2021: The Full List

As revealed in my December review, 2021 finished on a tally of 207 new films — my third highest ever. They’re all listed below, in alphabetical order, along with the small handfuls of titles I admitted to my “Guide To” series and the short films I watched. After last year’s “frankly extraordinary” high of 65, this year I only watched four shorts. Maybe I should set a shorts-watching target too…

Normally this post also serves to be a big pile of links to reviews I’ve posted in the past year. But those were thin on the ground in 2021: in the list of 207 new films, just four have a review to link to. Oh dear. But you can always (re-)enjoy my monthly reviews (filled with Fun Stuff like the Arbies), and the TV reviews I posted… before that column came up short too.

Well, hopefully things will be different soon…

  • As It Happened — 2021’s monthly updates, with a chronological list of my viewing.
  • The List — an alphabetical list of every new film I watched in 2021.
  • Television — an alphabetical list of the TV programmes I reviewed in 2021.
  • Next Time — more of 2021 still to come.

Below is a graphical representation of my 2021 viewing, month by month. Each of the images links to the relevant monthly review, which contain a chronological list of everything I watched this year. There’s also other exciting stuff in there, like my monthly Arbie awards and what I watched in my Rewatchathon.

And now, the main event…

An alphabetical list of all the films I watched for the first time in 2021, followed by other films I’ve covered (or intended to cover) this year — primarily, a couple of instalments in film series that I’ve given the “Guide To” treatment, and a trickle of short films. As I mentioned in my introduction, normally many of these titles would link to the appropriate review, but this year you’ll find just four links in the main list. Coincidentally, they’re all really close together.

  • 10 Things I Hate About You (1999)
  • 23 Walks (2020)
  • 3 Idiots (2009)
  • The Adventures of Prince Achmed (1926), aka Die Abenteuer des Prinzen Achmed
  • The Aeronauts (2019)
  • Aguirre, Wrath of God (1972), aka Aguirre, der Zorn Gottes
  • An American Pickle (2020)
  • Appointment with Death (1988)
  • Appointment with Murder (1948)
  • The Awful Truth (1937)
  • Baby Done (2020)
  • Bachelor Knight (1947), aka The Bachelor and the Bobby-Soxer
  • Barb & Star Go to Vista Del Mar (2021)
  • Beginners (2010)
  • The Bells of St. Mary’s (1945)
  • Bill (2015)
  • Bill & Ted Face the Music (2020)
  • The Birth of a Nation (1915)
  • The Bishop’s Wife (1947)
  • Black Widow [3D] (2021)
  • Blithe Spirit (2020)
  • Boss Level (2021)
  • The Broadway Melody (1929)
  • A Brief History of Time Travel (2018)
  • Bright Young Things (2003)
  • The ’Burbs (1989)
  • The Burning Buddha Man (2013), aka Moeru butsuzô ningen
  • A Boy Called Christmas (2021)
  • Calling Dr. Death (1943)
  • Capernaum (2018), aka Capharnaüm
  • Captain Phillips (2013)
  • Carefree (1938)
  • Carol (2015)
  • The Catcher Was a Spy (2018)
  • Cats (2019)
  • A Christmas Story (1983)
  • Cinema Paradiso (1988), aka Nuovo Cinema Paradiso
  • The Coldest Game (2019)
  • Coming to America (1988)
  • Con Air (1997)
  • Crank (2006)
  • Crocodile Dundee in Los Angeles (2001)
  • The Current War (2017)
  • A Damsel in Distress (1937)
  • The Danish Girl (2015)
  • Daughters of Darkness (1971), aka Les lèvres rouges
  • David Byrne’s American Utopia (2020)
  • David Lynch: The Art Life (2016)
  • Dead Man’s Eyes (1944)
  • Dead Man’s Folly (1986)
  • Defending Your Life (1991)
  • Detective Conan: The Phantom of Baker Street (2002), aka Meitantei Conan: Bekâ Sutorîto no bôrei
  • The Dig (2021)
  • La Dolce Vita (1960)
  • Dreamcatcher (2003)
  • Drop Zone (1994)
  • Dumb and Dumber (1994)
  • Dune: Part One (2021), aka Dune
  • Ernest & Celestine (2012), aka Ernest et Célestine
  • Evangelion: 3.0+1.01 Thrice Upon a Time (2021), aka Shin Evangelion Gekijôban
  • Everybody’s Talking About Jamie (2021)
  • Falling for Figaro (2020)
  • The Father (2020)
  • Festen (1998), aka The Celebration
  • The Final Countdown (1980)
  • The Fly (1986)
  • Frankenstein (1931)
  • The Frighteners: Director’s Cut (1996)
  • From Here to Eternity (1953)
  • The Frozen Ghost (1945)
  • Futureworld (1976)
  • Gambit (2012)
  • Godzilla Raids Again (1955), aka Gojira no gyakushû
  • Godzilla vs. Kong (2021)
  • Going in Style (2017)
  • Going My Way (1944)
  • Good Boys (2019)
  • The Green Knight (2021)
  • Gremlins (1984)
  • The Guilty (2018), aka Den skyldige
  • La Haine (1995)
  • Happiest Season (2020)
  • Happy Death Day 2U (2019)
  • High Life (2018)
  • Holiday Affair (1949)
  • Home Sweet Home Alone (2021)
  • Hotel Reserve (1944)
  • Hotel Transylvania [3D] (2012)
  • The Hound of the Baskervilles (1959)
  • The Hound of the Baskervilles (1978)
  • The House of Fear (1939)
  • I Care a Lot (2020)
  • The Invisible Man (1933)
  • Isn’t It Romantic (2019)
  • Jerry Maguire (1996)
  • Jesus Shows You the Way to the Highway (2019)
  • Jingle All the Way (1996)
  • Joint Security Area (2000), aka Gongdong gyeongbi guyeok JSA
  • Jungle Cruise (2021)
  • The Kid Detective (2020)
  • Kind Hearts and Coronets (1949)
  • The King (2019)
  • King Kong vs. Godzilla (1962), aka Kingu Kongu tai Gojira
  • King Kong vs. Godzilla (1963)
  • The Last of Sheila (1973)
  • Last Train to Christmas (2021)
  • The Last Warning (1928)
  • The Life and Death of Colonel Blimp (1943)
  • A Little Chaos (2014)
  • Love Affair (1939)
  • Make Way for Tomorrow (1937)
  • The Matrix Resurrections (2021)
  • Memory: The Origins of Alien (2019)
  • Midnight in Paris (2011)
  • Mission Control: The Unsung Heroes of Apollo (2017)
  • The Money Pit (1986)
  • Mortal Kombat (1995)
  • The Mummy (1932)
  • Murder by Decree (1979)
  • Murder in Three Acts (1986)
  • Muse: Simulation Theory (2020)
  • My Fair Lady (1964)
  • My Man Godfrey (1936)
  • The Mystery of a Hansom Cab (2012)
  • News of the World (2020)
  • No Time to Die (2021)
  • Nobody (2021)
  • Nomadland (2020)
  • Official Secrets (2019)
  • One Night in Miami… (2020)
  • Page Eight (2011)
  • Pather Panchali (1955)
  • Pillow of Death (1945)
  • The Pinchcliffe Grand Prix (1975), aka Flåklypa Grand Prix
  • Plan 9 from Outer Space (1959)
  • Primary Colors (1998)
  • The Prom (2020)
  • Psycho Goreman (2020)
  • The Quatermass Xperiment (1955)
  • Radioactive (2019)
  • Raffles (1939)
  • Rain Man (1988)
  • Red Notice (2021)
  • Resident Evil: Extinction (2007)
  • Rodan (1956), aka Sora no daikaijû Radon
  • Royal Wedding (1951), aka Wedding Bells
  • Salting the Battlefield (2014)
  • Sansho Dayu (1954), aka Sansho the Bailiff
  • Sátántangó (1994)
  • Search for Danger (1949)
  • The Secret Garden (2020)
  • Seven Chances (1925)
  • Shakespeare in Love (1998)
  • A Single Man (2009)
  • Six Minutes to Midnight (2020)
  • Sneakers (1992)
  • The Social Dilemma (2020)
  • The Son of Kong (1933)
  • Sonic the Hedgehog (2020)
  • Space Station [3D] (2002)
  • Spielberg (2017)
  • Spiral: From the Book of Saw (2021)
  • Spontaneous (2020)
  • Star Trek: The Motion Picture (1979)
  • Stowaway (2021)
  • Strange Confession (1945)
  • Strictly Ballroom (1992)
  • Stuart Little (1999)
  • A Study in Scarlet (1933)
  • Superman and the Mole-Men (1951)
  • Sylvia Scarlett (1935)
  • Taken 2 (2012)
  • The Talented Mr. Ripley (1999)
  • Tangerines (2013), aka Mandariinid
  • Tea with Mussolini (1999)
  • Terje Vigen (1917), aka A Man There Was
  • Testament of Youth (2014)
  • Thirteen at Dinner (1985)
  • Three Identical Strangers (2018)
  • Time After Time (1979)
  • The Time Traveler’s Wife (2009)
  • Tokyo Godfathers (2003), aka Tôkyô goddofâzâzu
  • Tower Heist (2011)
  • Truly Madly Deeply (1990)
  • Turks & Caicos (2014)
  • Twister (1996)
  • Under Siege (1992)
  • Vampyr (1932)
  • Vivacious Lady (1938)
  • Warning from Space (1956)
  • We Bought a Zoo (2011)
  • Weird Woman (1944)
  • When the Wind Blows (1986)
  • The White Tiger (2021)
  • Who? (1974)
  • Who’s Afraid of Virginia Woolf? (1966)
  • Wild Target (2010)
  • Willy Wonka & the Chocolate Factory (1971)
  • Wolf Warrior (2015), aka Zhan lang
  • WolfWalkers (2020)
  • Wuthering Heights (1939)
  • Xchange (2001)
  • You Only Live Once (1937)
  • Zack Snyder’s Justice League (2021)
  • Zatoichi’s Conspiracy (1973), aka Shin Zatôichi monogatari: Kasama no chimatsuri
  • Zu: Warriors from the Magic Mountain (1983), aka Shu Shan – Xin Shu shan jian ke
The 100 Films Guide To…
  • Meshes of the Afternoon (1943)
  • Scenes with Beans (1976), aka Babfilm
  • Sherlock Holmes Baffled (1900)
  • What! No Spinach? (1926)
10 Things I Hate About You

