Saturday, 19 January 2019

RIP Windsor Davies

Very sad to hear of the death of Windsor Davies at the age of 88 on Thursday.

The burly, deep-voiced Welsh actor was best known for playing the Sergeant-Major in Croft and Perry's classic WWII set sitcom It Ain't Half Hot Mum which ran from 1974 to 1981. It was a role that not only made him a household name but also saw him typecast (not that he seemed to mind) as the bullish soldier putting others through their paces in everything from films like Carry on England and Adolf Hitler: My Part In His Downfall to children's series like Marmalade Atkins and Gerry Anderson's Terrahawks. When he wasn't playing the sergeant-major then he was often cast as policeman, appearing as one on TV in the likes of Z Cars, Softly Softly, Callan, Special Branch, Detective, The Mind of Mr J.G. Reader, and The Rivals of Sherlock Holmes, and on film in The Playbirds, Frankenstein Must Be Destroyed, Endless Night, and Not Now, Comrade.

Other memorable roles include starring opposite Donald Sinden as rival antique dealers in the ITV sitcom Never the Twain which ran from 1981 to 1991, and the Welsh rugby comedies, Grand Slam and Old Scores. He also starred in Carry On Behind, played General Tufto in the BBC's excellent 1998 adaptation of Vanity Fair and David Lloyd George in Channel 4's Mosley. His last appearances on TV included guest appearances in Casualty in 2000 and in My Family in 2004, before retiring to France. His wife passed away in September last year and he is survived by five children.


Thursday, 17 January 2019

Out On Blue Six: Fisherman's Friends

With a new movie out later in a month or two based on the Port Isaac folk group, Fisherman's Friends and starring the likes of James Purefoy, David Hayman, Daniel Mays and Dave Johns, I thought it the ideal time to share one of my favourite tracks from them

End Transmission

Tuesday, 15 January 2019

No Confidence

The biggest defeat for a serving PM since 1924, it was inevitable that Theresa May would fall flat on her face tonight. It's time for a real government, one that actually puts the concerns of ordinary people first. In the face of this Brexit nightmare, Jeremy Corbyn has tabled a vote of no confidence in the calamitous Tory government that has brought us to this farce, and Momentum are asking for your support. Please sign this petition, show that we need an election that delivers a Labour government and let's take back proper control.

Out On Blue Six: Hannah Peel

Radcliffe and Maconie's time slot may have changed from weekday afternoon to weekend mornings on 6 Music this week, but their commitment to great music remains the same. Stuart opened a new feature on Saturday's first show called 'Sun Up', showcasing music to signify the start of the day with Sunrise Through the Dusty Nebula by Hannah Peel. Have a listen, it's beautiful

End Transmission

Monday, 14 January 2019

Nico, 1988 (2017)

Firstly, I must confess I'm not a great expert on Nico. However, as a fiercely proud Lancastrian I have long since been fascinated by the fact that the former Velvet Underground singer and muse of Andy Warhol spent her final decade - the 1980s - living in Manchester. 

Unfortunately for me, Susanna Nicchiarelli the director of Nico, 1988, is far less fascinated with the idea of Nico living in Manchester and more interested with telling a somewhat traditional tale of a faded star who attempts to get her shit together in the final years of her life. This may be the right decision; after all, can you really make a 90 minute movie out of her repeatedly scoring heroin with John Cooper Clarke in their Prestwich flat? (I dunno actually, I'd watch it) but I still feel like this is a missed opportunity. The way Nicchiarelli shows it, Nico seems to find herself in Manchester in 1986 (and not the very early 80s as she in fact did), deciding it's like post-war Berlin and as good a place as any to settle, before heading off on a European tour organised by her manager, Richard, played by John Gordon Sinclair. Despite a few inauspicious moments, the tour provides Nico with the opportunity to reconnect not only with music, but her estranged son, Ari, the child Nico bore with French actor Alain Delon.

