Good times are here again, dear readers, because it’s December 1st and that can only mean one thing: advent calendars. Specifically, the fourth annual 100 Films in a Year Advent Calendar!
And this year, there’s double the fun: not content with providing you with my precious insight on a single cinematic wonder each day, for my 2015 advent calendar there will be two reviews every day. Or, to look at it another way, one review every 12 hours between now and Christmas Day.
Each day at midnight: a speedy little drabble nightcap.
Each day at midday: a full-length review lunch.
(Sorry, none of these metaphorical meals contain chocolate.)
(This isn’t at all doomed to fail, is it…)
Also of note! As per last year, my advent calendar will serve, in part, as a kind of ‘review of 2015’, looking back on some of the year’s biggest and most significant movies (that I’ve yet to review). Such delights may include Ant-Man, Avengers: Age of Ultron, Ex Machina, Force Majeure, Mad Max: Fury Road, Mission: Impossible – Rogue Nation, the Shaun the Sheep Movie, Spectre, Terminator Genisys, Tomorrowland, as well as the biggest film of the year (so far), Jurassic World, and the one that may yet surpass it, Star Wars: The Force Awakens. (No guarantees, mind — I’ve not written some of them yet. Heck, I’ve not seen some of them yet…)
Plus! A series of reviews dedicated to Star Wars in the run-up to the release of Episode VII. All will be revealed on Monday 14th (or now, if you look at my coming soon page — they’re pretty obvious).
Anyway, let’s get started. Should be pretty clear which are the drabbles and which the full reviews.












































In this ‘sequel’ to Inside Out, Riley is going to hang out with a friend… who turns out to be a boy, which sends her mum and dad — and their anthropomorphised emotions — into paroxysms of worry. Is this the 12-year-old’s first date?
The short that accompanied Inside Out in cinemas is essentially a music video for a folksy ballad about a pair of volcanoes who are in ‘lava’ (read: love) with each other.
Director Steven Soderbergh takes the methodology he used to depict the drug trade in
Biopic of genius cosmologist Stephen Hawking and his wife/caregiver Jane, on whose memoir the film is based.