spider-Man: No Way Home finally hits disc next week, so I’ll see if it has any surprises left for me (I don’t think I’ve been totally spoiled, but it’s been impossible to avoid certain big stories). Also, hopefully I’ll also finally see The Batman, one way or another. And also some films that don’t involve men dressing up as critters to fight evil.

The Comparatively Calm Monthly Review of February 2022

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For a moment, set aside your fears of World War III and/or anticipation for The Batman (whichever is taking up more of your mental capacity right now; possibly both) and journey with me back, back, back to a time when military invasion was just a threat and Batman reactions were still embargoed — i.e. last month.



This month’s viewing towards my yearly challenge

#13 She’s Gotta Have It (1986) — WDYMYHS #2
#14 The Hobbit (1977) — Decades #8
#15 Jackass Number Two (2006) — Series Progression #1
#16 Shot in the Dark (1933) — Decades #9
#17 A Room with a View (1985) — Rewatches #2
#18 The Misfits (2021) — New Films #2
#19 Tintin and the Temple of the Sun (1969) — DVDs #2
#20 Los Olvidados (1950) — Blindspot #2


  • I watched 13 feature films I’d never seen before in February.
  • Seven of them counted towards my 100 Films in a Year Challenge, along with one rewatch.
  • As with last month’s ‘new film’, The Misfits is originally a 2021 release; but, best I can tell, its UK debut only came this month (as a direct-to-Prime Amazon Exclusive), so it counts as a 2022 release for the purposes of the Challenge.
  • Another oddity of my new rules kicked in this month. When I watched the first Jackass movie, it didn’t count for anything (the only place it could’ve qualified was Decades for the 2000s, but that had been taken); but then I watched the first sequel, and now that does count, as Series Progression. My scrupulous planning ahead for rare eventualities does pay off, see.
  • All the great films from the 1930s that I haven’t seen and could’ve watched to count towards my Decades tally, and instead I’ve filled the slot with a 52-minute “quota quickie” murder mystery. And, frankly, I don’t regret it in the slightest.
  • This month’s Blindspot film was Luis Buñuel’s ‘true story’ of children in poverty in mid-century Mexico, Los Olvidados, aka The Young and the Damned. That English-language title does kinda sum it up.
  • This month’s WDYMYHS film was Spike Lee’s pro debut, She’s Gotta Have It, which (as discussed last month) completes the films for which I was reliant on streaming. That’s one less thing to worry about.
  • Away from the Challenge, 13 beats January’s 11 to be 2022’s de facto best month in those stakes.
  • But it’s not a huge number, so falls short of most stats I keep an eye on: February’s all-time performance (the best is 27); the February average (previously 14.2, now 14.1); and the average of the last 12 months (previously 16.0, now 14.8).
  • My “failures” section may have been spun off onto its own dedicated post this year, but that hasn’t affected how many I actually watch: this month, I didn’t catch up with any of last month’s failures.



The 81st Monthly Arbitrary Awards

Favourite Film of the Month
Its nostalgia-driven style may have enraged some critics and cineastes, but (anecdotally, at least) it seems to have worked gangbusters for regular folk — and, for once, I’m counting myself among the latter. There were certainly ‘worthier’ films among this month’s viewing, but nothing so all-around entertaining as Ghostbusters: Afterlife.

Least Favourite Film of the Month
A few to choose from this month — it’s felt like an underwhelming start to the year, I must say, with the poor and (mostly) mediocre films outweighing the good stuff. Anyway, the nadir has to be The Brits Are Coming, known in the US (and therefore most places online) as The Con Is On. It promises a stylish crime caper with an all-star cast. It delivers an amateurish-feeling wannabe-comedy that makes you wonder how come this cast were that desperate for work.

