TV

Would I Lie To You?
9x03 Episode 3
[Watch it (again) on iPlayer.]

Films

End of Watch (2012)
[#111 in 100 Films in a Year 2015]

this week on 100 Films

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


Behind the Candelabra (2013)

Leading us into the uniquely bizarre world of the outrageous musician, Soderbergh keeps a sure grasp on the resultant drama/humour balance. If anything, the entertaining and well-received trailer makes the film look more outrageous than it is, distilling most of the best laughs into a two-minute burst. Indeed, some of the jokes play better in that form

Read more here.


Sherlock Holmes (1922), aka Moriarty

The story diverges from the canon so much it’s liable to give any particularly canon-focused Sherlockians a conniption. It begins in Cambridge... There, a student, Prince Alexis, third in line to the throne of somewhere-or-other-in-Europe, has been accused of stealing from the university, but he claims innocence. His friend John Watson recommends he seeks the assistance of a chap in his year, one Sherlock Holmes. Yes, shades of 1985’s Young Sherlock Holmes. I’m sure you’ll be surprised to learn there are fewer CGI stained glass window knights here, though.

Read more here.


The Thing (1982)

At its heart, John Carpenter’s film is a psychological thriller: an alien is in the group’s midst; it has taken on the form of one or more of them; who can you trust? How can you tell? It’s both a dilemma in an abstract “sci-fi concept” sense, and no doubt a parallel from an era when spying and the threat of ‘the other’ infiltrating society were still major issues.

Read more here.


The Thing (2011)

The Thing 2011-variety is not a remake of The Thing 1982-variety because, primarily, it takes place before The Thing ’82, and also because of drastic changes like making the lead character female and having some of the cast speak Norwegian sometimes. Other than that, what unfolds is just a variation on a theme.

Read more here.


The archive review reposts are getting near the end now. This week, multiple shorts and one all-time classic. But first, a literary remake...


Brideshead Revisited (2008)

It’s entertainingly written and performed, firmly in the tradition of the ‘heritage’ films and TV series that Britain churned out through the ’80s and ’90s — it’s the natural successor to the work of Merchant-Ivory, who of course produced the tonally-similar (at least at first) A Room With a View

Read more here.


Gasman (1997)

“Gritty”, “realist” and “indie” are just some of the stock terms that immediately jump to mind when watching this short, which directly enabled director Lynne Ramsay to make her first feature, Ratcatcher. [It] succeeds in using the associated techniques to tell a simple story of complex emotions and meaning for the characters involved.

Read more here.


How Long is a Minute? (2001)

Pummell’s film succeeds by not over-reaching itself. He has a single philosophical thought, conveyed succinctly with a mixture of image and sound. That’s worth 60 seconds, surely.

Read more here.


The Lunch Date (1990)

Short films are paid minimal attention by most people, but a good one can launch a career. Take this, for example, which won the Short Film Palme d’Or at Cannes in 1990 and the Oscar for Best Live Action Short in 1991. Writer/director Davidson may not have had a significant film career since, but he has directed episodes of Dexter, Deadwood, Grey’s Anatomy, Law & Order, Lie to Me, Lost, Rome, Shark, Six Feet Under, True Blood, and more.

Read more here.


Rashomon (1950)

Justifiably, much has been written about Rashomon, both critically and analytically. As such I’m not going to dig too deeply here, but instead just highlight a couple of reasons why it’s so acclaimed.

Read more here.


More next Sunday.