Barb & Star Go to Vista Del Mar

Black Widow

The Broadway Melody


Con Air

Daughters of Darkness

Drop Zone

Evangelion: 3.0+1.01


Godzilla Raids Again

La Haine

Hotel Transylvania in 3D

Jerry Maguire

The Last of Sheila

Make Way for Tomorrow

Mortal Kombat

No Time to Die

Flåklypa Grand Prix

Rain Man


Seven Chances

Space Station

Strange Confession

The Talented Mr. Ripley

Time After Time

Under Siege

Who’s Afraid of Virginia Woolf?

Zack Snyder’s Justice League

Star Trek II: The Wrath of Khan

Meshes of the Afternoon


My monthly TV columns came to an accidental halt in February (crikey, I hadn’t realised it was so long ago), but that means I still got in reviews of the following…

Things are in a slightly different order this year, for one reason or another. Normally next up would be the statistics, but I think before that it’ll be my most-read posts of 2021.

2020: The Full List

As I already revealed in my December monthly review, 2020 is the biggest year of 100 Films ever. That’s thanks to me watching 264 films I’d never seen before, a figure that just pips 2018’s 261. I didn’t quite reach my Rewatchathon goal of revisiting 50 films I’d seen before, but I finished up on a not-unrespectable 46. Combined, their total of 310 is slightly behind 2018’s equivalent 311; but I also watched a frankly extraordinary (by my standards) number of shorts this year — 65, enough to increase my shorts review list by over 76%.

More on all that in my annual statistics post, which is coming soon. For now, it’s time to look back over the year as a whole with these lovely long lists of all I watched. As well as films of all lengths, there are links to my monthly reviews (which contain all sorts of other goodies, donchaknow) and, further down, a list of my TV reviewing from the past year. To help you find what you’re looking for amongst all that, here’s a nice little set of contents links…

  • As It Happened — 2020’s monthly updates, with a chronological list of my viewing.
  • The List — an alphabetical list of every new film I watched in 2020; plus other stuff.
  • Television — an alphabetical list of every TV programme I reviewed in 2020.
  • Next Time — still to come: actual analysis of last year.

Below is a graphical representation of my 2020 viewing, month by month. Each of the images links to the relevant monthly review, which contain a chronological list of everything I watched this year. There’s also other exciting stuff in there, like my monthly Arbie awards and what I watched in my Rewatchathon.

I’ve often felt this section looks a bit unwieldy, so this year I’ve made it half the size. Any opinions on the change (or, indeed, anything else) are always welcome in the comment section.

And now, the main event…

An alphabetical list of all the new-to-me films I watched in 2020 (though some series are in chronological order within their alphabetisation). That’s followed by lists of other things I watched this year: alternate versions of films I’d already seen; rewatches I’ve marked out for ‘Guide To’ posts; and short films. Where a title is a link, it goes to my review; when there’s no link, it’s because I haven’t reviewed it yet (that’s probably self-evident…)

