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Will I forget to keep up with this? Absolutely.
Does it matter? Not a jot.
Onwards!
#30DayFilmChallenge
Does it matter? Not a jot.
Onwards!
#30DayFilmChallenge
Day 1: First Film.
Two possible contenders for this one, but assuming IMDB is right and Snow White and the Seven Dwarves was rereleased in 1994...
Jurassic Park (1993). I screamed and hid behind ma when the dilophosaurus was already in the jeep.
#30DayFilmChallenge
Two possible contenders for this one, but assuming IMDB is right and Snow White and the Seven Dwarves was rereleased in 1994...
Jurassic Park (1993). I screamed and hid behind ma when the dilophosaurus was already in the jeep.
#30DayFilmChallenge
Day 2: First Initial Film.
Crap, I’ve already used Jurassic Park.
Huzzah, there’s always Jumanji (1995). Robin Williams, in fine form. Incredible visual effects (except the monkeys). Dream house. Jonathan Hyde, nailing the Captain Hook/Mr Darling-style father/villain roles.
Crap, I’ve already used Jurassic Park.
Huzzah, there’s always Jumanji (1995). Robin Williams, in fine form. Incredible visual effects (except the monkeys). Dream house. Jonathan Hyde, nailing the Captain Hook/Mr Darling-style father/villain roles.
Day 3: Five Word+ Film.
Plumping for The Cook, the Thief, His Wife & Her Lover (1989). Delicious use of colour and staging, hateable villain, satisfying Tantalean(-ish) revenge.
Semi-related, director Peter Greenaway’s Propero’s Books is a similar feast for the eyes.
Plumping for The Cook, the Thief, His Wife & Her Lover (1989). Delicious use of colour and staging, hateable villain, satisfying Tantalean(-ish) revenge.
Semi-related, director Peter Greenaway’s Propero’s Books is a similar feast for the eyes.
Day 4: Number-Titled Film.
The Magnificent Seven (2016) was better than it maybe had a right to be, in a time of passable-at-best remakes. Champagne casting, action that isn’t just that, self-sacrifice which gets me every time.
Oceans 11/8 almost stole the position, but...yeehaw.
The Magnificent Seven (2016) was better than it maybe had a right to be, in a time of passable-at-best remakes. Champagne casting, action that isn’t just that, self-sacrifice which gets me every time.
Oceans 11/8 almost stole the position, but...yeehaw.
Day 5: Aspirationally-Employed Protagonist Film.
The Ninth Gate (1999)
Based upon Pérez-Reverte’s The Dumas Club, it follows Dean (Lucas) Corso: book-dealer, -hunter, and accidental occultist. Not many of those listed on LinkedIn.
Also: lock up Roman Polanski, the child-rapist.
The Ninth Gate (1999)
Based upon Pérez-Reverte’s The Dumas Club, it follows Dean (Lucas) Corso: book-dealer, -hunter, and accidental occultist. Not many of those listed on LinkedIn.
Also: lock up Roman Polanski, the child-rapist.
Day 6: Animated Film.
Assuming FULLY animated (sorry, Who Framed Roger Rabbit? and Bedknobs and Broomsticks), and arbitrarily leaning on nostalgia... The Rescuers (1977). Can still feel the VHS box, hear the voices of Bernard and Miss Bianca, see That Skull. “
R-E-S-C-U-E...”
Assuming FULLY animated (sorry, Who Framed Roger Rabbit? and Bedknobs and Broomsticks), and arbitrarily leaning on nostalgia... The Rescuers (1977). Can still feel the VHS box, hear the voices of Bernard and Miss Bianca, see That Skull. “
R-E-S-C-U-E...”
Day 7: Never-Tired-Of Film.
There are two things that hold no interest for me: sports and spreadsheets. That’s why I’ve watched Moneyball (2011) more times than I can count. At its heart, a classic underdog story. Surrounding that, statistics and baseball jargon. Like a Daim bar.
There are two things that hold no interest for me: sports and spreadsheets. That’s why I’ve watched Moneyball (2011) more times than I can count. At its heart, a classic underdog story. Surrounding that, statistics and baseball jargon. Like a Daim bar.
Day 8: Superior Soundtrack Film.
Another tricky one, because I am very easy to please cinematically. However the soundtrack to Drive (2011) does so much to elevate that film, with its eerie, melancholic, synth-y goodness. Chills, every time.
Another tricky one, because I am very easy to please cinematically. However the soundtrack to Drive (2011) does so much to elevate that film, with its eerie, melancholic, synth-y goodness. Chills, every time.