Now, let's address the elephant in the room. Gregory's Girl is one of my favourite films and I love John Gordon Sinclair but sweet fancy Moses, he cannot do a Manc accent. That said it's not really his fault that his character truly fails I guess, because 'Richard' is of course a fiction; an amalgam, I presume, of Roger Eagle and Nico's manager, the legendary Manchester music impresario Alan Wise; a man whose personality was much more out there and larger than this film - which is understandably about Nico - can actually sustain. I get that a film on this budget was never going to get Steve Coogan (and he's been there, done that anyway) but there are plenty of Manc actors to choose from, so why did they turn to a Scot? Bloody hell, did no one think to ring Kieran O'Brien? He's shot his muck on screen before now, he's up for anything!

This refusal to explore the idea of Nico in the grubby Manchester bedsit land of the 1980s also means we don't get John Cooper Clarke in the movie, any notion of the roots she put down there, or any suggestion that Manchester was such a thriving hotbed for the music scene at that time. There's no interaction to be had with any of the big acts from Factory or indeed any of the Mancunian music legends, just the odd sequence of her performing at Rafters. That's it. 

What does work about Nico, 1988 however is the performance from Trine Dyrholm, an actress I have admired ever since Festen and especially love in the Danish TV series, Arvingerne (aka The Legacy). Dyrholm, who sang all the songs in the movie, doesn't just mimic Nico, she creates a character for the movie alongside Nicchiarelli and it's a fragile yet sometimes infuriating, morose and fiercely intelligent delight. It's fair to say in fact that Dyrholm is the film. 

Nico, 1988 has been met with come criticism. There are some critics (largely Americans it seems) who bemoan the fact that the film doesn't focus on Factory (that's the Warhol version, not the Anthony H Wilson one) or La Dolce Vita, whilst others complain that Nico's less attractive qualities, including her racism and antisemitism are ignored. It's true that Nicchiarelli does do the latter - besides surmising that Richard is Jewish, Nico's less than respectful opinions are concerned with his socialist politics, as she is even shown to have a very cute and friendly relationship with her Manchester landlord, a yamaka-wearing Jew - but the former criticism is completely missing the point, frankly. 

Stylistically, Nicchiarelli chooses to shoot in square, rather than rectangular, format in an attempt to reproduce the aesthetic of the period  in which the film is set and old VHS era. Despite it's narrow view of the subject matter, the film does have much to say and never more so is this clear than in this comment Nicchiarelli made; “It’s interesting that Nico was born in 1938 and died in 1988, a year before the end of the cold war. She never saw her country reunified. It’s as if the war never ended for her.” Nico, 1988 may not deliver on its promise of recreating those final years, but it understands perfectly that her life was ostensibly one that was lived like a war zone.

Now can someone make a Mark E. Smith/The Fall/Brix biopic so I can see the culture clash of LA Brix trying to live in Prestwich on chip butties with Mark?

Friday, 11 January 2019

RIP Dianne Oxberry

As a proud northerner who loves his region, I am shocked and saddened to hear of the death of local legend and BBC North West Tonight's long-time weather presenter, Dianne Oxberry following a short battle with cancer at the age of just 51.

The meteorologist joined North West Tonight in 1994 and, as such, she has been an almost daily part of my life for the last twenty-five years. She was the mainstay of the programme and I will always remember what I personally feel was the show's golden years, when the presenting team consisted of Gordon Burns, Ranvir Singh, Tony Livesey and her. Around this time she gained national attention when Peter Kay memorably interrupted her forecast, proclaiming "God love Dianne Oxberry - You made the sun shine for everybody!" Words that many paying tribute today have recalled fondly, almost as her epitaph.

Prior to North West Tonight, Sunderland born Dianne worked for Radio 1, presenting alongside Simon Mayo and as part of the Steve Wright's 'Zoo' team. In the early '90s she also presented the BBC's Saturday morning children's TV show The 8:15 From Manchester with Ross King and Charlotte Hindle - a show that the teenage me used to greatly enjoy with its mix of cartoons, stunts and games and its showcase for the best in the baggy Madchester music scene. It was her that she met her husband and the father of her two young children, cameraman Ian Hindle.