  • 127 Hours (2010)
  • 1917 (2019)
  • 3:10 to Yuma Hours (2007)
  • The 40 Year Old Virgin (2005)
  • 6 Underground (2019)
  • 7500 (2019)
  • 8½ (1963)
  • Ad Astra (2019)
  • The Adventures of Ichabod and Mr. Toad (1949)
  • Agatha and the Midnight Murders (2020)
  • Aladdin [3D] (2019)
  • All About Eve (1950)
  • All Is True (2018)
  • All Quiet on the Western Front (1930)
  • American Animals (2018)
  • The American President (1995)
  • An American Werewolf in London (1981)
  • Anand (1971)
  • Andrei Rublev (1966)
  • Aniara (2018)
  • The Armour of God (1986), aka Lung hing foo dai
  • The Assistant (2019)
  • August 32nd on Earth (1998), aka Un 32 août sur terre
  • Bad Boys for Life (2020)
  • Bait (2019)
  • Batman: Under the Red Hood (2010)
  • The Battle of Algiers (1966), aka La battaglia di Algeri
  • A Beautiful Day in the Neighborhood (2019)
  • Belladonna of Sadness (1973), aka Kanashimi no Belladonna
  • Bill & Ted’s Excellent Adventure (1989)
  • Bill & Ted’s Bogus Journey (1991)
  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)
  • Black Angel (1946)
  • Blind Fury (1989)
  • Blockers (2018)
  • Bloodshot (2020)
  • Booksmart (2019)
  • Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
  • Borat Subsequent Moviefilm (2020)
  • The Breakfast Club (1985)
  • Bridge to Terabithia (2007)
  • A Bug’s Life (1998)
  • Burning (2018), aka Beoning
  • Cairo Station (1958), aka Bab el hadid
  • Can You Ever Forgive Me? (2018)
  • Chariots of Fire (1981)
  • Chicken Run (2000)
  • The Children Act (2017)
  • The Christmas Chronicles: Part Two (2020)
  • Clueless (1995)
  • Coded Bias (2020)
  • Color Out of Space (2019)
  • Crawl (2019)
  • Crazy Rich Asians (2018)
  • Crooked House (2017)
  • Dangal (2016)
  • The Dead Don’t Die (2019)
  • Death to 2020 (2020)
  • Dial M for Murder [3D] (1954)
  • The Diamond Arm (1969), aka Brilliantovaya ruka
  • Dick Johnson is Dead (2020)
  • Do the Right Thing (1989)
  • A Dog’s Will (2000), aka O Auto da Compadecida
  • Dolemite Is My Name (2019)
  • Down with Love (2003)
  • Driving Miss Daisy (1989)
  • Dune: The Alternative Edition Redux (1984/2012)
  • E.T. the Extra-Terrestrial (1982)
  • Emma. (2020)
  • End of the Century (2019), aka Fin de siglo
  • Enola Holmes (2020)
  • Entrapment (1999)
  • The Equalizer 2 (2018)
  • Escape Room (2019)
  • Eurovision Song Contest: The Story of Fire Saga (2020)
  • Evil Under the Sun (1982)
  • Extraction (2020)
  • The Face of Fu Manchu (1965)
  • Falling (2020)
  • Fanny and Alexander (1982), aka Fanny och Alexander
  • Fast & Furious: Hobbs & Shaw (2019)
  • Film Stars Don’t Die in Liverpool (2017)
  • Fisherman’s Friends (2019)
  • For the Love of Spock (2016)
  • The French Connection (1971)
  • Fun & Fancy Free (1947)
  • The Gay Divorcee (1934)
  • Gemini Man (2019)
  • Godzilla: King of the Monsters [3D] (2019)
  • The Good Liar (2019)
  • The Goonies (1985)
  • Greyhound (2020)
  • Guinevere (1994)
  • Hamilton (2020)
  • Harakiri (1962), aka Seppuku
  • He Dreams of Giants (2019)
  • The Head Hunter (2018)
  • Hotel Artemis (2018)
  • Der Hund von Baskerville (1914), aka The Hound of the Baskervilles
  • Hunter Killer (2018)
  • Hustlers (2019)
  • I Am a Fugitive from a Chain Gang (1932)
  • Ice Age: Dawn of the Dinosaurs [3D] (2009)
  • Ice Age: Continental Drift [3D] (2012)
  • Ikiru (1952), aka Living
  • An Impossible Project (2020)
  • In the Mood for Love (2000)
  • Influence (2020)
  • Intolerable Cruelty (2003)
  • The Invisible Guest (2016), aka Contratiempo
  • The Invisible Man (2020)
  • The Ipcress File (1965)
  • It Chapter Two (2019)
  • Jingle Jangle: A Christmas Journey (2020)
  • Johnny English Strikes Again (2018)
  • Joker (2019)
  • Judgment at Nuremberg (1961)
  • Jumanji: The Next Level (2019)
  • K-19: The Widowmaker (2002)
  • The Karate Kid Part II (1986)
  • The Karate Kid Part III (1989)
  • The Kid (1921/1972)
  • Klaus (2019)
  • Knives Out (2019)
  • Lady Bird (2017)
  • The Lady Vanishes (1938)
  • Lancelot du Lac (1974), aka Lancelot of the Lake
  • Laputa: Castle in the Sky (1986), aka Tenkû no shiro Rapyuta
  • The Last Black Man in San Francisco (2019)
  • Last Chance Harvey (2008)
  • Late Night (2018)
  • Le Mans ’66 (2019), aka Ford v Ferrari
  • The LEGO Movie 2: The Second Part [3D] (2019)
  • The Lie (2018)
  • The Lighthouse (2019)
  • Little Women (2019)
  • Long Day’s Journey Into Night [3D] (2018), aka Di Qiu Zui Hou De Ye Wan
  • Look, Up in the Sky! The Amazing Story of Superman (2006)
  • The Looking Glass War (1970)
  • Lost in La Mancha (2002)
  • Love on a Leash (2011)
  • Lovers Rock (2020), aka Small Axe: Lovers Rock
  • The Lunchbox (2013)
  • Luxor (2020)
  • The Mad Magician [3D] (1954)
  • Maelström (2000)
  • Make Mine Music (1946)
  • Mamma Mia! Here We Go Again (2018)
  • A Man for All Seasons (1966)
  • Man on Wire (2008)
  • The Man Who Killed Don Quixote (2018)
  • The Man Who Laughs (1928)
  • The Man Who Shot Liberty Valance (1962)
  • The Man Who Sleeps (1974), aka Un homme qui dort
  • Mangrove (2020), aka Small Axe: Mangrove
  • Marriage Story (2019)
  • Mary Poppins Returns (2018)
  • The Mask of Fu Manchu (1932)
  • Melody Time (1948)
  • Men in Black: International (2019)
  • Millennium Actress (2001), aka Sennen joyû
  • Minions [3D] (2015)
  • Misbehaviour (2020)
  • Misery (1990)
  • Miss Fisher and the Crypt of Tears (2020)
  • Missing Link (2019)
  • The Mole Agent (2020)
  • Monty Python’s The Meaning of Life (1983)
  • Mr. Blandings Builds His Dream House (1948)
  • Much Ado About Nothing (2012)
  • My Favourite Wife (1940)
  • My Mexican Bretzel (2019)
  • The Mystery of the Rocks of Kador (1912), aka Le mystère des roches de Kador
  • Near Dark (1987)
  • Never Rarely Sometimes Always (2020)
  • Never Surrender: A Galaxy Quest Documentary (2019)
  • Never Too Young to Die (1986)
  • The Next Karate Kid (1994)
  • The Nightingale (2018)
  • The Old Dark House (1932)
  • The Old Guard (2020)
  • One Cut of the Dead (2017), aka Kamera wo tomeruna!
  • Ordet (1955), aka The Word
  • Out of Africa (1985)
  • Palm Springs (2020)
  • Parasite (2019), aka Gisaengchung
  • Paris When It Sizzles (1964)
  • Patrick (2019), aka De Patrick
  • The Peanut Butter Falcon (2019)
  • Pearl Harbor (2001)
  • Phase IV (1974)
  • Philomena (2013)
  • The Platform (2019), aka El hoyo
  • Polytechnique (2009)
  • Power of Grayskull: The Definitive History of He-Man and the Masters of the Universe (2017)
  • Puzzle (2018)
  • Quartet (2012)
  • Rambo: Last Blood (2019)
  • Rang De Basanti (2006)
  • Ready or Not (2019)
  • Red Joan (2018)
  • The Rhythm Section (2020)
  • RoboCop 3 (1993)
  • Robolove (2019)
  • Rocketman (2019)
  • Rose Plays Julie (2019)
  • Safety Last! (1923)
  • Scooby-Doo 2: Monsters Unleashed (2004)
  • Scooby-Doo! & Batman: The Brave and the Bold (2018)
  • The Scorpion King (2002)
  • The Secret Life of Pets 2 [3D] (2019)
  • Shadowlands (1993)
  • A Shaun the Sheep Movie: Farmageddon (2019)
  • Shazam! [3D] (2019)
  • The Sheik (1921)
  • Shoplifters (2018), aka Manbiki kazoku
  • The Show Must Go On: The Queen + Adam Lambert Story (2019)
  • Showman: The Life of John Nathan-Turner (2019)
  • Showrunners (2014), aka Showrunners: The Art of Running a TV Show
  • The Sky’s the Limit (1943)
  • So Dark the Night (1946)
  • Some Beasts (2019), aka Algunas Bestias
  • The Son of the Sheik (1926)
  • Soul (2020)
  • Spaceship Earth (2020)
  • Spider-Man: Far from Home [3D] (2019)
  • Split Second (1992)
  • A Star Is Born (2018)
  • Stop Making Sense (1984)
  • Stuber (2019)
  • Superman IV: The Quest for Peace (1987)
  • Tag (2018)
  • Tenet (2020)
  • Terminator: Dark Fate (2019)
  • The Thin Red Line (1998)
  • The Three Caballeros (1944)
  • Tim’s Vermeer (2013)
  • Tolkien (2019)
  • Tomb Raider [3D] (2018)
  • Top Secret! (1984)
  • The Two Popes (2019)
  • Ugetsu Monogatari (1953)
  • Uncut Gems (2019)
  • Under the Skin (2013)
  • Us (2019)
  • Vampires Suck (2010)
  • The Vast of Night (2019)
  • Venom (2018)
  • Vice (2018)
  • The Viking Queen (1967)
  • Waking Ned (1998)
  • Waxworks (1924), aka Das Wachsfigurenkabinett
  • The Wedding Guest (2018)
  • Who Killed Captain Alex? (2010)
  • Without a Clue (1988)
  • The Wolf’s Call (2019), aka Le chant du loup
  • Won’t You Be My Neighbor? (2018)
  • Yes, God, Yes (2019)
  • Yesterday (2019)
  • You Will Die at Twenty (2019)
  • Zatoichi in Desperation (1972), aka Shin Zatôichi monogatari: Oreta tsue
  • Zero Charisma (2013)
  • Zombieland: Double Tap (2019)
Alternate Versions
The 100 Films Guide To…
  • Adnan (2020)
  • Alan, the Infinite (2020)
  • Anoraks (2020)
  • Appreciation (2019)
  • Befriend to Defend (2019)
  • Blue Passport (2020)
  • Booklovers (2020)
  • Chumbak (2019)
  • Clean (2020)
  • Closed Until Further Notice (2020)
  • The Crimson Permanent Assurance (1983)
  • The Dancing Pig (1907), aka Le cochon danseur
  • David Lynch Cooks Quinoa (2007)
  • The Day of the Coyote (2020)
  • DC Showcase: Jonah Hex (2010)
  • Destructors (2020)
  • The Devil’s Harmony (2019)
  • Embedded (2020)
  • The Escape (2016)
  • Flush Lou (2020)
  • Frankenstein (1910)
  • Frayed Edges (2020)
  • The Fruit Fix (2020)
  • Fuel (2020)
  • Guardians of Ua Huka (2020)
  • Hold (2020)
  • Home (2020)
  • Interstice (2019), aka Mellanrum
  • Keratin (2020)
  • The Last Video Store (2020)
  • Life in Brighton: An Artist’s Perspective (2020)
  • Man-Spider (2019)
  • A Map of the World (2020)
  • The Monkeys on Our Backs (2020)
  • My Dad’s Name Was Huw. He Was an Alchoholic Poet. (2019)
  • My Life, My Voice (2020)
  • Nelly (2020)
  • Nut Pops (2019)
  • One Piece of the Puzzle (2020)
  • Our Song (2020)
  • Pardon My Backfire [3D] (1953)
  • Peter’s To-Do List (2019)
  • Players (2020)
  • Quiescent (2018), aka Anvew
  • Quiet on Set (2020)
  • Reconnected (2020)
  • Shuttlecock (2019)
  • Siren (2020)
  • Slow Burn (2020)
  • So Far (2020)
  • Spooks! [3D] (1953)
  • A Spring in Endless Bloom (2020)
  • The Starey Bampire (2019)
  • Sticker (2019)
  • Stitch (2020)
  • The Stunt Double (2020)
  • Swivel (2020)
  • Talia (2020)
  • Time and Tide (2020)
  • Under the Full Moon (2020)
  • Water Baby (2019)
  • We Farmed a Lot of Acres (2020)
  • What Did Jack Do? (2017)
  • The Wick (2020)
  • Window (2019)

