It’s the most wonderful time of the year. No, not Christmas — that’s well and truly over now, isn’t it? I mean, it’s not even really the new year anymore, it’s just the year now. This post is kinda late.

No, by “most wonderful time of the year” I mean this — the day I publish my annual statistics post! As the guy who does the introductions to films at Odeon might say, “ooh, yeah, the statistics. I love the statistics. Specially chosen for this post, actually.” Except they’re not really specially chosen, I do the same ones every year. But then the trailers aren’t really specially chosen for the film, are they? That Odeon guy’s just a liar.

Anyway, it’s time for the main event. So, turn off your phones, finish your conversations, and get ready — it’s about to begin…

I watched 151 new feature films in 2019. That ranks 5th in the history of 100 Films — it’s the lowest of the past five years, but beats every one from 2007 to 2014. It’s 11% beyond 6th place (2014) and 15% short of 4th place (2017). And it’s down a massive 110 films (42%) on last year.

I also watched one extended or altered cut of a feature I’d seen before — namely, Deadpool 2’s Super Duper $@%!#& Cut. (I know it’s only my own rules I’m butting up against, but I haven’t settled on a way to count alternate cuts like this now that I have my Rewatchathon. I mean, it’s not strictly a rewatch because it’s a different cut, but it’s also not a new film because it’s not that different to the version I’d already seen. Anyway, it’s included in the following graph, but I haven’t counted it towards the other stats.)

As just alluded to, in 2019 I also undertook my Rewatchathon for the third year. My target was 50 films, but I only made it to 29. Still, that’s 29 more than I might’ve managed otherwise. Add all of those together and my overall total is 181 films. I’d love to tell you how that compares to previous years, but I’ve still not put together a proper history of rewatches for that comparison. Maybe I’ll finally get it sorted for 2020’s stats.

I also watched 20 short films in 2019, which more than doubles the next nearest — second place is a tie between 2007 and 2018 with just eight each. As with the alternate cut, these only count towards one stat, which I’ll mention in a moment.

So, the total running time of the 151 new films was 271 hours and 56 minutes. That’s down a whopping 41% on last year… but then the number of films I watched was down 42%, so fair enough. Add in the Deadpool 2 alternate cut and all those shorts and the total running time of my new 2019 viewing was 277 hours and 47 minutes — that’s just over 3½ hours of shorts, FYI. (Last year I said “maybe next year I’ll start counting my Rewatchathon here too”. I haven’t, obviously. Maybe next year…)

Here’s how that viewing played out across the year, month by month. It’s a particularly interesting year to have this graph (I only added it for the first time in 2018’s stats), because my viewing patterns have been so variable. I imagine if a lot of people bothered to plot a graph like this they’d end up with a broadly flat line, because I’d presume they watch roughly the same amount of stuff (whether that’s a lot or a little) month in, month out. Or maybe they’d all be as variable as mine, I dunno. Either way, my one is anything but flat…

Now, how I watched those films. Most people may be pivoting to streaming, and dedicated cinephiles of course see a lot on the big screen, but I still love my physical media. Nonetheless, for the fifth year in a row this year’s most prolific viewing format was streaming. I guess I’m one of those people too. Or not — I buy more than my fair share of Blu-rays, I just don’t get round to watching as many as I should. Anyway, streaming accounted for 49 films, or 32.5% of my viewing. The raw number is less than half what it was last year (109), but then I did watch 110 fewer films overall too. More interestingly, the percentage is also down significantly, continuing a trend that’s been going on for a few years now — it was 57% in 2016, 43.2% in 2017, 41.8% in 2018, and now just 32.5%. Maybe I’m bucking the trend after all.

Those streaming numbers can be broken down across five services: Netflix, Amazon (a mix of Prime and paid-for rentals), Now TV (aka Sky Cinema), BBC iPlayer, and Rakuten. This year, it was Netflix in first place (it’s been Amazon the last two years) with 21 films (42.9% of streams). Mind, Amazon were close behind on 19 (38.8%). Way down in third was Now TV, with just five films (10.2%) — I only subscribe for a month so I can watch the Oscars, but I clearly didn’t get very good value for money this year (for comparison, last year I used it to watch 25 films). That said, keep reading to downloads for more on this… Rounding out the streamers were iPlayer with three (6.1%) and Rakuten with just one (2%).

In second place was Blu-ray, represented by 34 films (22.5%). Sadly, that is also a much reduced percentage from last year (when it was 31.4%). As I said, I buy loads of the darn things, so I should do better here.

So, where are those percentage points going? Well, in third we find downloads, with 22 films (14.6%). In real terms that’s a drop from last year (when it was 25), but if we compare percentages it’s up by around 50%. See, statistics are fun, aren’t they? (Although Now TV only gets credited with five films, a few download viewings were, shall we say, morally justified by their presence on Now TV… by which I mean I acquired better-quality copies than Now TV’s outdated 720p and watched those instead, but it’s okay because I’d paid for those films via a Now TV subscription.)