As well as presenting the weather, Dianne also presented the Inside Out North West current affairs and local interest series, worked for BBC Radio Manchester and appeared as herself in the film Grow Your Own, and in the Steve Coogan comedy drama series Sunshine. 

Presented with a cake by the NWT team for twenty years service with the show

There are many heartfelt tributes being paid right now from colleagues and admirers, but the most touching one I've seen comes in the shape of a poem from Lemn Sissay, which I'll share here;

She saw and named storms,
With calm and hazel eyes,
I shalln't think of her as 'passed away',
I'll think of her as sun rise.

Indeed. I'll be preparing myself for some tears coming in today's bulletins.


Thursday, 10 January 2019

Michael Collins (1996)

Anyone expecting from Neil Jordan's 1996 film the definitive account of the life of Michael Collins and  the fight for a free Ireland will be sorely disappointed. Jordan was perfectly placed to deliver a modern epic, but instead his film harks back to the kind of thing John Ford did back in the 1930s and '40s. 

When I first saw this as a young man I was quite impressed by it, but I didn't know my Irish history as well as I would come to do and I think that's why, upon this rewatch, I wasn't as keen - because the problem here is historical accuracy and Jordan's decision to fictionalise much of the story. 

It's one thing to alter the circumstances of Harry Boland's death (he was not shot escaping through the sewers a'la Orson Welles in The Third Man - he was in fact shot during an aborted arrest by soldiers of the  Irish Free State Army at Skerries Grand Hotel, and died some days later in hospital) and to outright kill the double agent Ned Broy at the torturous hands of the British, when in fact Broy went on to live into old age. But it's something else to fictionalise the events of the first 'Bloody Sunday' - the massacre of fourteen innocent civilians at Croke Park football ground in 1920. In reality, the Auxiliaries and the Black and Tans entered the stadium to conduct a search for the accomplices of Collins responsible for the deaths of soldiers, policeman, informers and intelligence operatives known as the 'the Cairo Gang'.  Whilst undertaking this duty, the British began firing their rifles and revolvers in what their commanding officer Major Mills would later describe as an 'excited and out of hand' manner. In Jordan's film however, we see armoured vehicles roll onto the pitch itself before firing indiscriminately and without warning upon the crowds assembled there. 

The DVD I watched is a 20th anniversary edition that comes with a commentary from Jordan himself and I could not resist rewatching this controversial scene to hear his account first hand. It's telling that he first says that he felt he had to 'falsify history', before realising the negative connotations of just such a phrase and correcting himself with 'dramatise history' instead. Unfortunately, I feel he was right the first time. The events of Bloody Sunday in 1920 and the consequences of British imperialism in Ireland (and indeed , the world over) were truly horrific and shameful - it did not need exaggeration for dramatic effect. Given that tentative ceasefires were occurring between Ireland and the British at the time of the film's production and release, it's easy to see why Jordan's choices came in for much criticism as being rather inflammatory. 

Jordan subsequently lands himself in further hot water when depicting the events of Collins' assassination in 1922. His film strongly implies that Éamon de Valera had a hand in the ambush at Béal na Bláth by forging a link between the political leader and a fictional assassin played by a young Jonathan Rhys Meyers (in reality the man who fired the fatal bullet was a former British army sniper and his motivations and the circumstances surrounding Collins' death remain unclear). Jordan claims that it was never his intention to imply that de Valera had anything to do with Collins' murder, but his claims do not hold water because of this or his previous decision to depict de Valera as knowingly sacrificing Collins in Westminster to deliver a free state proposal that led to the Irish Civil War. His decision to close the film on de Valera's comment that "History will record the greatness of Michael Collins, and it will be at my expense" makes it sound less like political ruefulness and more like an admission of guilt too. 