The Adventures of Ichabod and Mr. Toad



Bill & Ted’s Bogus Journey

Borat Subsequent Moviefilm

Chicken Run

Crazy Rich Asians

Do the Right Thing

Enola Holmes

The Face of Fu Manchu

Fanny and Alexander



Ice Age: Dawn of the Dinosaurs

The Invisible Man

The Karate Kid Part II

The Lady Vanishes

The Lighthouse

Lost in La Mancha

The Lunchbox

Small Axe: Mangrove

Millennium Actress

Monty Python’s The Meaning of Life

Never Rarely Sometimes Always



Rambo: Last Blood

RoboCop 3



The Son of the Sheik

Split Second

Tomb Raider

Under the Skin

The Wedding Guest

Zatoichi in Desperation

Zero Charisma

The Avengers

Alan the Infinite

The Crimson Permanent Assurance

The Escape

Interstice, aka Mellanrum

My Life, My Voice

Pardon My Backfire


The Stunt Double

What Did Jack Do?


As well as all those films, I also covered many TV programmes in my monthly(-ish) review columns. Just listing those individual posts would be meaningless, so instead here’s an alphabetical breakdown of what I covered, each with appropriate link(s).

Get ready for the best bit of the entire year: it’s the statistics!

The IMDb New Filmmaker Award 2020

Last night on AMPLIFY!, FilmBath presented the 9th annual IMDb New Filmmaker Award, in which a trio of industry judges choose the best short film by a new filmmaker (clue’s in the name). The winner gets £1,000 cash, £1,000 in gear hire for their next project, a natty trophy, and an IMDb pin badge (normally only given to IMDb employees). If you missed the evening, never fear: the whole 90-minute event is available to rewatch for free, worldwide, here.

Why would you watch an awards show after it’s happened? Well, in this case, you get to hear the judges’ musings on what makes a good film — and when those judges are BAFTA-nominated director Coky Giedroyc (The Virgin Queen, How to Build a Girl), Oscar-nominated and BAFTA-winning producer Amanda Posey (An Education, Brooklyn), and the CEO of IMDb, Col Needham, those are opinions worth listening to. Even better, you get to watch the five nominated shorts in full, and they’re good a bunch.

But don’t just take my word for it: take my, er, word for it, in the form of these reviews…

If you do intend to watch the awards, fair warning: I’m going to ‘spoil’ who won.

Under the Full Moon

Taking the films in the order they were shown, first up is Under the Full Moon (2020, Ziyang Liu, UK, English, 9 mins, ★★★★☆), about a guy who has his phone pickpocketed and decides to confront the mugger. The most noteworthy aspect here is the whole short is achieved in a single unbroken eight-minute take. I love stuff done in single long takes; at this point it’s a bit of a cliché to enjoy such things — a real film nerd kind of obsession — but, sod it, it’s still cool. To do a thriller storyline like that — something which requires management of tension and suspense, and of information being revealed at the right time in the right way — is even more impressive. You might say, “well, that’s what theatre is — a drama performed in ‘one take’”, but theatre doesn’t have to factor in camerawork; making sure we’re seeing the right stuff at the right time, framed in the right ways. Under the Full Moon manages every different element almost perfectly, the only real flaw coming right near the end, when the camera fails to clearly capture a phone screen with an incoming call, so the director resorts to a subtitle to make sure we get this final ironic twist. And that’s the other thing: this isn’t just a technical stunt, or an exercise in escalating suspense, but a dramatic work with some neatly-drawn character parts and a sense of dramatic irony. Really strong work.

The winner (told you I’d spoil it) was Flush Lou (2020, Madison Leonard, USA, English, 9 mins, ★★★★★), and I entirely agree. It’s a black comedy about the reaction of three women to the death of a man: his daughter (who narrates), his wife, and his mother. It’s got a quirkiness that could be inappropriate, but the tone is juggled just right that it remains hilarious rather than at all distasteful. It’s there in the performances, the shot choices, the editing — the piece really works as a whole to hit precisely the right note. It might call to mind the work of someone like Wes Anderson, but it’s far from a rip-off; it also reminded me of certain just-off-reality American-suburbia-skewering TV shows, like The Riches or Suburgatory (I’m sure there are some more mainstream examples that are eluding my reach right now). Also, it manages to pack eight chapters into its eight minutes, without ever feeling like that’s an unnecessary affectation; if anything, it helps clarify the structure, which is exactly the kind of thing chapters are good for. A huge success all round.

Flush Lou

At the other end of the seriousness spectrum was the winner of the audience vote, The Monkeys on Our Backs (2020, Hunter Williams, New Zealand, English, 8 mins, ★★★★★), a documentary about the mental health of farmers in New Zealand. I think we often have a very positive view of New Zealand — they seem like nice people; their government is doing awesomely well; they make great movies; they’re good at rugby; and so on. But the country has one of the highest suicide rates in the developed world, and mental health problems disproportionately affect those living and working in isolated rural communities. This is not only a succinct explanation of the problems, with real-life examples as well as expert opinions, but also talks about the solutions, what help is out there and how it’s working. Plus it’s a beautifully shot film (some outtakes in black & white at the beginning show the fundamental quality underlying the colour photography in the rest of the film), with lovely views of countryside life, as if to help remind you that the world is a wonderful place. A wholly different film to Flush Lou, but an equally deserving winner.

The shortest of this year’s five is Players (2020, Ava Bounds, UK, English, 3 mins, ★★★★☆), but that’s not the most noteworthy thing about it. This is: it was made by a 14-year-old. But you’d never guess, because it has a competency and, more strikingly, a surrealism that belies someone much more experienced. Heck, the sound design most reminded me of David Lynch! And the comparison goes beyond the sound work, with an ending that calls to mind some of Lynch’s work where nature and technology clash. Subtitled “a clearly confused film”, I think that was somewhat how the judges felt about its mix of retro costumes and music, computer-generated vocals, and a sci-fi sting in the tail. It’s the kind of film that clearly doesn’t work for everyone — just another way it’s a natural successor to Lynch, then. A 14-year-old making a competition-worthy short film is incredible in itself, but that it also merits so many comparisons to David fucking Lynch? Remarkable.

The Monkeys on Our Backs

The final film was Home (2020, Hsieh Meng Han, UK, English, 10 mins, ★★★☆☆), in which a girl living with her mother in a single room in a dingy apartment block finds the communal toilet locked, but then hears music coming from a nearby ventilation grill. Climbing through, she finds herself in a brightly-lit world of opulence, with people in elegant clothes dancing to genteel music, and an array of luscious food on offer. She even makes a friend. But then uptight officiousness arrives in the form of a stuffy manager, who refuses to let her use the toilet. It’s like a modern socially-conscious take on Alice in Wonderland, though I’m not sure what point it was ultimately making — kindness is nice and everyone deserves to be allowed to use the toilet?

If any of that tickles your fancy, don’t forget you can still watch the whole event, free, here.

Disclosure: I’m working for AMPLIFY! as part of FilmBath. However, all opinions are my own, and I benefit in no way (financial or otherwise) from you following the links in this post or making purchases.

The Festive Monthly Review of November 2019

Regular readers will no doubt have cottoned on to the fact this year has been rather turbulent in my life away from the blogosphere — nothing terrible or tragic, thank goodness, but time- and attention-consuming nonetheless. Well, it’s hopefully the (beginning of the) end for that now, as November ends and December begins with me finally moving into a new permanent home.

I know people have “moving day”, but geez, it’s a process, isn’t it? One I’m in the middle of — and has affected my blogging once again at the end of November, as I missed another TV review (which would’ve covered the likes of His Dark Materials, Watchmen, The Mandalorian (even though I’m in the UK), and the BBC’s long-awaited take on War of the Worlds), and didn’t post reviews of major new releases like The Irishman and The Report (both of which I’ve seen, neither of which I’ve had time to write about in full).

My film viewing has suffered once again as well. I’m way behind on both Blindspot and WDYMYHS, not to mention various new releases — not only on the big screen but also stuff I missed earlier in the year that’s now on disc / streaming.

On the bright side, earlier in November was the 2019 FilmBath Festival, and that’s almost single-handedly responsible for this being my highest-totalling month since the summer.

