TV

The Oscars: Greatest Shocks, Frocks and Fairytales

Room 101
7x04 Episode 4
[Watch it (again) on iPlayer.]

Films

In & Out (1997)
[#39 in 100 Films in a Year 2018]

Jack Reacher: Never Go Back (2016)
[#38 in 100 Films in a Year 2018]

this week on 100 Films

A new month began in the middle of the past week, so it was time for 100 Films in a Year to look back over February...





There were also 5 brand-new reviews published this week...


La La Land (2016)

Yes, I am very, very, exceptionally late to the party here. For example: whenever I watch a film I log it on Letterboxd, then have a scan through the ratings my ‘friends’ have given it, whether that’s just one other person or a few dozen. This had by far the highest number of ‘friends’ who’d already seen it that I’ve ever encountered. And it was on Letterboxd that I first encountered La La Land, in fact, when it started screening at festivals in the latter half of 2016 and everyone was raving about it. It was a must-see long before the Oscar buzz started to build, and obviously that only intensified the film’s reputation. It’s a lot of anticipation to heap upon one movie. Fortunately, La La Land can bear it.

Read more here.


The Love Punch (2013)

if you like any (or all) of Brosnan, Thompson, Imrie, and Spall, as well as the idea of a bit of gently-farcical gadding about in the south of France, then The Love Punch is amiable fluff to while away 90 minutes on a Sunday.

Read more here.


Making of the Living Dead

To mark the UK release of Criterion’s remastered, definitive Blu-ray edition of George A. Romero’s seminal subgenre-starting zombie classic Night of the Living Dead, I finally got round to watching two related feature-length documentaries that, er, aren’t included on that release. Never mind, eh? Anyway, here are my thoughts on One for the Fire: The Legacy of "Night of the Living Dead" and Birth of the Living Dead.

Read the reviews here.


T2 Trainspotting (2017)

At one point during T2, a younger character accuses some of the returning characters of living in the past; that it’s all they talk about. It’s true of the characters, and it’s kinda true of the film itself too: this belated sequel to the era-defining original feels try-hard, like it wants to recapture the verve and inventiveness of its predecessor, but everyone’s now too grown up to do it properly.

Read more here.


More next Sunday.