Away from the issues with accuracy, the film boasts many strengths. The cast is uniformly strong, led by Liam Neeson in a role he was born to play (albeit a few years earlier - Neeson at 44 is too long in the tooth to convince as a republican leader who was just 31 when he died). Admittedly there are some hokey accents on display here; American Aidan Quinn stars as Boland and Alan Rickman is a great de Valera, but you're perpetually aware that he's doing an accent and you're willing him to nail every inflection the minute he opens his mouth, which rather detracts somewhat. Nevertheless, he is significantly better than Julia Roberts as Collins' sweetheart Kitty Kiernan, a role that earned her many brickbats at the time. To be fair to Roberts (she continued to struggle with the Irish accent in the much lambasted Mary Reilly)  she's not solely culpable here because Jordan has written a very poor part; each time she arrives in a scene, heralded by Elliot Goldenthal 'Romantic' score (that's with a capital R - so soft you'd have to thumb it in), your heart sinks because you know you're in store for some boring moments before we can get back to the fighting, of the political or very real variety. It's fair to say she's miscast yes, but you have to admire her desire to want to be taken more seriously internationally at this stage in her career. It doesn't help either that she has very little chemistry with Neeson, or indeed Quinn as a rival for her affections. Rounding out the cast are Ian Hart, Stephen Rea and a succession of familiar Irish faces, including a pre-fame Brendan Gleeson (looking very much like his son, Brian). There's also a small but pivotal and classy cameo from Charles Dance.

The film looks beautiful too and it's easy to see why it was one of the most expensive films produced in Ireland, going on to reap the benefits by taking £4million on its release and making it the highest grossing film ever released in Ireland at that time (Titanic would later relegate it to second place). Goldenthal's score is strong too, and the decision to incorporate Sinéad O'Connor at one key point was inspired.

Silly Rachel Riley's Own Goal

Recently Rachel Riley, best known for picking vowels and consonants and adding numbers up in various skimpy dresses on Countdown (yeah, it's still going!), decided that she should be the one to stamp out antisemitism in the UK - or more particularly, the perceived antisemitism in the left of politics.

Taking to twitter she has smeared everyone from Jeremy Corbyn, Ken Loach and - most bizarrely of all - Noam Chomsky, as being promoters of antisemisitm. 

This stance last night afforded her the ultimate accolade of being interviewed about her position by Channel 4 News anchor and Riley colleague (and "swinging dick", according to Lucy Porter on yesterday's Richard Herring podcast) Krishnan Guru-Murthy. It should have gone swimmingly - expect Riley fell at the first hurdle.

When asked by Guru-Murthy what her Jewish identity was, Riley - this staunch fighter of A/S remember - replied; "You wouldn't know, I don't look like a typical Jew, or anything like that" (you can see it here) before conflating Jewish people with Israel.

Oh dear. I'm sorry Rachel but that really is not Numberwang. In fact that is, by IHRA definition, A/S of itself.

The great Michael Rosen, a voice of sanity in the open sewer that is the A/S debate (or, to give it it's proper term, the establishment and trendy wendies stick-the-boot-into-the-left moan) on social media, was quick to point out Riley's error, demanding to know what facial or body characteristics a 'typical Jew' may possess. 

It's an open secret that Rachel Riley is desperate to step away from Countdown and enter into the more mainstream, primetime arena of her more respectable peers (this is evident from her appearances on the dismal 8 Out Of 10 Cats Does Countdown, various podcasts in the fact that she once cornered Alex Horne and begged to be a contestant on Taskmaster; to his credit Horne said that if someone asks, they won't ever appear!) and she clearly views schmoozing up to the likes of David Baddiel on Twitter in this 'campaign' will afford her that ambition. But she should really stick to the skimpy outfits and the adding up because wading into debate only sees her place both feet in her own mouth.

Monday, 7 January 2019

Out On Blue Six: Peter Gabriel feat Kate Bush

The first Out On Blue Six post of 2019, and it's Don't Give Up, Peter Gabriel and The Blessed Kate's powerful ballad asking you to reconsider Dry January*... 

*Not really of course. It's inspired by the now iconic Depression-era photography of Dorothea Lange which struck a chord with Gabriel during the dark, similarly impoverished days of Thatcher's Britain and the miners' strike. Such a beautiful, heartbreaking song.

End Transmission

Thursday, 3 January 2019

It's Over So Fast

Is it just me or does Christmas finish earlier and earlier each year?