But I’m getting ahead of myself slightly. Here are the films I watched last month…

#135 The Report (2019)
#136 The Personal History of David Copperfield (2019)
#137 Portrait of a Lady on Fire (2019), aka Portrait de la jeune fille en feu
#138 Little Monsters (2019)
#139 Harriet (2019)
#140 La Belle Époque (2019)
#140a My Theatre (2019)
#141 Filmfarsi (2019)
#141a Terra (2019)
#141b Spooning (2019)
#142 And Then We Danced (2019)
#142a Woman in Stall (2018)
#143 Judy & Punch (2019)
#144 Making Waves: The Art of Cinematic Sound (2019)
#145 Jojo Rabbit (2019)
#145a Hey You (2019)
#145b Gladiators on Wheels (2019)
#145c Tight Spot (2018)
#145d When Voices Unite (2017)
#145e Facing It (2018)
#146 The Irishman (2019)

  • So, I watched 12 new feature films in November.
  • I also watched 9 short films, which is more than I’ve seen in entire years before now.
  • The latter were all thanks to FilmBath Festival, as were 92% of the features — as I said at the start, it almost single-handedly rescued this month from being another disappointment.
  • Talking of disappointment, I didn’t watch any of last month’s “failures” either.
  • Comparisons of averages are hardly “not disappointing”, but they’re also not a total disaster. 12 is above the November average (previously 10.3, now 10.4), though it is slightly below the average for 2019 to date, which even with all those ‘bad’ months was still 13.4. It’s now 13.3, and the rolling average of the last 12 months also comes down to the same (it was previously 14.4).
  • One final positive worth mentioning: I passed #137 this month, which puts 2019 into my top five highest-totalling years. So much for all those “terrible” months, eh? Getting any higher than 5th place is unlikely, because for that I’d have to watch 29 films in December… but I have watched more than that in a single month on a handful of previous occasions — so, literally speaking, it’s not impossible.

The 54th Monthly Arbitrary Awards

Favourite Film of the Month
It’s a closely-fought field this month, with about four 5-star films and a couple of highly likeable 4-star-ers too. For the surprise factor — because I hoped I’d like it but ended up absolutely loving it — I’m going to give this to La Belle Époque, but I fully expect a certain other French film to end up above it in my end-of-year rankings.

Least Favourite Film of the Month
I hate to dunk on what’s probably the smallest, most obscure, least-likely-to-get-seen-anyway (feature) film I saw this month, but I’m afraid to say this has to be Filmfarsi. It’s not that I thought it was bad, just a bit rough around the edges, for various reasons. But if its subject sounds interesting to you, I’d still encourage you to see it if you can.

Favourite Short Film of the Month
Last month I watched so many short films that I gave them a category. This month I watched almost twice as many, so it’s back. There are several great ones among the nine I watched, but for being an incredibly impressive technical achievement — all in aid of conveying real emotions and experiences, not showing off for the sake of it — my pick is Facing It.

Best Film Festival of the Month
Okay, I only attended one film festival this month, and I may be a little biased, but FilmBath was a great experience — a nice atmosphere and I saw some fantastic films.

The Audience Award for Most-Viewed New Post of the Month
Two posts were closely vying for this award in November, but in the end… it was a tie! I’m not sure I’ve ever had a tie in this category before. (There are 53 previous editions of these awards and I can’t be bothered to check them all right now, sorry.) So the joint winners were my coverage of FilmBath Festival’s opening night and my review of Judy & Punch. (If you really wanted to break the tie, the latter was online for 8 days vs the former’s 23, so therefore amassed a higher average of views per day.)

We begin this month with a Rewatchathon first: a rewatched short.

#24a Pleased to Eat You! (2019)
#25 What We Did on Our Holiday (2014)
#26 Easy Virtue (2008)

I first saw Pleased to Eat You last month as part of the prep for FilmBath Festival, then saw it again before the screening of Little Monsters. It merits revisiting, though, because it’s such great fun.

As for the two features rewatched, they’re both movies I feel have been somewhat undervalued. My original reviews of both are linked above, as always. Sometimes I re-read old reviews and am pleasantly surprised by the quality of my own writing (which sounds rather smug and self-gratifying, but I’m talking about very old reviews re-read with some distance, not going back over something I just wrote, which I think makes it different). Sometimes, however, I’m less impressed (which hopefully shows I’m not simply uncritical of my own work). Unfortunately, my review of Easy Virtue from 2011 is one of the underwhelming ones. I stand by its sentiment, but I don’t think I expressed that sentiment very well.

My piece about What We Did on Our Holiday is better, though still not totally clear. I also think it’s a film that improves with rewatching — any faults fade into the background behind the bits that are hilarious, heartfelt, humanist, and sometimes quite beautiful.

Unsurprisingly, there’s plenty to mention here — more than normal, in fact. I say that because there are usually three or four cinema releases I name, but November brought loads. From high-profile releases such as Frozen II, Knives Out, Last Christmas, and Le Mans ’66 (that’s Ford v Ferrari to some of you); to films that were surprises, either because they were hits, or flopped, or provoked controversy, or just seemed to come out of nowhere, like Midway, The Good Liar, Charlie’s Angels, and Blue Story (you can match up which of those is which); to smaller releases of note, like The Nightingale (the new one from Jennifer “The Babadook” Kent) and Greener Grass; to ones that probably fit into one or more of those other categories, though I’m not sure which, like The Aeronauts and 21 Bridges. Sure, some of those are films I never would’ve made the effort to see in the cinema anyway, but they’re all ones I’ll look out for in the future nonetheless.

It was also an uncommonly productive month for Netflix — they release new series all the damn time nowadays, but it feels like their original films that are worthy of note congregate at the end of the year. As well as the obvious one (see #146) there was The King, Earthquake Bird, and Christmas movie Klaus (which I’ve saved for December, because duh). Talking of the incoming season, there were a bunch more tacky-looking Christmas originals, foremost among which is surely The Knight Before Christmas — a film where they definitely came up with the title first and worked backwards. It looks and sounds terrible, obviously, and yet there’s something about its reputed awfulness (and that marvellous pun) that’s tempting me to watch it… Back on the sensible end of the spectrum, festival winners like Atlantics and I Lost My Body also popped on in the last couple of days.

Also added in the past month was Dragon Ball Super: Broly. That’s a franchise that’s never otherwise interested me, but I’m tempted to see what all the fuss was about for this particular entry: it was the highest-grossing anime film of 2018 and one of the highest of all time, including in the UK, where it became the second highest-grossing anime ever (behind only Spirited Away) and an advance screening sold out in just 23 seconds. Is its success thanks to a dedicated fanbase and limited number of screenings, or is it actually something special? There’s one way to find out… Lastly on Netflix, not a film but a series about films: The Movies That Made Us, a spin-off from their successful series about toys that, as far as I can tell, basically trades in ’80s nostalgia. Of course, the making of movies is a lot better documented than the making of toys, so whether it has anything new to say about the likes of Die Hard or Ghostbusters seems doubtful.

Amazon didn’t have too many originals to offer — or perhaps any, besides one (see #135). But there were a few catalogue additions I want to see, like Magic Mike and Umberto D (not two films you’d normally see mentioned side-by-side…), and a few oddities that caught my eye, among them Tsui Hark’s directorial debut, Butterfly Murders, and Too Late, which is billed as “a sexy, smart noir detective thriller… told in non-linear fashion, in a series of five true long takes… with stunning 35mm cinematography.” They also say the latter is “a cinephile’s dream” and, yeah, it does sound a bit like that. They also have a bunch of reduced price rentals for Prime members, in which I recently hoovered up Missing Link, Booksmart, Brightburn, and Eighth Grade — now I’ve just got to make sure to make time for them before the rentals expire.

Finally, there’s the new stuff I bought on disc, like Apollo 11 in 4K, and in 3D Spider-Man: Far from Home, Aladdin, and Pokémon: Detective Pikachu (the latter two only thanks to sale prices). Then there were new catalogue releases, like Masters of Cinema editions of The African Queen and Der Golem, and Arrow’s release of RoboCop; a sale purchase of Candymen: Farewell to the Flesh (I enjoyed the first one a lot so figured this sequel was worth a punt); and the HD box set of Batman Beyond… which, for its UK release, replaced the Blu-ray disc of spin-off movie Return of the Joker with a censored DVD copy. WTF, Warner?

And all that without even dipping into any Black Friday deals! Which, actually, are mostly still ongoing. Hmm…

It’s been a very up and down kind of year here at 100 Films — will December end it on another higher, or in another dip? There’s only one place to find out: right here, in 31 days’ time.

(Unless I also mention it on Twitter.)

(Or Instagram.)

(Or Letterboxd.)

(So… yeah.)

