I guess I could begin this months’ failures with the same film as last time: The Batman. It was still in cinemas for most of the month, but I still didn’t work out my schedule to see it. It’s now on “home premiere”, but I’ll be damned if I’m going to pay £16 to watch it once when I’ve already preordered the 4K Blu-ray for £30-odd. So, that’s one that’ll be getting watched in June, then.
As for new releases at the cinema, there have been plenty worth a mention, but none that have actually dragged me out. Well, the likes of Sonic the Hedgehog 2 and The Bad Guys were never going to tempt me to spend cinema-level time and money, but I’m sure they’ll go on my watchlist once they hit a streamer I already pay for. Similar story with what looks like it’ll be the last of the Fantastic Beasts films (due to low box office), The Secrets of Dumbledore, although I’ll likely buy that one on disc to complete my collection. The nearest I’ve come to actually venturing out is Robert Eggers’ new one, The Northman, but obviously that didn’t happen either. There have also been strong notices for The Unbearable Weight of Massive Talent, which I was surprised to see screening at my local Odeon (I assumed it was an indie release that’d never make it near me). Other major releases that will go on the ‘some day’ watchlist included The Lost City (looks fun), Operation Mincemeat (should I watch The Man Who Never Was first?), and Downton Abbey: A New Era, I guess (I did watch the first movie, but haven’t seen the vast majority of the TV series, so how much do I care?)
Original movies premiering on Netflix included Judd Apatow’s COVID/making of Jurassic World 3 spoof The Bubble, which looked fun but didn’t review well so I’d forgotten about until now, and Richard Linklater’s autobiographical animation Apollo 10½: A Space Age Childhood. But it’s Amazon who have the one that’s most likely to actually find its way to the top of my viewing pile: All the Old Knives, a weirdly meaningless title that hides a grownup spy thriller starring Thandiwe Newton and Chris Pine, amongst others. On Disney+, kid-friendly musical Better Nate Than Ever caught my eye with some solid reviews, but the trailer looks like, well, a live-action Disney movie for kids. I think it might be a Bit Much for my taste.
MUBI again have the most noteworthy post-cinema streaming premiere, with Japanese Oscar winner Drive My Car. They had quite a bit to add to my watchlist this month, in fact, including The Souvenir: Part II (I’ve not seen Part I, but it’s coming back to MUBI tomorrow), Kumiko the Treasure Hunter, The Second Mother (a film that, frankly, I know nothing about, but is a staple of the middle of Letterboxd’s Top 250), The Turin Horse, and Showgirls. Yes, that Showgirls; though, based on its listed running time, I have concerns it might be cut. They’ve also got the documentary that delves into the film’s critical rehabilitation, You Don’t Nomi.
Comfortably in second for such things was Sky Cinema, whose headliners included Dune (which I’ve seen, of course, but still not reviewed) and Venom: Let There Be Carnage (which I already own on disc). More pertinently for me, then, was Sopranos prequel The Many Saints of Newark. I’ve not seen all of The Sopranos — not even close — so do I leave the movie until the theoretical future date when I’ve finally watched the TV series, or, as it’s a prequel, do I just go ahead and watch it anyway? (I don’t have an answer. Don’t worry, I don’t expect you to either, dear reader.) Also, The Boss Baby 2. I enjoyed the first more than I expected, so maybe I’ll watch the second.
I don’t think there was anything so new on iPlayer or All 4— I guess they’re hampered in such things by still essentially being TV catchup services — but that does make them more reliable for older stuff worth watching, some of which I’ve never otherwise heard of, like When Eight Bells Toll, a 1970s spy-fi action-thriller with Anthony Hopkins, which obviously sounds up my street. Also the documentary The Truffle Hunters, although reportedly the BBC version is cut for time. Shame.
I don’t think Netflix or Amazon had any catalogue titles in the same league as any of those. I noted down a bunch of stuff for each, but it’s mostly watchlist filler I won’t get round to, or stuff I already own on disc and really should’ve watched. The one exception is Snake Eyes — not the Brian De Palma / Nic Cage thriller, but the G.I. Joe prequel starring possible-next-Bond Henry Golding. It’s the kind of weightless action movie I’ll bung on of a lazy evening someday. Speaking of which, Amazon also (re)added White House Down, which I’d like to rewatch sometime purely because it was quite fun. Whenever I see it pop up on streaming, I add it to my list for a rewatch; yet I’ve never felt any compulsion whatsoever to buy it on disc, despite my huge disc collection being full of total blind buys. Weird.
And talking of blind buys, that’s what makes up the majority of my disc acquisitions this month. Well, I think it always does. Just one thing I bought this month is something I’ve watched before: the BFI’s 4K edition of The Proposition, a film I haven’t seen since the cinema but liked very much back then. That said, I did pick up Network’s bundle marking 50 years of The Persuaders, which included all eight of the films in HD — except the films were edited together from TV episodes, all of which I’ve seen, so… Also in the TV/film grey area (in that it was definitely a TV programme, but it was a one-off feature-length production, so do we count it as a TV movie nowadays or something?) is the BBC’s 1950s production of Nineteen Eighty-Four, which finally made it to disc from the BFI, years after they first tried to release it (I can’t remember when that was, but it was only scheduled for DVD back then).
In the realm of things that are 100% definitely movies, the new Scream (that’d be the fifth Scream movie, sadly missing the opportunity to be called 5cream) is the only brand-new film entering my collection this month. Other new releases were catalogue titles, like Kino’s 4K release of In the Heat of the Night, which comes bundled with its two sequels on regular Blu-ray (did you know it had two sequels? I didn’t); or classic martial arts action from Eureka in the form of Yuen Woo-ping’s Dreadnaught and Sammo Hung’s Knockabout; or the grab-bag release Three Monster Tales of Sci-Fi Terror, featuring a trio of lesser-known entries from Universal’s cycle of horror movies in the ’40s and ’50s. And speaking of horror, that may be what Arrow is best known for releasing, but the only titles I bought from them this month were Rogue Cops and Racketeers, a small box set featuring a duo of poliziotteschi (crime/action films made in Italy in the ’70s), and 1990 neo-noir crime thriller King of New York, on sale in 4K.
Finally for this month, Indicator had one of their rare sales, which I used to pick up a mixed bag of titles that were on offer and also recent releases I hadn’t yet bought. In the latter camp were early Mexican horror The Phantom of the Monastery and P.D. James adaptation An Unsuitable Job for a Woman, while the former included The Gorgon (originally from the first volume of their Hammer box set series), neo-noir erotic thriller Jagged Edge, and their lavish edition of a Peter Cushing flick I’d never heard of, Corruption. Based on the fact the limited edition hasn’t sold out, even after being subjected to massive price cuts (I paid just £10.99), I guess a lot of other people hadn’t heard of it either. What inspired Indicator to give it the box set treatment, I don’t know.