Like many other film fans I like to take stock at the end of the year, and in this post I’m going to discuss the previous twelve months in a general, rambling fashion, with reference to my ‘blind spots’ (yup, still doing that) and other notable works that I saw for the first time during 2018. The second part of the round-up – which may be as late as March – will include my annual selection of 50 favourite feature films released in the UK and 20 favourite documentaries. At the time of writing I still want to watch some highly-rated titles that I missed in cinemas, including the likes of Burning, Shoplifters, Cold War and The Rider, and will spend a month or so doing that before making a final list.
My cinema-going in 2018 was mostly limited to my local multiplex, for which I have an annual pass that allows me to see as many new releases as I can stomach; I still only go around once a week, on average. Sadly the multiplex tends to pass on a lot of arthouse-friendly fare, foreign language films and independent productions, and I can’t say I blame them; when they have taken risks (if ‘risks’ is the right word) I’ve found myself sitting in crowds as small as four or five people, whereas like most places in the world the heavily-marketed blockbusters, family films and familiar franchise entries are still putting bums on seats and dominant.
For those smaller releases I’ve tended to wait for the DVD release – Luddite that I am – and have generally eschewed paying full whack to stream films on platforms like Curzon Home Cinema and BFI Player, which I used regularly in the past. I don’t feel the same urgency to see films during the week or month of release any more, but it’s also partly because I already pay out for three subscription services on a monthly basis, so I’ve always got plenty to watch without paying £10 a pop to see a new release in the comfort of my own home. Anyway, I had some fun times at the cinema this year, and even most of the dross I checked out wasn’t too bad.
I’m told by Letterboxd that I logged 487 entries in 2018, with probably around 20 of those being for TV series (2017’s Twin Peaks: The Return being the standout) and short films. I’m pleased with the total, though inevitably watching so many titles means that there are some films I can barely remember anything about – for example I know that I watched Pompeii, but I couldn’t give you a synopsis (I freely admit my attention repeatedly diverted towards my phone while it was playing); even some of last year’s awards season favourites are fading from memory.
My blind spot list last year was varied, and despite a couple of delays I managed to watch all twelve much-admired movies for the first time before the year-end. My favourites from the dozen were Rashomon and Sunset Boulevard, although in truth all the others impressed. Vivre Sa Vie contains a terrific performance by Anna Karina, whose character is perhaps unfairly treated by vindictive puppeteer Jean-Luc Godard. High Noon is a tense examination of the decent Old West lawman and Stalker is a magnificent, moody and thought-provoking work that I will certainly watch again. Woody Allen’s Crimes and Misdemeanours is a career highlight, while Georges Franju’s Les Yeux Sans Visage is still a vibrant, unsettling horror decades after it was first released; the same can be said of Poltergeist, I guess, though it is a very different beast. Saturday Night and Sunday Morning is a hugely enjoyable slice of kitchen sink drama as well as being a landmark in British cinema on account of its depiction of working class characters, and for the Woodfall Films production company, while for very different reasons the production and grand scale of Brazil and Doctor Zhivago impressed. Had I seen Terry Gilliam’s Brazil as a teenager I imagine it would have become a favourite that I subsequently returned to over and over again, but as I was watching I had a sense that that particular boat had sailed. Fun movie, though, and great looking. The only ‘blind spot’ selection that didn’t really resonate deeply was Alain Resnais’ Hiroshima, Mon Amour. I probably didn’t concentrate hard enough and as such failed to see its supposed greatness, but I still liked it; I have a DVD copy so perhaps I’ll watch it again someday.
The idea of doing a blind spot list is becoming increasingly pointless, as during any given year I’ll watch a great many other films for the first time that could easily qualify. I’m not sure there’s much point in listing all of them, but I guess I’d just like to register the fact that the following films were all new to me and each one made a big impression. I recommend them all highly if there are some you haven’t seen yourself. (Directors’ names in brackets.)
Man With A Movie Camera (Vertov)
Life Is Sweet (Leigh)
Like Father, Like Son (Koreeda)
The Consequences of Love (Sorrentino)
The War (Burns, Novick)
In The Mood For Love (Kar-Wai)
Blow Out, Carrie (both De Palma)
The Lovers On The Bridge, Mauvais Sang (both Carax)
Café Lumière (Hsiao-hsien)
A Separation (Farhadi)
Oslo, August 31st (Joachim Trier)
Dogville (Lars Von Trier)
The Red Balloon (Lamorisse)
Meru (Chin, Vasarhelyi)
Fragment Of Fear (Sarafian)
Get Carter (Hodges)
The Conformist (Antonioni)
Bringing Up Baby (Hawks)
The Green Ray, Four Adventures of Reinette and Mirabelle (both Rohmer)
The Beaches of Agnès (Varda)
Irma Vep (Assayas)
The Pianist (Polanski)
Bicycle Thieves (De Sica)
All The President’s Men (Pakula)
Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul)
The Headless Woman (Martel)
The Arbor (Arnold)
Starred Up (McKenzie)
Cool Hand Luke (Rosenberg)
Whatever Happened To Baby Jane (Aldrich)
The Player (Altman)
Point Blank (Boorman)
Soylent Green (Fleischer)
The Misfits (Huston)
The Day The Earth Stood Still (Wise)
My 2019 blind spot list is made up of the following: The Elephant Man, Last Year At Marienbad, Marathon Man, The Right Stuff, Lawrence Of Arabia, Monster, Some Like It Hot, Young Frankenstein, Aguirre, Wrath Of God, Videodrome, The Philadelphia Story and The Night Of The Hunter. On we go!