Most Compromised Viewing Experience of the Month
Nowadays, we’re used to ultra-faithful HD presentations that do their utmost to present films in their original cuts and original aspect ratio with original colour grading and original audio, to faithfully replicate the filmmakers’ intended vision. But not everything has been granted such treatment, like my DVD copy of Tintin and the Temple of the Sun — or, as the revised title card would have it, courtesy of some Windows MovieMaker-level text animation, The Seven Crystal Balls & Prisoners of the Sun. At least the rest of the opening titles are intact, which apparently wasn’t the case on VHS. The tape also cut two musical numbers, though the DVD only restores one. Despite most of the film being dubbed into English — with no original French audio option offered — the song wasn’t dubbed; but nor is it subtitled, so goodness knows what it was about. It’s bookended by some weird digital edits, suggesting more footage was cut, or possibly lost. And talking of audio, serves me right for choosing the remixed 5.1 track, which occasionally misses random sound effects and music cues. All of that without mentioning the strange digital artefacts that pop up now and then. Far from ideal… but also, as far as I’m aware, the only English-friendly version available (I doubt they fixed any of these problems for the iTunes release).

Moment That’s a Great Visual But Impossible to Adequately Describe in Writing of the Month
There’s a bungee jump stunt in Jackass Number Two that isn’t one of their most elaborate or dangerous, and certainly is a long way from being their grossest, but nonetheless ends in a moment of hilarity that, literally, has to be seen. I could try to describe exactly what occurs in the split-second, but it would take many words to convey accurately and still wouldn’t do justice to seeing it happen in a fraction of a second. It’s not even their funniest or most audacious thing, it’s just… gravity. Nature always wins.

The Audience Award for Most-Viewed New Post of the Month
Despite my return to (relatively) regular posting this year, February is my lowest month for traffic since… well, since as far back as the WordPress stats page shows (October 2019). Oh well. And despite many of my posts containing multiple different films to pique readers’ interest(s), it was actually a single-film review that came out on top for new posts: Ghostbusters: Afterlife.



Every review posted this month, including new titles and the Archive 5


Assuming we don’t all get nuked by a frustrated Russian, next month begins with The Batman, which got rave reviews when its embargo lifted yesterday, and ends with the Oscars, which can’t seem to do anything right this year. Hopefully, I’ll see them both.

The All-New Monthly Review of January 2022

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I’ve already lied to you, dear reader. I say that because much of this monthly review is going to seem familiar — “All-New” it is not. “Partially new”, that would be the truth: there are new graphics, and a revised focus in some sections, both to fit in with the blog’s new identity.

Despite that, I’ve stuck with the “all-new” moniker to reflect The All-New 100 Films in a Year Challenge, my progress with which is now the primary focus of these monthly updates… although you can still find links to all my reviews; and the Arbies survive, now in their 80th month, still drawing from everything I watched.

Well, we’ll see how it goes. On which note, on it goes…



This month’s viewing towards my yearly challenge

#1 Carry On Spying (1964) — Decades #1
#2 Gosford Park (2001) — Rewatches #1
#3 Penny Serenade (1941) — Decades #2
#4 The Navigator (1924) — Decades #3
#5 Flight of the Navigator (1986) — WDYMYHS #1
#6 In the Line of Fire (1993) — Decades #4
#7 Barbie as The Princess and the Pauper (2004) — Decades #5
#8 Free Guy (2021) — Decades #6
#9 Mass (2021) — New Films #1
#10 Meat Loaf: In Search of Paradise (2007) — DVDs #1
#11 Voyage of Time: An IMAX Documentary (2016) — Decades #7
#12 L’avventura (1960) — Blindspot #1