Shorts of FilmBath Festival 2019

Across the 2019 FilmBath Festival programme, 46 short films were screened — 23 attached to feature films, 17 at a dedicated ‘Shorts Showcase’, and six at the IMDb New Filmmaker Award ceremony (five in competition, one the film made from the winning screenplay of the IMDb Script to Screen Award). I saw 14 of these, one way or another, and have compiled my reviews into this (commensurately long) post.

First, the five films that competed for the IMDb New Filmmaker Award.

Gladiators on Wheels

The winner chosen by the judges was Gladiators on Wheels (2019, Souvid Datta, UK & India, Hindi, 6 mins, ★★★★☆), a documentary about the ‘Well of Death’ — an attraction at Indian circuses where daredevils ride motorbikes and drive cars around 60ft vertical walls, literally defying gravity. It’s both impressive and terrifying, especially considering they’re doing it without any kind of safety gear — no helmets or padded suits here, never mind nets or something. But the film isn’t just about the actual act, also touching on the way of life, and how it’s fading. It’s a well-shot bit of filmmaking, especially impressive when you learn it was all filmed in a single day. The script was compiled from interviews with the drivers, then voiced by actors, but if anything it’s a little cliché — lots of talk of “living on the edge” and how dangerous it is but how they wouldn’t have it any other way, etc. Still, like many of the best documentaries, it’s a fascinating glimpse at another world.

The audience at the ceremony also got a say, favouring Hey You (2019, Jared Watmuff, UK, English, 5 mins, ★★★★★), which is about gay men hooking up via text messaging. At first it feels like a lightly comedic bit of fun, possibly with some drama in that one of the men is closeted, but then it develops into something more serious. It’s a very well made short, in particular the shot choices and editing at the climax, which combine to produce some incredibly striking imagery. It’s tricky to say why it’s such an effective and vital film without spoiling where it goes in that finale, but it’s a meaningful piece that’s worth seeing if you can. It would’ve been a worthy winner.

Facing It

The three other finalists were … Tight Spot (2018, Kevin Haefelin, USA & Switzerland, English, 4 mins, ★★★★☆), a comedy bit about a shoe shiner and a suspicious customer, which was amusing albeit a little predictable; although it did, again, look nice … When Voices Unite (2017, Lewis Coates, UK, English, 4 mins, ★★★☆☆), a mini tech thriller that was suitably tense in places, but really needed some kind of twist or final development to give it a reason to exist … and Facing It (2018, Sam Gainsborough, UK, 8 mins, ★★★★★), which presented an imaginative visualisation of a relatable social difficulty. Rendered in a mix of live-action and stop-motion animation, it’s by far the most technically impressive short here, but all in service of telling its story and conveying the requisite emotion. Another one that would’ve been a more than worthy winner.

(You can watch Gladiators on Wheels and When Voices Unite on Vimeo. Sadly the others aren’t publicly available, although there is a short making-of for Facing It which I recommend for appreciating the filmmaking skill on display there.)

Of the other shorts I saw, my favourite was definitely Pleased to Eat You! (2019, Adrian Hedgecock, UK, English, 7 mins, ★★★★★). It’s a beautifully designed and hilariously funny musical comedy short… about cannibalism! Its colourful and clever staging evokes the handmade movie-reality worlds seen in films by the likes of Michel Gondry or Charlie Kaufman, while the full-blown song-and-dance number is like the best of old-fashioned Hollywood musicals, albeit twinned with a pun-filled cheekiness in its subject matter. An absolute delight from beginning to end.

Pleased to Eat You!

If I were to rank all the other shorts too, I’d probably put Woman in Stall (2018, Dusty Mancinelli & Madeleine Sims-Fewer, Canada & UK, English, 10 mins, ★★★★☆) in second place. A very timely thriller, it sees a woman innocently enter a public bathroom cubicle to get changed, only for a man to turn up outside and start chatting, her wariness of him trapping her inside. Is he a predator she’s right to fear? Or is she just being paranoid? Part of the short’s cleverness lies in the way it plays with our emotions and expectations, swinging us back and forth into where our trust should lie. Working with a limited setting, it’s neatly shot — never dull, but without going OTT to try to jazz things up — and gets edge-of-your-seat tense as it goes on. Regular readers will know how much I love a “single location thriller”, and this is a perfect mini example of the form.

Quince: Fifteen (2018, Peiman Zekavat, UK & Peru, Spanish, 10 mins, ★★★★☆) is a real-time single-shot drama about a 15-year-old Peruvian schoolgirl whose carefree PE lesson turns into a tumult of life-upending dismay in just a few minutes following an unexpected discovery on social media. It’s another timely issue, and this is mostly a well-made short — I do love a single take, and the real-time aspect puts you in her shoes quite effectively. Unfortunately, it’s a bit inconclusive — it just stops, with no hint of how she’s going to deal with her new problem longer term, or what’s going to happen to her beyond a handful of initial reactions. It’s not bad as it is, but there’s also more to be told here.

Quince: Fifteen

On a snowy winter’s day, a postie makes his rounds on a London estate. Meanwhile, one woman anxiously awaits his arrival… With its brief running time, Special Delivery (2018, Robert Hackett, UK, 4 mins, ★★★★☆) almost feels like an extended edit of one of those soppy commercials the big retailers always put out at Christmas — you know, the ones that have just started to pop up on the telly. Nicely shot in 2.35:1, it evokes a Christmassy feel without being overtly festive, and manages to avoid becoming quite as saccharine as those adverts, instead earning the story’s sentimentality. A sweet little slice of romance.

Coming just behind those frontrunners would be Spooning (2019, Rebecca Applebaum, Canada, English, 6 mins, ★★★★☆), a one-woman-show of a mockumentary about a theatre actress who specialises in playing spoons. Not “playing the spoons”, like a musical instrument, but anthropomorphised spoons, like in Beauty and the Beast. It’s basically a comedy sketch as a short film, but it was largely funny so I don’t begrudge it that.

I’m six films deep into this loose ranking now, but that’s not to discredit Allan + Waspy (2019, James Miller, UK, English, 8 mins, ★★★★☆). It’s about two working class schoolboys who hang out in the woods on their way to school each day, observing a bird’s nest full of chicks hatching and maturing — but one of the lads clearly has problems at home, and it all takes a very dark turn. Initially it’s a likeable slice-of-modern-life tale, managing to find an element of old-fashioned bucolic childhood even in a modern inner-city setting, and unfurling at a gentle pace by mixing shots of the surrounding world into the boys’ activities. But then there’s a thoroughly glum ending. It kinda ruined my day, but I liked it as a film nonetheless.


A young Welsh girl runs off from her dad and encounters a talking gull who’s worried about his kids leaving home in animation Cumulus (2018, Ioan Holland, UK, English, 9 mins, ★★★☆☆). Naturally, they both learn something from each other. It’s always nice to see 2D animation nowadays, especially when it’s as prettily designed as this, though it’s a shame that some of the movement is a little stilted and animatic-y. It’s also a bit longer/slower than it needs to be, but it’s still mostly charming.

Perhaps the most disappointing short was My Theatre (2019, Kazuya Ashizawa, Japan, 5 mins, ★★★☆☆), a documentary about an 81-year-old in Fukushima who closed his cinema 55 years ago but keeps it alive as a kind of museum. That’s mainly what I gathered from reading blurbs before viewing, though, because the short itself lacks any real context or conclusion, just presenting vignettes of life in this rundown old movie house. It’s perfectly pleasant, but ultimately unenlightening. My Theatre is listed on other festivals’ websites as running 20 minutes, so perhaps the five-minute version submitted to FilmBath is just an excerpt — that’s certainly what it felt like. A longer edit, with more of a sense of why this is a place and person worth observing, would’ve been better.

Finally, Terra (2019, Daniel Fickle, USA, English, 6 mins, ★★☆☆☆), which received some very negative feedback from a few audience members who didn’t feel it was appropriate for the film it was screened before, Honeyland. That’s a documentary about a traditional European way of beekeeping on the wane, whereas Terra is ostensibly about the tumultuous romantic relationship between two young Americans. The clue is in the title, though: it’s a metaphor for humankind’s relationship with Earth. Personally, I thought the analogy was a bit on the nose, but it seems others missed it entirely. The photography is quite pretty, in a no-budget-indie-drama kinda way, but other than that I didn’t think there was much to it. Other members of the FilmBath team were more impressed, so I think it’s fair to say it’s a divisive little number.


As I said at the start, there were 46 shorts screened at the festival, so this is just a small sampling of what was on offer (less than a third, to be precise). Although I didn’t love them all, I did enjoy most — and considering they would have entirely passed me by were it not for the festival, I’ll definitely take the handful of letdowns as part of the parcel for getting the good stuff.

