Sunday 6 December 2015


5x20 The Fast and the Furriest

2x04 Episode 4
[Watch it (again) on iPlayer.]

Doctor Who
35x12 Hell Bent [season finale]
[Watch it (again) on iPlayer.]

Jessica Jones
1x10 AKA 1,000 Cuts
1x11 AKA I've Got the Blues

this week on 100 Films

Lots to cover on 100 Films in a Year this week!

Firstly, it's a new month, so here's a look back at the old one:

Then, my 2015 advent calendar kicked off. Read all about that here:

As you'll learn if you read that, my plan is to post two reviews a day throughout advent. So that means, this week, 12 new reviews were posted(!) They were:

Ant-Man (2015)
Marvel are currently fond of mixing “superhero” with “another genre” to produce their movies — which makes sense, given the standard two-or-three superhero narratives were already becoming played out by the time Iron Man came along, never mind in the raft of movies Marvel Studios have released since. Here, “superhero” is mixed with “heist movie”; more specifically, “heist comedy”. It’s superheroes by way of Ocean’s Eleven, basically.
Read more here.

L'Atalante (1934)
my view hews closer to the original reception. Reportedly a French distributor called it “a confused, incoherent, wilfully absurd, long, dull, commercially worthless film,” while critics called it “amateurish, self-indulgent and morbid.” OK, maybe it’s not that bad, but there are nuggets of truth in there.
Read more here.

Beverly Hills Cop (1984)
I didn’t expect to care for this all that much… but I actually thought it was really fun. It’s not the funniest movie ever, nor does it have the most thrilling action, or the most engrossing or surprising plot, but it does all those things — well, the first two — well, maybe just the first one — well enough. It’s sort of incessantly likeable.
Read more here.

Brazil (1985)
It’s clever, it’s funny, it’s massively imaginative in both its visuals and its storytelling, and its influences on the 30 years of dystopian fiction that have followed is… well, fairly clear, because it also has influences of its own, so whether future works are influenced by the original influence or whether the influencee has become the influencer is an over-complex matter for over-complex people to discuss ad infinitum.
Read more here.

End of Watch (2012)
Ah, found footage. Some despise it. I’m not sure anyone loves it. I don’t mind it, so long as it’s used appropriately. Here, the found footage aspect is abandoned literally as soon as it’s introduced, rendering it absolutely pointless.
Read more here.

Europa Report (2013)
Astronauts head to a Saturnian moon to examine its water in this scientifically-accurate drama. The voluminous “special thanks” to space-related organisations shows how seriously the filmmakers took that accuracy, and it pays off in the exploration of some neat ideas.
Read more here.

The Fifth Estate (2013)
It’s The Julian Assange Movie, in which Benedict Cumberbatch dons a lanky white wig and an Australian accent to portray one of the most significant figures of our times, whether you like it or not.
Read more here.

Force Majeure (2014)
At its best, writer-director Ruben Östlund’s YouTube-inspired film is a droll dark comedy. Told in wisely-deployed long takes that benefit the cast, there’s also gorgeous photography and a dramatic score
Read more here.

Go (1999)
When people call 1999’s Fight Club “the first film of the 21st Century”, it sounds a bit clever-clever. When you watch 1999’s Go, you see what they mean. Fincher forged forward; Liman encapsulated “just been” — indeed, it’s been called the most ’90s movie ever made.
Read more here.

Life Itself (2014)
Roger Ebert was an influential, respected, beloved critic for decades, and one with an interesting life: he began in old-school newspaper journalism, defined TV movie criticism, and eventually spearheaded the profession’s move online. So it merits recounting in this documentary
Read more here.

The Swimmer (1968)
A strange air means this quickly begins to feel like a Twilight Zone-esque mystery, but it’s actually something else entirely… though to reveal too many secrets would spoil it.
Read more here.

Tank Girl (1995)
Critically derided, this anarchic adaptation of the rebellious comic has become a cult fave. You can see why: a ramshackle plot allows for plenty of outré zaniness, including a big musical number to a punky Cole Porter cover, and surely no one predicted the bizarre truth about the Rippers!
Read more here.

More next Sunday.