  • I watched 11 feature films I’d never seen before in January.
  • All of them counted towards my 100 Films in a Year Challenge, along with one rewatch.
  • As you may or may have inferred from that, this means I effectively have two counts running now: my 100 Films Challenge, and how many new films I’ve seen. The former may be the official thing going on nowadays, but a decade-and-a-half habit is hard to break, so on my ‘new film’ count goes. As I said up top, it’s the Challenge that’s the focus of these posts now, but I’ll still be including titbits about my overall new film viewing. And come the end of the year, it’s the overall new viewing that will continue to fuel things like my Top 10 and the statistics post.
  • So, to the Challenge. As the year gets underway, most — in fact, everything — I watch counts. I don’t expect that to be the case as we go forward.
  • For example: I’m not surprised to see the Decades category filling up fastest, because it’s so easy to complete. Slots are filled by any film that (a) isn’t better off counted towards another category, and (b) isn’t from a decade already ticked off — and, as the year begins, none are ticked off (obv). With 7 out of 12, Decades is already 58% complete. As for the remainder, the 1910s might require a special effort (I don’t watch many films that old without explicitly setting out to), but I imagine the others will take care of themselves in short order.
  • Just in case it needs stating for anyone: yes, Mass is “a 2021 movie” thanks to its festival screenings (the US and Canadian releases were also last year), but it didn’t come out in the UK until 20th January, which makes it a 2022 (i.e. new) movie for me.
  • This month’s Blindspot film was L’avventura, which I’ve been putting off including on the list (or watching in any other way) for years. I haven’t particularly enjoyed other classics of mid-20th-century Italian cinema, like Bicycle Thieves or 8½, so I feared this would be the same. And that’s part of the motivation for watching it first: ripping off the plaster. Well, it was a somewhat pleasant surprise. More when I review it soon.
  • This month’s WDYMYHS film was Flight of the Navigator, which I watched on Prime Video. The danger of putting titles from streamers on a “movies I must watch this year” list is that at some point, possibly without warning, they could disappear from that streamer. But that also makes them an easy choice for where to start. This year there are only two across all 24 films from Blindspot and WDYMYHS, and they’re both on the latter list — I imagine the other will be next month’s pick.
  • I didn’t watch anything from last month’s “failures”. And as for this month’s failures: I’ve finally decided to spin the feature off into its own post. Look for that in the next day or two.



The 80th Monthly Arbitrary Awards

Favourite Film of the Month
Although my viewing numbers this month were more than solid (getting to 100 films in a year at a steady pace — something the new challenge is partially intended to enforce — requires an average of 8.3 films a month), the level of quality was more middling. One film did stand out, though: Mass, a chamber piece that puts you through the emotional wringer, powered by a quartet of awards-worthy performances.

Least Favourite Film of the Month
Conversely, the month’s middling quality means it’s also hard to pick a worst film. By a nose, I’m going to say Voyage of Time, because I didn’t get as much out of it as I might’ve hoped. Plus, MUBI’s pathetic attempt at streaming in 4K (a feature they’d specifically pushed in the film’s advertising) got on my wick.

Best Navigator of the Month
The navigator in The Navigator is actually the name of the boat; and even if it weren’t, Buster Keaton is pretty poor at navigating it. The navigator in Flight of the Navigator is the kid who bonds with the spaceship, and while he’s ostensibly in charge, I think the spacecraft actually does most of the work. But in Barbie as The Princess and the Pauper, Barbie manages to ride into the forest and go straight to the exact hidden cabin where her doppelgänger is being held captive. Impressive navigation, Barbie.

Biggest Mystery of the Month
Whodunnit in Gosford Park? What happened to Anna in L’avventura? How did David lose eight years in Flight of the Navigator? Can they catch the assassin in In the Line of Fire? What are the villains up to in Carry On Spying? Can Meat Loaf put on a gig that makes him happy in In Search of Paradise? No, the biggest mystery of the month is: what the feck is Brad Pitt on about in the Voyage of Time narration?!

The Audience Award for Most-Viewed New Post of the Month
No break-out successes this month — the victor is down in 30th place overall, behind a slew of archive TV columns — but it was a close-run thing nonetheless, with two posts tied for second place, just two hits behind the winner. Said winner was, somewhat appropriately, The Best of 2021. And now it’s the best of (January) 2022, too. Hurrah.



Every review posted this month, including new titles and the Archive 5


It’s 100 Films’ 15th birthday (just two months after launching! Is this what being a time traveller feels like?)

I had been thinking I’d mark the occasion with a revised version of 100 Favourites, as that’s five years old, but those things take literally years to put together (well, the first one did), and while I had been considering it for years, it’s been overtaken by the relaunch. Maybe in 2023.

Other than that, erm, things continue much the same…

The All-New 100 Films in a Year Challenge

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As I said in my introduction to the blog’s new era, reports of 100 Films in a Year’s death may have been grossly exaggerated — because while 100 Films in a Year as it was is no more, in its place I have…

The All-New 100 Films in a Year Challenge!

Just like its title, this new version is similar but different. My original challenge was wholly straightforward: watch 100 films I’d never seen before every year. The only thing approaching complexity or contention was whether alternate cuts (e.g. director’s cuts) counted as a “film I’d never seen before” or not. But this brand-new version of the challenge… well, it’s going to require some explaining.

