At one point this month, I really thought I was going to, finally, for the first time since November last year, hit my ten first-time watches minimum goal. And then life and stuff happened again and I didn’t.
The average number of Challenge-qualifying films I need to watch each month for the rest of the year now sits at 12.4. The average number I’ve watched each month so far this year is 5.4. Not promising… but 12.4 is not beyond the realms of what I’ve managed in the past… although the last time I had a month above 12 was December 2024, and the last five-month stretch that averaged above 12.4 was in 2021…
But you never know.
This month’s viewing towards my yearly challenge
#31 Wuthering Heights (2026) — New Film #3
#32 Enola Holmes 3 (2026) — New Film #4
#33 Lawless (2012) — Wildcard #6
#34 The Sheep Detectives (2026) — New Film #5
#35 Bodies Bodies Bodies (2022) — Failure #7
#36 Joyride (2022) — Wildcard #7
#37 The Odyssey (2026) — New Film #6
#38 Project Hail Mary (2026) — New Film #7
- I watched eight feature films I’d never seen before in July.
- All of them counted towards my 100 Films in a Year Challenge.
- Five of them were films that had their UK release this year, taking my New Films category from “barely started” to “up-to-date” in one fell swoop.
- Neither Blindspot nor WDYMYHS were progressed this month, unfortunately.
- From last month’s “failures” I watched Bodies Bodies Bodies and The Sheep Detectives.
The 134th Monthly Arbitrary Awards
Favourite Film of the Month
Sometimes I feel like so much of what I watch these days is middling — as I’ve discussed before, I don’t know if I’ve just become a harsher critic as I’ve got older (I guess gaining experience will do that to you — fewer things feel unique) or if the quality of films I’m choosing to watch has declined — but every now and then something does come along and blows me away, and this month it was Project Hail Mary.
Least Favourite Film of the Month
Certified (inter)national treasure Olivia Colman shows off / labours under (deleted as applicable; I have no idea if it was good or not) an Irish accent throughout dramedy Joyride, which is… kinda fine? Some of it was funny, which rubbed a little awkwardly against when it got a bit Serious.
I’m gonna call it now: if August is the month that brings about a turnaround in my film viewing fortunes, I will be very surprised. I’m not going to do a Werner Herzog and commit to eating a shoe or something, but I’m pretty damn certain that in a month’s time I’ll be writing about a new high average that I need to hit for the rest of the year. In fact, it might finally reach the point of feeling insurmountable. We’ll see in 31 days.
Le Mépris establishes its two main themes with its two opening shots. First, a static shot of the film’s cinematographer, Raoul Coutard, filming a scene from the film, over which writer-director Jean-Luc Godard reads out the credits, which never appear on screen. This is a movie about moviemaking, and its inherent artifice. Second, a shot of Brigitte Bardot’s naked bottom. This is a movie about a man being in love with Bardot (well, the character she plays), and another man lusting after her, and what happens when the first man pats a different bottom. Maybe.
They go round in circles about staying together or being apart. The point? Your guess is as good as mine. Perhaps it’s the unknowableness of the other gender (whichever gender you are). Perhaps it’s just the unknowableness of other people fullstop. Perhaps it’s the unknowableness of our own emotions — eventually Bardot decides she does want to leave the playwright to run off with the producer, but no one seems to know why.
100Films.co.uk 