Taking the dog for his evening stroll these past couple of nights I've been struck by how many houses have taken down their decorations. Now I guess I can talk, it's been a tradition to take everything down on New Year's Day for some years now, but it seems a little sad to see houses in my neighbourhood that have young children so suddenly give up Christmas long before twelfth night and the end of the school holidays. 

And it's not just taking down the decorations. It seems to me now that Christmas is largely considered over by Boxing Day, when the January sales inexplicably start. I can remember when the sales didn't start until New Year's Day, which is when it should start really, allowing everyone to enjoy a relaxing week long Christmas break between the two big days. I get why the high street start the sales early these days, they struggle enough with online competition to lose out on a week in which potential customers would be sit at home buying stuff on their phones and laptops, but it just feels like Christmas is getting squeezed every year.

In the end we have weeks of lead up for what is essentially just one day. How did we get to this?

Wednesday, 2 January 2019

Plus Size Bond Girls: January

Here's a novelty I've come across online. It's a calendar featuring plus size models as Bond girls. As the calendar fits 2019, I thought I'd share each month

Tuesday, 1 January 2019

Doctor Who: Resolution

Some 'fans', ie the Special People, threw their Dapol figures out of the pram when they heard that Jodie Whittaker's debut season would feature no returning villains. Like, how were they expected to cope with a female Doctor and no Daleks?

Personally, I breathed a sigh of relief. If there's one thing NuWho has been guilty of it's milking the Daleks to death. RTD re-introduced them so brilliantly in the first season, with Rob Shearman's excellent Dalek (still on of the very best Dalek stories ever) and a thrillingly old fashioned two-part space opera finale in Bad Wolf and The Parting of the Ways, but let's face it, they ought to have been used sparingly in subsequent seasons, just like in old Who. By the time we got to that hideous redesign, the Paradigm Daleks, there was only really one thing to do and that was to draw a discreet veil over proceedings and use them very carefully, or indeed not at all.

Resolution (c'mon, would it have hurt to call it Resolution of the Daleks?) brings the monsters of Skaro back with a palpable bang, first to back-hug (shades of Alien there) Charlotte Ritchie's archaeologist and force her to go on an epic killing spree, before rehousing itself in what the Doctor described as 'junk yard chic', wiping out a troop of soldiers and invading GCHQ. But perhaps the Daleks most cruelest play was in robbing bored and hungover families of their wifi on New Year's Day, forcing them to have...a conversation!

As with the last season, Resolution hits the ground running and continues to deliver something that is notably Who but yet at the same time unlike anything RTD or Moffat created. I especially liked the Limp Bizkit style score, which added to the relentless nature of the Daleks, and the regular cast continue to impress with Whittaker's Doctor getting a great moment, literally facing off against the Dalek (or rather Ritchie) who had foolishly laughed at her; "Do that again, to my face"

Some people continue to say that you can't have a female Doctor, some people continue to say that this doesn't feel like Doctor Who. I'm here to tell you that, having loved this show all my life (including the very dark period as a teenager in the 90s when all you had was DWM and the Virgin New Adventures) that these people are wrong. Dead wrong.

Happy New Year and 2018: Screen by Screen

Well here we are, 2019. A very happy new year to all my readers, I hope the year treats you and yours fabulously well. 2018 was a bit of a pain in the arse to me personally, so I hope that this year brings something different.

Now, it's traditional that I give you all a run down of the best and worst films I've watched this year (the annual Screen by Screen post) along with the books I have read this year (the annual Page by Page post). Unfortunately, I cannot bring you the latter because the site I kept my reading diary on and had belonged to for a decade decided to close this year with little to no warning and they wiped the diaries completely. Good huh? I can however bring you my films of 2018. 

According to Letterboxd I watched over 800 movies in 2018 and reached my 4,000th review on the site too. I had more first watches than rewatches this year and managed to get to the cinema more regularly too, meaning there's a few more new releases in the mix. So, without further ado, these are the films that scored between (the full) 5 and 4 stars in 2018.