Before I do, let’s recap why this came about. As regular readers are likely aware by now, I’ve been thinking about modifying my eponymous goal for a few years, primarily because simply “watching 100 new films in a year” stopped being an actual challenge and became my de facto state. It’s almost a decade since I failed in that goal, and over the last few years my average has been closer to 200 films in a year. So, why not just double the target? Or pick another number? Maybe I would’ve just done that, were it not for a few slip-ups (i.e. months where I fell short of my minimum target) and lifestyle changes in recent years. Obviously a challenge should be challenging, not a guaranteed walk in the park, but “just watch more films” didn’t seem the right way to push myself.

That’s what ultimately led to this new challenge — or, you might argue, array of challenges. You see, rather than just watching any old 100 films, now there are a selection of categories, and films will need to fulfil criteria to qualify. Whereas the old challenge merely motivated me to watch more films, this new version is designed to encourage me to watch certain kinds of films. Plus, with some additional rules for each category, it will spread that viewing throughout the year, rather than seeing me engage in a headlong rush to #100 as quickly as I can (which has happened the past few years).

So, you could argue this is eight separate challenges that together add up to 100 films, rather than a ‘true’ 100 films challenge — whatever that might mean. And you can argue that, if you want — I don’t care. This is a personal project, not some athletic endeavour subject to outside scrutiny, and this is how I’m choosing to do it. Of course, if for some reason you wanted to join in, you’re more than welcome. Feel free to use my rules. Feel free to tweak them to suit your own goals. Feel free to ignore them entirely and come up with your own criteria. Feel free to think “you know what, I really need to play more video games” and set yourself 100 Games in a Year as a challenge. Heck, that’s how this all began: I ‘ripped off’ the Read 50 Books in a Year challenge.

As I said, there are now eight groups making up my 100-film challenge. I’ll outline them in a moment, but first there’s one general rule: a film can only count once. Sounds kinda obvious, I guess, but my categories are not so niche as to be mutually exclusive — I could watch a Blindspot pick from the 1970s on DVD and technically it could count across three categories. But if I did that, well, the final tally wouldn’t actually get to 100, which would be self defeating. When a film fulfils the criteria for multiple groups (as some surely will, especially early on), it’s up to me to allocate which category it counts towards — although there are some sub-rules that will help dictate that. (My challenge is watching films, but yours may be trying to understand why I make these things so unnecessarily complicated…)

Without further ado, the categories are…

New Films

Well, that immediately requires clarification, doesn’t it? Because in the old challenge all 100 films were “new”, as in “new to me”. Now, however, I mean “new” as in “new (to the UK)”. And the UK clarification is needed because we so often get foreign films ‘late’, especially awards-y films that play US dates the year before but aren’t released here until January, February, March… even as late as June or July sometimes. So, this category is 12 films that were released in the UK for the first time during 2022. To some people that might seem like no challenge whatsoever — and it’s not that much of a challenge to me, to be honest, because I normally far exceed it. But, on the whole, my viewing skews older (when there’s the whole of film history to explore, why just watch brand-new stuff?), so I feel it’s a worthwhile category to include. Plus, part of the point of this is to spread the challenge throughout the year. To ensure that, this category is limited to one qualifying film per month — so even if I watched two (or more) new films in a single month, only the first would count towards the challenge. However, it can rollover if necessary — for example, if I watched no new films in January, I could count two in February. That might seem to undermine the concept of spreading these throughout the year, but, without it, it would be possible for me to fail the entire year on January 31st, which would suck.

Rewatches

In arguably the biggest change of all, rewatches now count… but only 12 of them. Mirroring the “new films” requirement, this is also limited to one per month. I’m not intending to run my Rewatchathon anymore, primarily because of this, but I’d like to think I’ll still rewatch more than 12 films a year. We’ll see — maybe I’ll end up bringing it back.

Blindspot

This continues as-is: 12 specific films, chosen ‘scientifically’ from best-of lists and the like, designed to be paced one per month. Because they’re specific films, if I did decide to get ahead of myself then they could count ‘early’, but I don’t think I’ve ever done that and I don’t intend to start now. As usual, there’ll be a dedicated post sometime soon with my 12 picks.