Close behind is TV, on 20 films (13.2%) — again, a drop in real terms but a rise in percentage. Still, nowhere near where it once was — check out the drop since 2010 in this graph.

In fifth place is cinema, whose lowly position masks something of an achievement: it’s the most cinema visits I’ve made in one year since this blog began. My total was 19 films (12.6%), besting 2017’s tally by just one. It’s also the only format number that’s bigger than last year. Mostly it’s thanks to FilmBath Festival — without that, it’d only be eight (mind you, that would still be more than most years of this blog’s life — only 4 out of 12 other years would be higher.)

Finally, in sixth and last place, is DVD. Oh, poor DVD. Some people still love you, but the industry’s failure to get Blu-ray to catch on is a rant for another day. Anyway, this year I watched seven films (4.6%) on digital versatile disc, which is its lowest number since 2012. It’s impressive it’s still toddling on at all, really, but sometimes it’s easier just to watch the DVD I already have than source an HD copy.

In amongst all that, I watched seven films in 3D (4.6%), down 11 from last year (which was up 11 from the year before!), and 15 in 4K UHD (9.9%), up just one from last year. Considering I own a 3D-capable 4K TV, their combined percentage of 14.6% is a bit disappointing — especially as I didn’t have a UHD Blu-ray player last year, so that new bit of kit has made very little net impact. Though, again, it depends how you do your comparison: going from 14 to 15 may not be much, but as a percentage of my viewing UHD has increased from 5.4% to that 9.9%.

So, with that said, how did my viewing split up in terms of UHD vs. HD vs. SD? Contributing to the UHD number is a cocktail of Blu-ray discs, streams, and downloads. For HD, it’s the same mix, plus cinema trips (you’d think big cinema screens would be keen to go for 4K instead of 2K, but nope — apparently there are shockingly few 4K cinemas out there). And in SD, well, it’s of course a similar blend again, but with DVDs instead of BDs. The final result is 112 films in HD (74.2%). Add the aforementioned 15 (9.9%) in UHD and I’ve got a total of 84.1% in HD formats. That’s down a bit from last year, which nearly hit 90% HD, but hey-ho.

Picture quality shouldn’t really be an indicator of the age of films I watched — old films can be HD too, of course (is everyone aware of this by now? I had to explain to someone once how even silent films could be HD. But, in fairness, they weren’t the kind of person who’s likely to be reading a film blog). Nonetheless, my viewing did skew newer, as usual: the most popular decade was the 2010s, with 90 films. That’s 59.6% of my viewing, a higher percentage than last year, but not as high as the year before that. The 2010s have been my highest decade ever year since 2012 — now it’ll be interesting to see how soon the 2020s take over.

The 2000s have come second since 2012 too… but not this year! Thanks primarily to Quentin Tarantino’s Swinging Sixties Move Marathon, in 2019 second place went to the 1960s (obviously). It’s a distant second, mind, with just 13 films (8.6%). In fact, only seven of the ten films in QT’s marathon were from the ’60s themselves, but without those it would be much lower in the rankings.

So, the 2000s are pushed into third, with 11 films (7.3%). In fourth we find the 1970s with nine (5.96%), also helped slightly by the Tarantino marathon (though, in this case, only by one extra film). It’s back to the ’90s for fifth, with eight (5.3%), followed closely by the ’50s on seven (4.6%), including the final two films from the “sixties” marathon.

Rounding things out, the 1920s and ’40s had four (2.6%) apiece; the ’80s is uncommonly low on just three (1.99%); and finally there’s the oldest decade for this year, the 1920s, with two (1.3%).

From “when” to “where” — countries of production. And it’s another “business as usual” situation, because once again the USA dominated with a hand in 113 films (74.8%, which is up a couple of points from last year). Also as usual, second place belongs to the UK, with 35 films (23.2%, also an increase from last year). Also in double figures were France (16 films, 10.6%), Japan (14 films, 9.3%), and Germany (10 films, 6.6%). In all, 28 countries were involved in the production of at least one film. That’s a marginally lower number than it’s been the last few years, but I also watched a much lower total of films, so it’s not too bad overall.

You might think less variety in countries would mean less variety in languages spoken, but not so. Now, English was still thoroughly dominant, being spoken in 128 films — but that works out as 84.8%, the lowest it’s ever been. In second place for the third year in a row was Japanese, its tally of 13 films being the only other language to make double figures this year. Although it totals fewer films than last year, its percentage of 8.6% is similar. In total, there were 24 languages, plus four silent films. American Sign Language cropped up in one film, as it seems to every year, while other more unusual (for my viewing) languages included Burmese, Mixtec, and Punjabi.

