this week on 100 Films

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


Hamlet (1964)

A black-and-white, two-and-a-half hour Shakespeare adaptation in subtitled Russian? No, wait, come back! Actually, don’t bother, because if you’re turned off by any or all of that description then, yeah, this isn’t for you. If you don’t object, however, then you’ll find a film that the likes of Sir Laurence Olivier, Sir John Gielgud, and Sir Kenneth Branagh have hailed as the greatest film adaptation of arguably the Bard’s most revered play.

Read more here.


SuperBob (2015)

begins as a faux-documentary; a film being made about Bob and his life, which makes sense because who wouldn’t be interested in a documentary on the world’s only superhero? For us real-life viewers, though, it’s a form that feels a little tired at this point — I involuntarily groaned out loud when I realised that’s where it was going. Stick with it, though, because the conceit is all but dropped fairly early on, and the film begins to develop in nice directions.

Read more here.


X-Men: Apocalypse (2016)

With so many characters to deal with, the film becomes a little overburdened with subplots. It’s trying to be a trilogy-former for the remnants of the First Class cast... but it’s also trying to introduce the new-old gang of X-Men, and establish their characters to head-up future movies; and it also has to deal with establishing its villain and his plans. It’s a big ask, and while director Bryan Singer and screenwriter Simon Kinberg do manage to keep all the plates spinning and achieve something with most of them... some plot threads do feel perfunctory

Read more here.


Also, my 100 Favourites series continued with 2 more posts...


GoldenEye (1995)

Pierce Brosnan is Bond, James Bond, for the first time. After the almost-franchise-killing seriousness of Timothy Dalton, Brosnan nails Bond for the nostalgic ’90s: a dash of Sean Connery’s grit, a dash of Roger Moore’s raised-eyebrow humour, a whole lot of suaveness. For a while, the old “Connery or Moore?” question became “Connery, Moore or Brosnan?”

Read more here.


Gone with the Wind (1939)

It’s an epic in the truest sense of the word, with a story spanning many years and many miles, passing by historical events in the process. However, at it’s core it’s the story of a tumultuous romance between two people, who may love each other or may hate each other, but who, with their unique, selfish, manipulative perspectives, are surely perfect for each other.

Read more here.


More next Sunday.