What Do You Mean You Haven’t Seen…?

After a couple of years ‘off’ (or, if you prefer, combined with Blindspot, because they’re essentially the same thing), WDYMYHS is back. The change is, whereas Blindspot is made up of “great movies” (according to other people), WDYMYHS will revolve around a theme of some kind. This year that link will be my birth year: 12 specific films from 1986 that I’m surprised I haven’t seen. Again, my 12 picks will be named in a dedicated post soon.

Decades

At least one film from every decade that feature films have existed, i.e. since the 1910s. That makes it another group of 12 — what are the odds?! It’s almost like I’m doing this deliberately… I can watch as many of these as I like within any given month, so we’ll see how long it takes me to tick them all off — recent decades will come quickly and easily, but some of the older ones might require a specific effort.

DVDs

I’ve spent years lamenting the fact that I don’t watch enough of my DVDs. Thanks to a couple of decades spent collecting, I own over 1,000 of the things, many never played, and they don’t often make it into my viewing nowadays, largely because they’re not HD. (I suspect that, statistically, I’m more likely to spend money upgrading a DVD to Blu-ray than I am to actually watch a DVD.) So, to force me to dig into that particular back catalogue, I’m making it a goal to watch at least one per month, as per the “new films” rules. And no ‘cheating’: if I don’t want to watch something from my DVD copy (because I want to get it in HD, or even UHD), that’s absolutely fine… but I can’t get it in HD and then still count that towards the DVD goal. I have to actually watch the DVD for it to count.

Genre

Like WDYMYHS, here I’m going to pick a specific genre or movement (preferably one that’s either highly specific or that I’m less au fait with, not something broad or well-worn like, say, “action”) and aim for at least one per month, i.e. 12 more films. However, this is a free-for-all: whereas WDYMYHS is 12 pre-chosen titles, this can be anything that falls within the genre; and I won’t limit myself to counting just one per month. Maybe I’ll have a marathon and complete it in one go! Maybe I’ll still spread it thin! At least having the choice provides an opportunity for some variety, right? This year’s genre will be that old favourite, film noir. I’ve had noir ‘viewing projects’ before, but there are plenty of key texts that still elude me, so maybe 2022 will right that. Or maybe I’ll just end up getting all 12 from Indicator’s 24-film Columbia Noir series. Frankly, either is good by me.

Series Progression

That’s perhaps the vaguest title of all, but let me explain (that’s the whole point of this post, after all). I have multiple different film series on the go at any one time — so many that, a couple of years ago, I started keeping a list, the Letterboxd version of which is here. Some of those series I continue to merrily work my way through; some I half-forget I have underway. So, the point of this category is to compel me to continue, across another 12 films. I could watch 12 from one series; I could watch one each from 12 different series. I could marathon them all across a weekend; I could watch them one a month throughout the year. Whatever — just so long as I keep going with series I’ve already started. (If I start a new series, either by accident or choice, the first film can’t count, but any future films can.)

I know I said there were eight categories, but if you’ve been doing the maths so far you’ll have realised we’re only at 96 films. So there must be a ninth category, right? Well, yes and no. Let me introduce you to…

Wildcards

The final four films are ‘wildcards’ that I can attach to any of the eight categories. They still have a couple of rules, though. Firstly, wildcards can only be used once the category’s own requirements are met. What that means is, I could use a wildcard to (for example) count a second new film in January, but I couldn’t use one for a film noir until I’ve watched 12 film noirs. Lastly, only one wildcard per category — so I couldn’t (for example) watch five new films in January and count them all. Make sense? If not, let me remind you that you don’t really need to worry about any of this — it’s only me who has to work it out.

I’ll be tracking my progress with the Challenge in my monthly review posts, and on a dedicated page too.

Also, while it’s no longer the ‘official’ goal of the blog, I suspect I’ll end up still counting my overall viewing, and likely post year-end stats and whatnot about it next January. I’ve been doing that count for almost my entire adult life, so it’s a well-established habit at this point. Not to mention that, actually, I enjoy it — but now primarily for my own interest, rather than as the raison d’être of this blog.