1. The Winter Guest (1997) 5/5
2. Eight Hours Don't Make a Day (1972) 5/5
3. In the Company of Men (1995) 5/5
4. The Ark (1993) 5/5
5. The Death of Stalin (2017) 5/5
6. Nice Work (1989) 5/5
7. Gallivant (1997) 5/5
8. United Kingdom (1981) 5/5
9. Saturday (2015) 5/5
10. Stewart Lee: Content Provider (2018) 5/5
11. Punishment Park (1971) 5/5
12. Tower (2016) 5/5
13. Whiplash (2014) 5/5
14. Peterloo (2018) 5/5
15. Paddington 2 (2017) 4.5/5
16. Lady Bird (2017) 4.5/5
17. One Summer (1983) 4.5/5
18. The Devil's Backbone (2001) 4.5/5
19. Greg Davies: You Magnificent Beast (2018) 4.5/5
20. Black Mirror: San Junipero (2016) 4.5/5
21. Black Mirror: Nosedive (2016) 4.5/5
22. Black Mirror: USS Callister (2017) 4.5/5
23. I, Tonya (2017) 4.5/5
24. Star Wars: The Last Jedi (2017) 4.5/5
25. Funny Girl: The Musical (2018) 4.5/5
26. Rosebud (1991) 4/5
27. The Open Doors (2004) 4/5
28. Cashback (2006) 4/5
29. Heart of the Angel (1989) 4/5
30. Remembrance (1982) 4/5
31. Daphne (2017) 4/5
32. The Karman Line (2014) 4/5
33. Bad Day For The Cut (2017) 4/5
34. Rachel Parris: Best Laid Plans (2016) 4/5
35. Paterson (2016) 4/5
36. Geri (1999) 4/5
37. God's Own Country (2017) 4/5
38. Lady Macbeth (2016) 4/5
39. Smart Alek (1993) 4/5
40. Urban Hymn (2015) 4/5
41. Future Shock!: The Story of 2000AD (2014) 4/5
42. The Lie of the Land (2007) 4/5
43. The Last Laugh (2017) 4/5
44. The Shape of Water (2017) 4/5
45. Being Blacker (2018) 4/5
46. The Funeral Murders (2018) 4/5
47. Shaun The Sheep: The Movie (2015) 4/5
48. 45 Years (2015) 4/5
49. The Red Balloon (1956) 4/5
50. Funny Cow (2017) 4/5
51. The Darkest Universe (2016) 4/5
52. Disco Pigs (2001) 4/5
53. Beast (2017) 4/5
54. Strong Language (2000) 4/5
55. Richard Herring: Happy Now? (2016) 4/5
56. How Green Was My Valley (1975) 4/5
57. The Martian (2015) 4/5
58. Nothing Like a Dame (2018) 4/5
59. Portrait or Bust (1994) 4/5
60. The Mercy (2017) 4/5
61. Requiem Apache (1994) 4/5
62. Detroit (2017) 4/5
63. Grenfell (2018) 4/5
64. Before Grenfell: A Hidden History (2018) 4/5
65. Sara Pascoe vs Monogamy (2018) 4/5
66. Henry (2013) 4/5
67. Dark River (2017) 4/5
68. Who Cares (1971) 4/5
69. The Reckoning (1970) 4/5
70. Snatches: Moments from Women's Lives (2018) 4/5
71. To Provide All People (2018) 4/5
72. Cake (2017) 4/5
73. Crowhurst (2017) 4/5
74. Solidarity According to Women (2014) 4/5
75. Cruel Sea: The Penlee Lifeboat Disaster (2006) 4/5
76. Ricky Gervais: Humanity (2018) 4/5
77. Chuck Norris vs Communism (2016) 4/5
78. Frankie Boyle: Hurt Like You've Never Been Loved (2016) 4/5
79. Bridget Christie: Stand Up For Her (2016) 4/5
80. Dennis Skinner: The Nature of the Beast (2017) 4/5
81. Morning in the Streets (1959) 4/5
82. Titanic Town (1998) 4/5
83. Wind River (2017) 4/5
84. James Acaster: Reportoire (2018) 4/5
85. Journeyman (2017) 4/5
86. The Battle of Algiers (1966) 4/5
87. New Town Utopia (2017) 4/5
88. Ladies They Talk About (1933) 4/5
89. Chicken (2015) 4/5
90. 20th Century Women (2016) 4/5
91. Talk Radio (1988) 4/5
92. Hell or High Water (2016) 4/5
93. Self Catering (1994) 4/5
94. Eye in the Sky (2015) 4/5
95. The Whisperers (1967) 4/5
96. Patriots Day (2016) 4/5
97. Game Night (2018) 4/5
98. Jumanji: Welcome to the Jungle (2017) 4/5
99. Bobby Kennedy for President (2018) 4/5
100. A Futile and Stupid Gesture (2018) 4/5
101. Last Year at Marienbad (1961) 4/5
102. Easy A (2010) 4/5
103. Keeping up with the Joneses (2013) 4/5
104. Heart (1999) 4/5
105. Risky Business (1983) 4/5
106. Set it Off (1996) 4/5
107. Maniac (2018) 4/5
108. Rumble Fish (1983) 4/5
109. Salt (2018) 4/5
110. Dawn of the Deaf (2016) 4/5
111. Hull's Headscarf Heroes (2018) 4/5
112. Apostasy (2017) 4/5
113. Journey's End (1988) 4/5
114. F For Fake (1973) 4/5
115. Our World War (2014) 4/5
116. Love is Thicker Than Water (2016) 4/5
117. Widows (2018) 4/5
118. A Short Film About Killing (1988) 4/5
119. Dispossession: The Great Social Housing Swindle (2017) 4/5
120. Hoffman (1970) 4/5
121. The Other Side of the Wind (2018) 4/5
122. The Stranger (1946) 4/5
123. The Little Drummer Girl (2018) 4/5
124. Long Shot 1978) 4/5
125. Paul Heaton: From Hull to Heatongrad (2018) 4/5
126. The Miners' Hymns (2010) 4/5
127. Roar (2009) 4/5
128. Dumplin' (2018) 4/5
129. Black Mirror: Bandersnatch (2018) 4/5
130. Happy New Year, Colin Burstead (2018) 4/5

