Tag Archives: Cats

The Worst of 2021

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‘Worst of’ lists have become widely unpopular in the film-viewing community in recent years. “Celebrate what you liked, don’t bash what you didn’t,” is the prevailing argument. Well, yes… but also, film watching inevitably involves taking the rough with the smooth. (Hopefully unintentionally: if you’re watching something you’re certain you’ll dislike, why? (Says the guy who intentionally watched all five Twilight movies, so, yeah, sometimes there might be a reason.)) Also, I’ve done this list for 14 of 100 Films in a Year’s 15 years, so now would be an odd time to stop (next year, after the first year of the new-style site, I’ll think again).

Before we begin, a reminder that my best and worst lists are selected from all 207 films I saw for the first time in the past year, not just 2021’s new releases.



The 5 Worst Films I Saw For the First Time in 2021

In alphabetical order…

The Birth of a Nation
D.W. Griffith gets a lot of credit for being a great innovator of the silent era — mainly because he was fond of blowing his own trumpet, and I guess a lot of people unquestioningly bought it (plus ça change). Whether innovative or derivative, his work as director is sometimes striking, and Birth of a Nation would be a pretty entertaining… were it not horrendously racist and brazenly pro-KKK. There’s no half measures here; no “well, I suppose you could interpret it that way”: the film is explicitly and undeniably in favour of the KKK and what they did in the wake of the American Civil War, to the extent the Klan used it (and I guess probably still do) as a propaganda tool. Any other merits it has a film are not strong enough to outweigh that side of it.

Cats
This is every bit as bad as you’ve heard. It’s littered with bizarre production decisions — things that would be a bad idea even if they hadn’t then been poorly realised in a rushed post-production. But it’s not just the freaky cat/human hybrid characters or inconsistent sense of scale that let this down: the underlying musical is mediocre, with mostly forgettable songs and an incredibly thin narrative. Why this was such a long-running hit on stage, I’ll never understand.

Dumb and Dumber
A film that lives up to its title. At no point since its release in 1994 has Dumb and Dumber ever appealed to me, but it has its fans (it even generated a prequel and belated sequel, remember?) and, crucially, was on iCheckMovies’ Most Checked list, which I’ve almost completed (just four to go, thanks to this). Were it not for that, I wouldn’t have watched it. I don’t think I would’ve been any worse off if I never had.

Mortal Kombat
Not the new one, but the one from the mid-’90s, an era when various attempts to transfer popular video game franchises to the big screen gave such unwaveringly poor results they tarnished the genre for decades (in fairness, it’s not like there have been many/any that deserved to dodge the bad rep). Plus, it’s by Paul W.S. Anderson — a double whammy of reasons to expect something awful. And it is indeed a cheap-looking, semi-incoherent, unexciting load of tosh.

Plan 9 from Outer Space
Sometimes you watch a “bad movie” cult classic and, even though it is technically a terrible movie, you have a great time — I’m thinking of The Room or Love on a Leash here. Theoretically, Ed Wood’s famed Z-movie should fall into that camp. If anything, I think it’s the originator of “so bad it’s good”. For some people, that is how it plays. Unfortunately, it wasn’t for me — I just thought it was poorly-made rubbish.


The 21 best films I saw for the first time in 2021.

The Tenacious Monthly Review of January 2021

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Some people have decided that January is actually the 13th month of 2020, given how most of the woes of last year didn’t magically evaporate when our arbitrarily-appointed start-time for a “new year” rolled around. Funny that. It’s a nice idea — to think that we can write off this month by association with last year — but, the way things are going, I think if you want to carry that idea through you’re going to end up with a 2020 that has 17 or 18 or 19 months… perhaps even a full 24, who knows.

So, back in the real world, the inevitable “second year of shittiness” that is 2021 began with January. Here’s what I watched during it…