A total of 134 directors plus 10 directing partnerships appear on 2019’s main list. Only six of those were responsible for multiple films, the lowest that figure’s been since 2012. Most prolific of these was Kenji Misumi with three, all Zatoichi films. The other five directors, with two apiece, were Bill Condon, Alfred Hitchcock, Phil Karlson (both from Tarantino’s sixties marathon), Fritz Lang (arguably — some would say Dr Mabuse, der Spieler is a single film), and Kimiyoshi Yasuda (also both Zatoichi films).

For the past few years I’ve charted the number of female directors whose work I’ve watched. There were ten female directors represented among 2019’s feature film viewing — seven as sole director, three as part of a directing partnership with a bloke. Counting the co-directors as half a film each, this represents 5.63% of my viewing — better than last year (which was better than the two years before it), but, as this graph ably demonstrates, still a disappointingly low figure. I mean, I watched more films directing by someone called “John”.

At the time of writing, 12 films from 2019’s list appear on the IMDb Top 250 (or “Top Rated Movies: Top 250 as rated by IMDb Users”, as it’s less-catchily technically known nowadays). However, because that list is ever-changing, the number I have left to see has only gone down by four, to 45. The current positions of this year’s checks range from 22nd (Life is Beautiful) to 225th (The Red Shoes).

At the end of my annual “top ten” post I always include a list of 50 notable films I missed from that year’s releases, and continue to track my progress at watching those ‘misses’. For the past few years I’ve managed to watch some more from every one of these lists, but I let that slip in 2019. The overall number I watched dropped too, totalling 37 (the lowest it’s been since 2014, when obviously there were fewer films to choose from). Well, that’s the kind of year it’s been. Anyway, the ones I did watch included two each from 2008, 2012, and 2016; and one each from 2010, 2011, and 2017.

Finally, in the first year of watching 2018’s 50, I saw 28 of them. That’s no record, but it’s still over 50% (to be precise, 56%), so I can’t complain.

In total, I’ve now seen 422 out of 600 of those ‘missed’ movies. That’s 70.3%, up a teeny tiny amount from last year’s 70.0%. If I don’t pick up the pace again next year, I may be looking at a percentage drop. (As ever, the 50 for 2019 will be listed in my “best & worst” post.)

And lo, just like that, we’re coming to the end. To conclude 2019’s statistics, it’s the climax of every review: the scores.

As always, this includes every film, meaning some don’t have published reviews yet — and, therefore, some I was still mulling over my exact score for; the kind of films I’d happily award 3.5 or 4.5 on Letterboxd, but which here I always round up or down to a whole star. Maybe I should start giving half stars. (I feel like I say that every year…) Anyway, I’ve had to go ahead and pick a rating for everything to get this part of the stats done, and maybe I’ve been too generous in places, or too harsh in others. We shouldn’t really take such a simplistic rating system too seriously, anyway (he says, as he goes on to make it the final thing in this post as if it’s a definitive statement on the quality of the films I saw this year…)

Barrelling on regardless: at the top end of the spectrum, this year I awarded 25 five-star ratings, which means I have 16.6% of films full marks. That’s a slightly higher percentage than last year, but lower than the year before that, but higher than the year before that, but lower than the year before that… and so on. In other words, I’ve not suddenly got harsher or more generous, or suddenly watched a lot more or lot fewer good films.

Indeed, it was also business as usual with the score I handed out most often: four-stars, which I awarded to 62 films. Out of 13 years of this blog, four-stars has been my highest-scoring score 12 times (the exception is 2012, which saw more three-star films). That said, at 41.1% it’s the lowest percentage of four-stars-ers since 2013. That loss was spread out across the rest of the board, with slightly higher than normal percentages for the remaining three ratings. For example, there were 46 three-star films, which at 30.5% is its third highest ever percentage.

Fortunately, the “bad” end of the scores continue to bring up the rear, with 15 two-star films (9.9%) and three films meriting just one-star (1.99%). That’s technically the highest percentage of one-star films since 2012, but as the other intervening years range between 0.7% and 1.5%, I don’t think it’s a cause for concern. It’s barely even cause for comment.

Finally, that brings us to the average score — the single figure that arguably asserts 2019’s quality compared to other years. The short version is 3.6 out of 5, the first time it’s been below 3.7 since 2013. In fact, if we go to three decimal places, it comes out as 3.604, which is the second lowest ever (beaten by 2012’s exceptionally poor 3.352). Now, it doesn’t feel like I’ve had particularly poor viewing this year — indeed, I was worried I was handing out five-star ratings too easily at one point — so it’s something of a surprise to find it so low. But maybe I’m just getting more discerning. I mean, it’s not a sharp drop (unlike that 2012 anomaly), more a slight decline.

And that’s the statistics over for another year, I’m afraid. But if you’re a junkie like me and still after more, check out my Letterboxd 2019 stats — that site tracks different stuff (like directors and actors), and includes different films (i.e. my Rewatchathon viewing, plus a few TV things), so it’s a bit different. That’s exciting, eh?

If you thought it was getting a bit far into 2020 to still be thinking about 2019, oh ho ho, no! Still to come: my picks for the best and worst of my viewing from last year.