And, just as there are good films, they're must also be bad. These are the very worst I endured in 2018, which I rated from 0.5 to 1.5 stars on LB.

1. Pain and Gain (2013) 0.5/5
2. The Security Men (2013) 0.5/5
3. White Settlers (2014) 0.5/5
4. Jane Got a Gun (2015) 1/5
5. Just Like a Woman (1992) 1/5
6. Pride and Prejudice and Zombies (2016) 1/5
7. Terminator: Genesys (2015) 1/5
8. In Fear (2013) 1/5
9. Fahrenheit 451 (2018) 1/5
10. Mamma Mia! Here We Go Again! (2018) 1/5
11. Hampstead (2017) 1.5/5
12. 9 Songs (2004) 1.5/5
13. A Walk in the Woods (2015) 1.5/5
14. Norfolk (2015) 1.5/5
14. Walk Like a Panther (2018) 1.5/5
15. A Pinch of Snuff (1994) 1.5/5
16. Big Game (2014) 1.5/5
17. Golden Years (2016) 1.5/5
18. Z for Zachariah (2015) 1.5/5
19. Ibiza (2018) 1.5/5
20. Double X: The Name of the Game (1992) 1.5/5
21. Hard Men (1996) 1.5/5
22. Deepwater Horizon (2016) 1.5/5
23. Wet Hot American Summer (2001) 1.5/5
24. The Terror of the Tongs (1961) 1.5/5
25. How to Talk to Girls at Parties (2017) 1.5/5
26. The April Fools (1969) 1.5/5
27. The Beautiful Fantastic (2016) 1.5/5
28. The Assets (2014) 1.5/5
29. Back in Time (2015) 1.5/5
30. Mindhunters (2004) 1.5/5
31. Spacehunter: Adventures in the Forbidden Zone (1983) 1.5/5
32. SuperBob (2015) 1.5/5
33. Ideal Home (2018) 1.5/5
34. The Dinner (2017) 1.5/5
35. The Queen and I (2018) 1.5/5