Films

Dudes & Dragons (2015)
[#145 in 100 Films in a Year 2018]
aka Dragon Warriors

Non-Fiction

Space Helmet for a Cow: The Mad, True Story of Doctor Who - Volume 2: 1990-2013 by Paul Kirkley
Chapter 8 (pages 27-39)

this week on 100 Films

Pinch, punch, it's the first of the month, meaning it's time for 100 Films in a Year to look back at June...





Also this past week, a TV review covering Luke Cage season two and the Westworld finale...





And in normal business, there were 5 brand-new reviews...


Call Me by My Name (2017)

It’s an effective and truthful depiction of young love — falteringly, unassured, but driven by powerful emotions and burning lust. Although Oliver initially seems hyper-confident, as he opens up to Elio it becomes clear that this is new for him too, and of course Elio’s only young, inexperienced even with girls at the film’s start, so of course love is a new thing to him. So, in some respects it doesn’t matter that the film’s about a gay relationship — the feeling it conjures of young love is universal. Of course, there are many reasons why it matters immensely that it’s about a gay relationship, but those concerns are largely external to the film itself.

Read more here.


Game Night (2018)

It’s the kind of film where I don’t want to say much more than I already have, because obviously the joy lies in the jokes (and jokes are a lot less funny if you spoil them) and the plot developments. At the risk of just reeling off a list of superlatives, I’ll say that what unfolds is fast, inventive, clever, and, above all, hilariously funny. There are more laughs in its opening montage than many modern comedies manage in a whole film.

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Journey to the Center of the Earth 3D (2008)

The key to my enjoyment was watching it in 3D, in which it plays more like a theme park attraction than a movie: from the very beginning it has loads of those “sticking stuff out into the audience” hijinks that no one bothers with anymore (indeed, after watching a dozen other 3D movies on my TV, I don’t think I’ve seen anything poke out before). Gimmicky and in your face (literally) though it may be, the effect works, it’s uncomplicatedly fun, and it makes the movie better just because it’s trying.

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Perfect Sense (2011)

there’s more emotional power in the montages about senses and what was being lost — the ideas-y stuff — than there is in the character- and relationship-based bits. Those are actually surprisingly clunky at first, with even McGregor and Green — both actors I like a good deal — struggling to make them work. Things do smooth out in that regard, but the romance plot proceeds to conform to a pretty standard shape. Was the sci-fi crisis meant to reflect the relationship, or is the relationship a down-to-earth framework on which to hang a big sci-fi story? I suspect the latter, because it’s the end-of-the-world theatrics that prove more interesting.

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The Snowman (2017)

It’s like the whole thing has been almost-correctly-but-not-quite translated from another language. I’m not just talking about the dialogue (though that’s sometimes that way too), but the very essence of the movie — the character arcs, the storylines, even the construction of individual scenes. Like many a Google Translate offering, you can kinda tell what it’s meant to be, but it doesn’t actually make sense in itself.

Read more here.


More next Sunday.