The Fluctuant Monthly Review of October 2019

October was very nearly my weakest month in almost a decade (9½ years, to be precise), saved from that fate at literally the last minute, as the story of what may very well be 100 Films’ most fluctuant year continues…

#130a Fifteen (2018), aka Quince
#130b Cumulus (2018)
#130c Pleased to Eat You! (2019)
#130d Special Delivery (2018)
#130e Allan + Waspy (2019)
#131 Teen Titans Go! vs Teen Titans (2019)
#132 The Twilight Saga: Breaking Dawn – Part Two (2012)
#133 For Sama (2019)
#134 The Fear of God: 25 Years of “The Exorcist” (1998)

  • So, I watched four new feature films in October.
  • It was very nearly just three, until I watched that Mark Kermode Exorcist documentary (which was freshly added to BBC iPlayer for Halloween) late last night. And whether or not that counts as a film is debatable. (The one on iPlayer is an extended cut that Kermode calls the “festival cut” because it was only shown at film festivals, which I think means it’s a film, so it counts.)
  • As I said at the start, you’d have to go back 9½ years, to April 2010, to find another month with so few films.
  • But for four you only have to go back to June this year. Nonetheless, that means October is tied as the lowest-totalling month of 2019 (for now…)
  • Unsurprisingly, it’s not even close to any of the usual array of averages I mention, and so it brings them all down — taking October’s average from 14.0 to 13.2; the average for 2019 to date from 14.4 to 13.4; and the rolling average of the last 12 months from 15.4 to 14.4.
  • The run of shorts I watched at the start of the month almost doubles that tally for the year. It was a FilmBath thing, which also means there’ll be more next month.
  • Neither a Blindspot nor a WDYMYHS film this month, which leaves me with quite a few to catch up (seven in total) with just two months of the year left.
  • From last month’s “failures” I watched only Teen Titans Go! To the Movies (see Rewatchathon).

The 53rd Monthly Arbitrary Awards

Favourite Film of the Month
A film that, frankly, I might’ve overlooked were it not for most of the rest of the FilmBath office talking about how great it was, Channel 4’s hard-hitting war documentary For Sama.

Least Favourite Film of the Month
This is an even easier choice: of course it’s Breaking Dawn: Part Two.

Favourite Short Film of the Month
Sorry to recommend this when I don’t think it’s freely available to see anywhere, but Pleased to Eat You! is bloody brilliant. Look out for it. (If you’re in the area, FilmBath are screening it before Little Monsters.)

Most Disappointing Non-Appearance of the Month
Not meaning to spoil anything (it’s kinda shown in the trailer anyway), but the storyline of Teen Titans Go! vs Teen Titans involves amassing different iterations of the Titans from across the multiverse… but that doesn’t include the cast of the live-action version, Titans. Okay, it might’ve been hard to integrate them with the animation, plus they’d’ve had to actually get the cast together, but it still seemed like a missed opportunity.

The Audience Award for Most-Viewed New Post of the Month
Even though I’ve been posting a lot less recently, my number of monthly hits has stayed within the same range — but, over the past few months, the number of unique visitors has started dropping a lot. This month, it dropped to its lowest level since June 2017. Well, fair enough. But what I find weird is that the ups and downs of both views & visitors have always been in sync before, so I don’t know why they’ve started separating. Anyway, this is meant to be about this month’s posts. Despite going up just 38 hours before October ended, the winner is this month’s TV column.

Things aren’t looking any rosier down here. I should be at #41 by now, but instead all I’ve got is this…

#24 Teen Titans Go! To the Movies (2018)

My brief review (linked above) possibly doesn’t do justice to my feelings about this movie (i.e. I love it!) I mean, I didn’t even mention the guest voice cast, which has some superb cameos. Partly that’s to do with not ruining gags and surprises, I guess. Still, I feel I could’ve and should’ve done better on that one. I did include it on my best-of-year list, at least.

No cinema trips this month, so I’ve missed a bunch of big releases, not least the super-discourse-provoking Joker; the third attempt at Terminator 3, Dark Fate; the inevitable flop Gemini Man (and it was showing in 3D HFR near me too, which I’m never likely to have a chance to see it in again); and the second Shaun the Sheep movie, Farmageddon.

More big-screen misses resurfaced on disc this week, namely X-Men: Dark Phoenix (in 4K) and Godzilla: King of the Monsters (in 3D). I also picked up a handful of Criterion titles in a Zoom sale (Do the Right Thing, The Magnificent Ambersons, Mishima: A Life in Four Chapters, and Panique); a selection of Asian movies (re)released by Arrow (Oldboy, with Sympathy for Mr Vengeance and Lady Vengeance) and Eureka (King Hu’s The Fate of Lee Khan and three films with Sammo Hung (Eastern Condors, The Magnificent Butcher, and The Iron-Fisted Monk); I finally managed to get a great deal on the Spider-Man Legacy 4K set (containing Sam Raimi’s trilogy and Marc Webb’s duology); and I ended the month with Arrow’s new release of An American Werewolf in London, which made me glad I never got round to upgrading from DVD to the previous BD. (Whew! That’s quite a lot, really, isn’t it?)

Finally, there were a few big name releases on streaming this month. Most discussed was probably Netflix’s Breaking Bad sequel, El Camino. Well, I’ve still not seen any of Breaking Bad, so it’ll be a long time before I watch that. Higher on my watch list are the new Steven Soderbergh, The Laundromat, and Eddie Murphy true-story comedy Dolemite is My Name, which looks like a lot of fun. There was also In the Tall Grass, which I’ve heard mixed things about. Amazon had no brand-new additions to equal that lineup, but I did spot a few archive adds of interest, including Robin Williams sci-fi thriller The Final Cut, arthouse classic La Dolce Vita, and Liam Neeson’s latest revenge thriller Cold Pursuit.

FilmBath Festival should guarantee a tally over ten films, as the rollercoaster of my 2019 monthly totals continues.

Blade Runner 2022-2048

You’ve probably heard that three short films have been released as part of the promotion for forthcoming sci-fi sequel Blade Runner 2049. More than just trailers, these shorts go some way to bridging the 30-year gap between 2049 and the original Blade Runner. They were released out of sequence over the past couple of months, but here they’re reviewed in chronological order.

Blade Runner: Black Out 2022

2017 #130a
Shinichirô Watanabe | 16 mins | streaming (HD) | 1.78:1 | USA / English

Black Out 2022

The first short is an anime directed by Shinichirô Watanabe, best known for Cowboy Bebop and, I guess, helming two of the Animatrix shorts. Set a couple of years after Blade Runner, it tells the story of some Replicant rights activists and their successful attack on LA, which will lead to a ban on Replicant production.

As a story it is, of course, background detail — presumably not essential enough to be included in 2049 proper, but filling in the backstory for fans. It’s the kind of thing you could read about in just a line but is more exciting dramatised. That said, with such a short running time there’s no space to grow attached to characters, so the ultimate effect on the viewer isn’t so different to just reading about the events depicted.

As a short animation, however, it’s a quality production. Animation allows it to do things a live-action short couldn’t — you’d need a blockbuster CGI budget to pull this off for real. It’s a good marriage of form and intent: in the context of a prequel short, it’d be pointless to do an anime of people sat in a room talking. It has a bit of needlessly fiddly story structure at the start (including one of my pet peeves: “two weeks earlier”), but mostly it puts its short running time to decent use. There are a couple of striking, effective images, alongside various nods to the original film — visually, a lot of tributes are paid. Plus, look for cameos by Edward James Olmos’ Gaff and Dave Bautista’s character from 2049.

It may be worth noting that it’s nothing like Cowboy Bebop, either. No surprise — Bebop‘s tone hardly fits the grim world of Blade Runner. If you wanted an anime comparison, it’s more like a Ghost in the Shell short — again, not so surprising given the source similarities.

Despite my complaints about its structure and ultimate purpose, this is probably the best of the three shorts.

4 out of 5

Watch Blade Runner: Black Out 2022 on YouTube here.

2036: Nexus Dawn

2017 #130a
Luke Scott | 7 mins | streaming (HD) | 2.40:1 | USA / English

2036: Nexus Dawn

2049 director Denis Villeneuve introduces each of the three shorts, explaining how he tapped filmmakers he respected to create these little tales. This one is by, to use Villeneuve’s word, his friend Luke Scott — director of Morgan and (most pertinently of all, I suspect) Ridley Scott’s son. We’re in live-action now, as entrepreneur Niander Wallace (Jared Leto) meets with some committee to convince them to re-legalise Replicant production.

It might seem odd, given their very different production styles, but this works well as a pair with 2022. It’s all in the story: the anime is about the final straw that banned Replicants; Nexus Dawn is about how they were brought back. Despite their short form, these films aren’t telling side stories, but revealing major points in Blade Runner‘s future history. There are also several direct references to the black out which further ties the shorts together. It might not be wholly clear in the anime itself, but that event was clearly world-changing. Perhaps that’s why 2022 was initially released last, to pay off the teasing references which feature in both live-action shorts.

