Sunday 21 October 2018


3x04 Blindsided
Including an impressive 11½-minute single-take fight scene, the creation of which is discussed in this article.
[Watch it (again) on Netflix.]

Doctor Who
37x03 Rosa
[Watch it (again) on iPlayer.]


The Producers (1967)
[#216 in 100 Films in a Year 2018]

this week on 100 Films

It was already time for another TV roundup at 100 Films in a Year this week...

Plus, there were 6 brand-new film reviews...

Jin-Roh: The Wolf Brigade (1999)
enough cool costumes and bursts of ultra-violence to cut together a trailer that looks like a kinda-typical anime action-fest, but that’s really hiding a thoughtful, complicated (oh so complicated) drama about an unlikely romance and military conspiracies. If that sounds like a bizarre mix… well, it is. This is a film that likes to pull tricks on its audience, and one of the tricks it plays is to constantly wrongfoot you about what kind of movie it’s meant to be.
Read more here.

Mary and Max (2009)
It has an empathy for people who are disadvantaged and troubled, and for the importance of finding some measure of happiness in life, however small or awkward, that is quite touching. The heavily stylised designs, desaturated colour scheme, and stop-motion animation method suit the material well — there’s a lot of bleakness here, as both Mary and Max are battered by life, which juxtaposes effectively with the “kids’ picture book” visual aesthetic.
Read more here.

The Night Comes for Us (2018)
The whole storyline is quite perfunctory and rather something-and-nothing (and, considering that, gets a bit too much screen time), but it’s a sideshow because the real star is, of course, the action choreography. That’s as relentless and barmy as you’d expect given the pedigree of the cast and crew
Read more here.

Rocky V (1990)
I don’t quite see why Rocky V gets so reviled. It’s certainly not the best movie in the series — indeed, it’s probably the lowest point, lacking the realism of the early films, the entertaining ridiculousness of its immediate predecessors, and the feel-good zero-to-hero arc seen in all of those — but it’s a passable-enough drama in its own right.
Read more here.

Sartana’s Here… Trade Your Pistol for a Coffin (1970)
The third official Sartana movie is to this series what On Her Majesty’s Secret Service is to the Bond films: its one-shot leading man isn’t as good as the regular fella, but the film around him is a cut above.
Read more here.

Zatoichi's Vengeance (1966)
the action is the lesser element here, with some of it feeling almost perfunctory alongside the interesting ideas presented by the plot. It engages on multiple fronts. Firstly, there’s the young boy Taichi and Ichi’s potential influence on him. [...] Connected to this is the blind priest, a wise man who seems to see into Ichi’s very soul, and advises him on his interactions with the boy and, well, his lifestyle in general. [...] While both of these characters and their associated views of Ichi’s methods provide food for thought, perhaps my favourite part of the film is the subplot about a prostitute, Ocho, a kindhearted woman who’s revealed to have a tragic backstory
Read more here.

More next Sunday.