#1 Bill (2015)
#2 WolfWalkers (2020)
#3 Ernest & Celestine (2012), aka Ernest et Célestine
#4 Happy Death Day 2U (2019)
#5 Festen (1998), aka The Celebration
#6 You Only Live Once (1937)
#7 The Frighteners: Director’s Cut (1996)
#7a Meshes of the Afternoon (1943)
#8 Hotel Transylvania 3D (2012)
#9 Wolf Warrior (2015), aka Zhan lang
#10 Mission Control: The Unsung Heroes of Apollo (2017)
#11 One Night in Miami… (2020)
#12 Kind Hearts and Coronets (1949)
#13 Joint Security Area (2000), aka Gongdong gyeongbi guyeok JSA
#14 Calling Dr. Death (1943)
#15 Under Siege (1992)
#16 Who? (1974)
#17 The Pinchcliffe Grand Prix (1975), aka Flåklypa Grand Prix
#18 Blithe Spirit (2020)
#19 Tower Heist (2011)
#20 The Social Dilemma (2020)
#21 3 Idiots (2009)
#22 Who’s Afraid of Virginia Woolf? (1966)
#23 The Secret Garden (2020)
#24 Cats (2019)
#25 Sansho Dayu (1954), aka Sansho the Bailiff
#26 Psycho Goreman (2020)
WolfWalkers

Joint Security Area

Who's Afraid of Virginia Woolf?

Psycho Goreman

.


  • As should be self-evident, I watched 26 new feature films in January.
  • I used that exact wording for my opening note last year too, which I only discovered after I wrote the above sentence and then went to look up how I’d worded it last year. I guess you could call it consistency, or style, or something like that. “Unimaginatively repetitious” would be a less kind label…
  • Anyway, that tally actually edges January 2021 into my top 10 months ever, in 10th place. With 169 months in 100 Films history, that means it’s in my top 6% of months ever.
  • There are no other Januarys in the top 10 — which is another way of saying, this is my best January ever, beating 2016’s 21.
  • Naturally, that also means it obliterated the January average (previously 11.46, now 12.50), as well as toppling the rolling average of the last 12 months (previously 22.0, now 23.2).
  • As you may also have already extrapolated, being my best-ever January means this is the furthest I’ve ever reached by the end of January. It’s also the earliest I’ve passed the quarter-way point of #25, beating 6th February in 2016. (Though these days I’m ‘officially’ aiming for 120 Films in a Year, which makes the quarter-way point #30.)
  • As we know from past experience, trying to use any month to make a prediction about the whole year is futile. But, just for fun, if I kept up this rate for the entire year, I’d make it to #312. Well, never say never…
  • Another achievement: I watched a new film on January 5th for the first time in recorded history (i.e. since 2009, at least). Regular readers will know I’ve been tracking these ‘missing dates’ and ticking them off for a few years now (since July 2017, to be precise), and now there’s just May 23rd outstanding.
  • One thing I didn’t do this month was post any reviews of the films I watched. That comes after a 2020 where I performed similarly poorly in that regard, averaging 1.6 reviews a month of films I’d watched that month (it was zero or one review in eight months of last year, with better tallies in April, June, July, and August bolstering the average). At this rate, the 100-week roundups in 2022 are going to be chocka (heck, the 2021 ones are going to be pretty busy).
  • With Calling Dr. Death (#14), the Inner Sanctum Mysteries joins the list of film series I’m in the middle of watching, which currently numbers 23. I’ve got a list of them on Letterboxd, if you’re interested.
  • This month’s Blindspot film: Kenji Mizoguchi’s gut-punching folklore drama, Sansho Dayu (aka Sansho the Bailiff).
  • From last month’s “failures” I only watched WolfWalkers.



The 68th Monthly Arbitrary Awards

Favourite Film of the Month
Cartoon Saloon have produced several excellent movies, but WolfWalkers may be their best yet — gorgeously animated, an exciting adventure, with plenty of heart too. Such a shame it’s buried away on Apple TV+ where most people will never see it.

Least Favourite Film of the Month
Wholly predictably, it’s Cats. I mean, really, did you expect anything else?

Worst Dinner Party of the Month
Sure, the antics of the couple at the heart of Who’s Afraid of Virginia Woolf? may be famously uncomfortable and wild and weird, but that’s nothing on standing up at your father’s birthday meal to announce to dozens of assembled friends and family that… well, that would be a spoiler. Suffice to say, Festen’s got this one.

Most Jingoistic Action Movie of the Month
Joint Security Area may deconstruct and expose the futility of war and nationalism, but that’s hardly stopped other action movies indulging in it aplenty. Under Siege comes with the prerequisite praising of America’s military might, but the villains are its own agents gone rogue, so at least there’s some acknowledgement of their own (potential) flaws. Wolf Warrior, on the other hand, sometimes borders on propaganda piece… although the fact they feel the need to send basically their entire army to track down a handful of insurgent mercenaries isn’t actually the great advertisement someone might’ve thought it was…

The Audience Award for Most-Viewed New Post of the Month
Now, normally I’m quite strict about this category — which means that if, say, I post something on the last day of the month it basically stands no chance of making it, because it doesn’t have as much time to build up the hits. However, I published my review of Death to 2020 at 11pm on December 31st — having only a single hour to qualify for last month’s count seems a particularly unfair fate. So that’s why I’ve declared it this month’s winner, especially as it got more than four times the views of the ‘genuine winner’, my Christmas TV post. (Talking of “posts on the last day not doing well”, the TV column I posted yesterday afternoon amassed enough views in that short time to come a close-ish second/third, which just goes to show, um, something.)