For those seeking a tease for 2049, we get an indication of what Jared Leto’s performance will be like. I imagine those who find him inherently annoying will see nothing to challenge their preconception. For the rest of us, he’s okay. He suits the possibly-mad genius role, and thankfully keeps it understated. There’s also a supporting cast of names bigger you’d expect from just a prequel short (Doctor Strange‘s Benedict Wong, Peaky Blinders‘ Ned Dennehy), which I’m not sure adds a huge amount but perhaps indicates the esteem of the Blade Runner name.

Technically, the short itself is well shot — in both content and form, it could conceivably be a deleted scene from the main film. That’s both a blessing and a curse, I guess.

3 out of 5

Watch 2036: Nexus Dawn on YouTube here.

2048: Nowhere to Run

2017 #130a
Luke Scott | 6 mins | streaming (HD) | 2.40:1 | USA / English

2048: Nowhere to Run

The final short, again helmed by Scott the Younger, is set just the year before the new film. It introduces us to Dave Bautista’s character, a kindly but down-on-his-luck kinda guy who one day finds himself in a violent altercation that will clearly change his life.

Even more than Nexus Dawn, this feels like a deleted scene — I won’t be at all surprised if this leads directly into the events of 2049. As it’s not dramatising a turning point in history, it feels the most trailer-like of the three shorts. It’s still a little background narrative that’s (presumably) not to he found in the film proper, but it seems to be teasing where 2049 will begin rather than filling in important backstory blanks. Plus, an opening montage of clips from 2049 includes another reference to the black out, again suggesting that the anime is actually the most significant and worthwhile of the three shorts.

Bautista continues to be a surprisingly charismatic actor — even with very little to do here, and keeping it low-key, you warm to him. Perhaps that’s the point of this short: for us to like Sapper, and understand what he’s capable of and why, before his appearance in 2049. Perhaps it’ll even be deserving of a higher rating after seeing Villeneuve’s film. As a film, the side-street setting is probably not that much more logistically complex than Nexus Dawn‘s single room (aside from all the extras involved), but Scott makes it feel more expansive.

At first blush Nowhere to Run feels like the least essential of the three prequels, but we’ll see if that changes with hindsight after viewing 2049.

3 out of 5

Watch 2048: Nowhere to Run on YouTube here.

As a final thought, I’ll note that on Letterboxd I rated all three shorts 3.5 out of 5, and on IMDb gave them the equivalent 7 out of 10. Obviously I’ve separated them slightly here, with the anime getting 4 and the other two getting 3s, which would suggest an even finer gradation of marking (that I then rounded up/down). I don’t know if that’s really the case, but I think the reason why I settled on these differing scores is that the two live-action shorts feel like deleted scenes, while the anime feels like it’s expanding on something that would otherwise just be backstory. In other words, it depicts the most significant event in its own right.

Anyway, perhaps these scores will change after seeing 2049. Whether they do or don’t, all three shorts are essential viewing for fans, but probably inessential for the casual viewer — after all, if they really mattered, they’d be in the film.

Blade Runner 2049 is in cinemas tomorrow.

Deadpool: No Good Deed (2017)

2017 #32a
David Leitch | 4 mins | streaming (HD) | 2.35:1 | USA / English


Screened before Logan in the US but only available to us poor disadvantaged foreigners thanks to the magic of the interweb, No Good Deed could be regarded as nothing more than a teaser trailer were it not: (a) about four times longer than your average teaser, (b) almost certainly not actually part of the film it’s teasing, (c) listed on IMDb and so forth as a short film, and (d) a self-contained story that is, all things considered, pretty amusing.

If you were also unfortunate enough to have not had your screening of Logan graced by Deadpool’s irreverent goodness, enjoy:

4 out of 5

All being well, Deadpool 2 will be released on 2nd March 2018.

100 Films @ 10: Short Films

For the final in my series of ten top tens (yes, we’ve reached the end already / finally (delete as appropriate)), I’ve decided to take a look at one of the less-discussed aspects of the film world: shorts.

In the past ten years I’ve watched and reviewed just 51 short films, but as I’ve never ranked them before it seemed overdue that I create some kind of quality-sorted list. Here, then, are my ten favourite short films that I watched in the last decade.


Don’t worry, there’s no Adam Sandler in sight — this Pixels is the three-minute short that went down so well online someone bought the rights and turned it into a feature. A fun idea, it works better as a narrative-less couple of minutes than it did forced into the shape of a blockbuster.

Marvel One-Shot: Agent Carter

Easily the best of Marvel’s now-defunct series of short films, Agent Carter was so good — exciting, characterful, funny — that it was later expanded into a two-season TV series (which I still haven’t watched. Oops.)

Telling Lies

A simple idea, very well executed: as we listen to a series of phone conversations, the speakers’ dialogue appears on screen… except instead of transcribing their exact words, it reveals their true thoughts. At only a few minutes long Telling Lies doesn’t outstay its welcome, instead maintaining the basic idea well and crafting a neat and amusing little story with it.

Toy Story of Terror!

Having managed to beat the odds and create three great Toy Story movies, Pixar seemed foolish trying to extend it further as a franchise. Toy Story of Terror justifies that decision, however, with a story, style, and message that would’ve been strong enough to be a whole feature (with some expansions, of course) but plays equally well in just 20 minutes.

Wallace and Gromit in A Matter of Loaf and Death

As with #7, this was a seasonal special for old animated favourites that would’ve worked just as well (perhaps even better) expanded out to a full feature. A Matter of Loaf and Death is the first Wallace & Gromit film since the very first not to win an Oscar, but it’s every bit as good as its forebears — I can’t think of much higher praise than that.


The Pixar short that accompanied WALL-E, Presto is a perfectly-executed piece of near-silent slapstick tomfoolery. Surprisingly, this also lost out on an Oscar. Its director went on to co-direct last year’s Storks, which… didn’t go down so well.

The Lunch Date

Winner of the short Palme d’Or and an Oscar, The Lunch Date is a clever little tale with a well-disguised twist. I imagine if it was made today people would talk about its social relevance, which is a little depressing nearly 30 years on, but there you go. The first work by director Adam Davidson, he’s since gone on to helm episodes of shows like Six Feet Under, Lost, Deadwood, Dexter, Rome, True Blood, Fringe, Fear the Walking Dead, and many, many more.

The Present

As with most of the best shorts, The Present presents a simple but effective idea quickly and with a strong emotional hit. A cute tale of a boy and his dog, it also has a message about positivity and overcoming adversity. No Oscar here, but its director has since worked for Disney on Zootropolis and Moana, as well as on The Secret Life of Pets and Revolting Rhymes.


Another lovely short, also told economically and without dialogue, about a friendly little dog who helps out his owner. Yeah, I’m a sucker for cute dogs. But Oscar-winner Feast is also beautifully animated: nicely stylised and executed as essentially one long montage, proving again that exceptional filmmaking can create an emotional experience in the briefest of times.

Commentary! The Musical

Unlike the previous films on this list, it’s the very opposite of silent — it is, in many ways, all about sound. There’s also no big emotional hit and no sniff of awards recognition either. So why does Commentary! The Musical top my list? Because it so impressively made. It’s the commentary track on Dr. Horrible’s Sing-Along Blog, but rather than just the production team chatting about how they made the show, it’s sung through. And it’s not just a collection of new songs played over the original production — it’s frequently scene specific, sometimes even shot specific. It’s an incredible feat of writing and planning; not only that, but it’s hilariously funny too.

Tomorrow: birthday day.

The Present (2014)

2016 #114
Jacob Frey | 4 mins | streaming (HD) | 16:9 | Germany / English

The PresentA short film about a boy and his dog, The Present was a graduation short for the Institute of Animation, Visual Effects and Digital Postproduction at the Filmakademie Baden-Wuerttemberg in Ludwigsburg, Germany (yeah, I copy & pasted that), which has since won more than 50 awards after playing at film festivals around the world. Reportedly it also single-handedly landed its animator/director a job at Disney — he went on to work on Zootopiatropolis.

The simple story sees a videogame-obsessed boy given a mysterious box by his mother. Distracted long enough to open it, inside he finds a puppy, and… well, the film’s only four minutes long — you’re better off watching it than having me describe the story.

Regular readers will know I’m a bit of a sucker for cute dogs nowadays, be they real or animated — I gave Disney short Feast a full five stars last year. If you enjoyed that, then I’m certain you’ll like The Present too. There are other similarities: it’s about a guy bonding with his dog; it’s told in near-silence, with the big emotional reveals left for you to pick up through the pictures rather than explanatory dialogue; and it certainly tugs on the heartstrings to a similar degree.

In fact, I don’t think it’s going too far to say The Present may even be the better of the two — though it’s a close call.

5 out of 5

You can watch The Present free on Vimeo.

P.S. A dog is for life, not just for Christmas.