Sunday, 31 March 2019


2x12 Boy-the-Earth-Talks-To [season finale]

+ the second commentary on episode 11, by Ian McShane and Paula Malcolmson, which is probably the weakest so far -- lots of pauses, hardly any information. As a set, these tracks have almost been enough to put me off ever listening to a cast commentary ever again!


Paperman 3D (2012)
[#48a in 100 Films in a Year 2019]

Wreck-It Ralph 3D (2012)
[2nd watch]
Rewatchathon 2019 #12

this week on 100 Films

As March draws to a close, it was time for the monthly TV review at 100 Films in a Year...

Plus, there were 4 new film reviews...

Black Narcissus (1947)
It’s difficult to sum up and rate my reaction, because I feel like I missed something — not literally (I followed the plot ‘n’ that), but like I didn’t understand something about it. And yet I was engaged throughout, it’s gorgeous to look at, and the final 20 minutes are stunning on every level.
Read more here.

The Highwaymen (2019)
There’s a fair chance you know the story of Bonnie and Clyde, but what about the story of the guys who got ’em? For all the Robin Hood-esque heroism that was conveyed upon them by the media at the time and then cemented in subsequent fictional retellings, they were still murder-happy criminals. The Highwaymen sets out to do its part in rectifying this by introducing us to Frank Hamer (Kevin Costner) and Maney Gault (Woody Harrelson), a pair of retired Texas Rangers who were reinstated in early 1934 to track down Bonnie and Clyde and put an end to their crime spree.
Read more here.

Skyscraper (2018)
It’s an undemanding 90-minutes-or-so of derring-do, where the scenarios are so extreme and OTT they can’t elicit much tension, but occasionally achieve a modicum of suspense nonetheless. And as so much of it is about doing things at great distances above the ground, it’s highly effective in 3D. One near-miss moment even made me gasp, so it was obviously doing something right with its sense of jeopardy.
Read more here.

You Were Never Really Here (2017)
if the combination of “genre: thriller” and “using a hammer to take out bad men” makes you think the film is about to unleash a low-budget action-fest upon your eyeballs, I refer you back to the writer-director being Lynne Ramsay and my mention of “arthouse idiosyncrasies”. I thought I’d mention this point upfront because I’ve seen others be disappointed by the lack of overt action in the film. Ramsay has instead chosen to keep most of the violence offscreen
Read more here.

More next Sunday.