In case you missed them, I began January with my usual extensive multi-post review of the previous year…

Now, as for actual film reviews…


A new year means a new Rewatchathon, too. My goal of 50 rewatches means I need to average four a month, so this year isn’t off to the best start…

#1 Happy Death Day (2017)
#2 Crimson Tide (1995)

I rewatched Happy Death Day immediately before its sequel (see #4 on the main list). Their shared “reliving the same day” conceit means the second film has a lot of references back to the first, so they work quite nicely as a double-bill.

I’ve fancied rewatching Crimson Tide for a while, but it never seems to be available anywhere, so I gave in and bought it from Apple — it was only 50p dearer than renting it. Then they went and announced the Disney+ Star slate and it’s going to be on there. Oh well.


With cinemas still shuttered here due to lockdown, it once again falls to streamers to provide the brand-new releases. Netflix are promising at least one original movie premiere every week throughout 2021 (with some 70-odd films coming in total). Once upon a time you would’ve assumed that was based on a technicality — i.e. lots of cheap made-for-TV-style filler to bolster the numbers — but, so far at least, they’ve been keeping the standard at a level of noteworthiness. For example, January’s offerings included the hard-hitting drama Pieces of a Woman, which comes with plenty of awards buzz; blockbuster-ish sci-fi action with Anthony ‘the Falcon’ Mackie in Outside the Wire; adaptations of bestselling books like The White Tiger and Penguin Bloom; and they even wheeled out that good old Brit-flick formula of quality actors + period setting in The Dig, with Carey Mulligan, Ralph Fiennes, and Lily James starring in a true story from the 1930s. Meanwhile, Amazon had Dave Franco’s directorial debut, The Rental. Not quite as high-profile a slate, eh.

In terms of catalogue stuff, it was really the TV catch-up services that were catching my eye in January, including Korean Cold War spy thriller The Spy Gone North on iPlayer, alongside acclaimed sports doc Hoop Dreams, Beatles classic A Hard Day’s Night, and recommended gambling drama Mississippi Grind. Over on All 4, I missed some classics I’ve been meaning to see for years, like Animal Farm and Withnail & I, but still available (for a few weeks yet) are the likes of A Taxi Driver starring Song Kang-ho, and Danish crime thriller The Guilty, which is currently being remade for Netflix by Antoine Fuqua and Jake Gyllenhaal.

Because I don’t have enough to watch as it is, this month I subscribed to MUBI. Okay, I have plenty to watch, but the offer of £1 for three months was hard to pass up — I mean, at that price, watch just one film and it was worth it. I’ve already watched a couple, but films on my watchlist for the remaining time of my cheap subscription include Bacurau, High Life, Paterson, Rocco and His Brothers, Transit, and… Showgirls. Yes, Showgirls is on MUBI.

None of which stopped me from buying more stuff on disc, of course. In terms of brand-new releases, I’ve got The New Mutants in 4K, Arrow’s new edition of Southland Tales (including the longer Cannes cut), and the bells-and-whistles-less 4K reissue of Total Recall (the 1990 one, obviously), plus Eureka’s release of the Inner Sanctum Mysteries, which I have at least started (see #14). Watching JSA (#13) inspired me to plug some of the gaps in my Park Chan-wook collection, so I picked up I’m a Cyborg and Thirst nice and cheap; and Kind Hearts and Coronets (#12) prompted me to buy StudioCanal’s bells-and-whistles-full 4K edition of The Ladykillers. Finally, thanks to an HMV sale I continued to fill out my Ray Harryhausen collection with The Beast from 20,000 Fathoms and The Valley of Gwangi. Between those and the various Indicator box sets, I’m only a couple away from owning all his feature film work. Just need to watch some more of them now…


Slightly belated UK releases for Promising Young Woman with Carey Mulligan, and Tom Hanks in Paul Greengrass’s News of the World. Hopefully I’ll have reviews of both.