Day 9: Popular, Personally-Hated Film.
There are parts of When Harry Met Sally (1989) that I do enjoy (and I’m a sucker for a slow-burn). But it‘s an uncomfortable ride: about as romantic as Revolutionary Road, with a “wait, what?” happy ending that doesn’t feel earned. IMO.
There are parts of When Harry Met Sally (1989) that I do enjoy (and I’m a sucker for a slow-burn). But it‘s an uncomfortable ride: about as romantic as Revolutionary Road, with a “wait, what?” happy ending that doesn’t feel earned. IMO.
Day 10: Superhero Film.
Was tempted to put the first I saw: 1977’s Spider-Man TV-movie (recorded onto VHS, a childhood fave). But Thor: Ragnarok (2017)’s colour, humour, music, anti-colonialism was just so exactly what I needed. Thanks, @TaikaWaititi. Roll on Love and Thunder.
Was tempted to put the first I saw: 1977’s Spider-Man TV-movie (recorded onto VHS, a childhood fave). But Thor: Ragnarok (2017)’s colour, humour, music, anti-colonialism was just so exactly what I needed. Thanks, @TaikaWaititi. Roll on Love and Thunder.
Day 11: Least-Liked Genre Film.
It’s not that I don’t like the spoof genre, but the 00s resurgence was the Ovidean Iron Age compared to the Golden Age of Zucker, Abrahams and Zucker. Airplane! (1980) is a classic, but for my money Top Secret! (1984) is the cream of the crop.
It’s not that I don’t like the spoof genre, but the 00s resurgence was the Ovidean Iron Age compared to the Golden Age of Zucker, Abrahams and Zucker. Airplane! (1980) is a classic, but for my money Top Secret! (1984) is the cream of the crop.
Day 12: Favourite-Genre Let-Down Film.
Not thinking too much about this one; it’s nicer to celebrate things. So if we call ‘Die Hard films’ a genre, A Good Day to Die Hard (2013) was a let-down for not even pretending to maintain the ‘fish out of water’ premise. A John McShame.
Not thinking too much about this one; it’s nicer to celebrate things. So if we call ‘Die Hard films’ a genre, A Good Day to Die Hard (2013) was a let-down for not even pretending to maintain the ‘fish out of water’ premise. A John McShame.
Day 13: Deep-Thoughts Film.
Sunshine (2007) has a number of elements that tug at me insistently. Waking up pre-dawn (thanks, insomnia), watching it in a fully blacked-out room, and immediately going for a walk in the new day is the closest I’ve come to a religious experience.
Sunshine (2007) has a number of elements that tug at me insistently. Waking up pre-dawn (thanks, insomnia), watching it in a fully blacked-out room, and immediately going for a walk in the new day is the closest I’ve come to a religious experience.
Day 14: Depressive Film.
The Grey (2011) did not “give me depression” (ew). But I did watch it at a bad time, and its themes did rather abrade a raw nerve.
The Grey (2011) did not “give me depression” (ew). But I did watch it at a bad time, and its themes did rather abrade a raw nerve.
Day 15: Feel-Good Film.
I can’t remember the first time I watched Hocus Pocus(1993), but I do know that the many times watching it since have all been just as joyous. The inspiration for my most satisfying Hallowe’en costume. A totally tubular film.
I can’t remember the first time I watched Hocus Pocus(1993), but I do know that the many times watching it since have all been just as joyous. The inspiration for my most satisfying Hallowe’en costume. A totally tubular film.
Day 16: Personal Film.
El laberinto del fauno (2006) is personal for many reasons: my intro to Spanish-language cinema; a beautiful, tragic fairy-tale, treating both the light and darkness of that genre equally; I hum the lullaby as a calming exercise.
El laberinto del fauno (2006) is personal for many reasons: my intro to Spanish-language cinema; a beautiful, tragic fairy-tale, treating both the light and darkness of that genre equally; I hum the lullaby as a calming exercise.
Day 17: Sequel Film.
The cinematic hill I choose to die on is that @rianjohnson’s The Last Jedi (2017) is the best Star Wars sequel. In a series dominated by Big Characters, it remembered that the Force is in everything and everyone, not just 1 (or 2...) families. And That Scene.
The cinematic hill I choose to die on is that @rianjohnson’s The Last Jedi (2017) is the best Star Wars sequel. In a series dominated by Big Characters, it remembered that the Force is in everything and everyone, not just 1 (or 2...) families. And That Scene.
