TV

Doctor Who
37x06 Demons of the Punjab
[Watch it (again) on iPlayer.]

Films

Bao 3D (2018)
[#233a in 100 Films in a Year 2018]

They Shall Not Grow Old (2018)
[#234 in 100 Films in a Year 2018]
[Watch it (again) on iPlayer.]

this week on 100 Films

5 brand-new reviews were published to 100 Films in a Year this week, and they were...


Bohemian Rhapsody (2018)

[There has been] a huge divide in the opinions of critics and audiences: whereas the former gave it a Rotten Tomatoes rating of just 55% when it released, audiences have driven it to be the #1 film at the worldwide box office and placed it on the IMDb Top 250 (at #126 as of writing). Well, there’s a scene in the film where Bohemian Rhapsody debuts on the radio, and as it plays the screen gradually fills with quotes from contemporary reviews, all of them mercilessly slagging it off — the irony, obviously, being that we all know what a ginormous hit the song would become. Some things never change, eh?

Read more here.


Darkest Hour (2017)

The Dunkirk connection was certainly played up in the film’s marketing (the trailers made it look like Dunkirk 2), but while that situation does have a significant role to play, it’s only part of what this film’s actually about. Which does actually make it quite a neat companion piece to Nolan’s movie: it expands on the political backdrop surrounding Dunkirk, placing those events in a wider context. In doing that, it presents a different perspective on familiar events.

Read more here.


Jurassic World: Fallen Kingdom (2018)

Fallen Kingdom is built on decent ideas and concepts, and it’s executed with some stylish direction by franchise newcomer J.A. Bayona, but it’s all let down by a terrible screenplay from Jurassic World co-writers Derek Connolly and Colin Trevorrow. The story is poorly constructed — not in the sense that it’s unfollowable, but in that it’s wonkily put-together, frequently showcasing scenes that are nothing but exposition, with a pace and emphasis that feels unbalanced. [...] If they’d bothered to hire some solid writers, instead of just People Who Have Ideas, then maybe those ideas could’ve been turned into a cohesive whole that’d be a worthy sequel.

Read more here.


Outlaw King (2018)

Outlaw King kicks off in style, with a superb eight-minute single-take that moves in and out of a candle-lit tent during daytime (a feat of camera operating to seamlessly handle the changing exposures required… assuming it wasn’t faked), during which we take in important scene-setting political discussions, a playful (but not really) sword fight, and the siege of a distant castle by a gigantic trebuchet. As opening salvos go, this is first rate.

Read more here.


Persepolis (2007)

Adapted from co-director Marjane Satrapi’s autobiographical graphic novel, this is the story of an Iranian girl coming of age in the ’70s and ’80s, during and after the Iranian Revolution. Such a broad description is probably the only way to succinctly summarise it, because it’s kind of a sprawling film, about many different things — just like a life, I suppose. As well as being part biography, it’s also part history lesson, with a normal-family’s eye-view of the revolution and what followed.

Read more here.


More next Sunday.