Tag Archives: january

2017 in Review: January

rock

“Daddy’s gotta go to work.”

2017 has begun – and with it, my challenge to see a film a day for the duration of the year. 365 films before New Year’s Day 2018 should at least be a half decent way to watch a bunch of films that I either haven’t seen for ages or wouldn’t usually watch.

I tried and failed miserably last year, but I’m determined to make a decent go of it this time and so far, it is going pretty well. Months like this one would make it impossible to just list all the films I saw, there’s no way I can write that amount of film titles and make it interesting; so let’s try it this way.


expendablesWeek One

2017 started with a bang. We waited up for the fireworks and we watched a film. By 2am on the first day of the year film one, The Expendables, was in the bag. With a bunch of new films out that day, including Assassin’s Creed and A Monster Calls, my count was climbing nicely with, I shit you not, seven films done by the end of the day.

The rest of the week wasn’t that successful, but it honestly didn’t need to be. I had done a week’s worth of films on day one so everything from here was a bonus. A pair of Ted films and the end of The Expendables trilogy paved the way for us to start the next series on our pile of shame: The Fast and The Furious. We got through five of those movies in week one, dotted around shit sci-fi with Kill Command, a ghastly “horror” film in The Lesson and a surprisingly fun action revenge flick in I Am Wrath.

The first few days of the challenge ended with the surprisingly fun The Wolverine and the bloody awful Sisters. I’ve definitely had worse weeks.


avengersWeek Two

Back to work after the Christmas break meant no more cramming films during the day. But a new phenomenon was showing it’s head in our house. As well as the animated movies, my kid is wanting to watch the Marvel Cinematic Universe films. She’s been asking for ages to watch Avengers Assemble, so I let her. And she loved them. Now she’s going through a load of the films in the MCU, with varying degrees of success, and enjoying them for the most part. She asks for them, I add them to my count. Win-win.

A couple of Oscar-bait films with the ghastly La La Land and Manchester by the Sea early on before we finished off the last two Fast and Furious entries. A fun popcorn horror flick in the form of the silly The Windmill Massacre, followed by the cut to pieces waste of space The Bye-Bye Man. Topping them off with the umpteenth viewing of Rob Zombie’s 31.

The week ended with more preparation for upcoming sequels with the final cut of Ridley Scott’s Blade Runner. What a way to end the week.


xxx-return-of-xander-cageWeek Three

We have a pile of blu-rays stacked up next to the TV. It’s our pile of shame. I vowed to have it cleared by the end of January and dammit that’s what I’m trying to do. This week was all about a shit film or two at the cinema – xXx 3 the worst culprit – and banging through these films I keep buying but not watching.

In Bruges, V for Vendetta, La Femme Nikita and Captain America: Civil War filled our week nights nicely this week. With our own Nikita’s comic book film love spreading to asking for Spider-Man films, I’m starting to regret letting her watch them. But I can’t help it, I love the look of amazement on her face when she watches them. As shit as some of these films are; more for the list. Finally managed to find time to rewatch the awesome Krampus too.

A pretty productive seven days that ended with a triple-bill at the local Odeon. A family trip to see Sing, followed by Jackie and Lion that evening.


ghost in the shellWeek Four

Now things are getting complicated. It’s the first big game release of the year and I’m dying to play it. I now have to figure a way to balance playing Resident Evil VII with film watching this week. I’ve watched plenty so I’ve got some wiggle room, but this is where I got complacent last year. So a balancing act it has to be.

But a ton of MCU films in the evenings means that once the kid is in bed, it’s guilt-free xbox time! I’ve racked up an unbelievable number of films in the last few weeks, but it’s not over for January yet. For the first time in years I sat down and watched the classic Ghost in the Shell, a film that never stops being good. For the first time I watched it with the English dub and the voice work actually did more to persuade me that Scarlett Johansson will be worth watching in the remake.

This week also saw the Oscars nominations released, which gave me an enormous list of films to source and watch before the awards in a few weeks’ time. In a roundabout way, this led to chat about documentaries, which led to me rewatching (and the wife watching for the first time) last year’s Zero Days and the thoroughly depressing, life ruining 13th.

Cinema trips felt limited this week though. Although I finally got to see the outstanding Hacksaw Ridge and the thoroughly crap Denial; they were both overshadowed by last film I saw this month, the brilliant Moonlight – a film whose review I start writing the second I’m done with this.

Overall, a solid month. Saw some amazing movies and some real dross. But my count is looking good and healthy.

One month down, eleven to go.

Films seen this month: 60

Current count, as of 31st January: 60 of 365.

Owen’s 2015 In Film: Part 1 – Janur-hi-YAH!

In a brand new series, Owen will be taking a look at the films he’s seen during each month of 2015. The format will follow the same pattern as his A Horrorble Month article last year, breaking down the month by week, providing a review on one arbitrarily chosen film seen during that period.

by Owen Hughes (@ohughes86)

ouaticWelcome to my new series! I think I better start as I mean to go on, by apologising. I’m aware that this seems like a rather self-indulgent project. There probably isn’t actually even an audience for this sort of thing. I mean, who really gives a shit what I’ve been watching over the past 31 days?

However, at the start of 2015, our most prolific writer, Callum Petch, went on a short break which prompted me to start writing a bit more often for the main site. It made me remember that as well as reading about films, talking about films and of course watching films, I also used to enjoy writing about them too before I got so lazy and left all the heavy-lifting to Callum. So, basically, you can consider this an exercise in egotism. Read it if you desire, but I’m writing this series for no better reason than because I want to!

Exactly as I began 2014, so had it also ended with me watching a boat-load of South Korean movies. In between the fantasy films, extended edition Lord of the Rings films and Hobbit preparation, I’d managed to squeeze in a few Kim Ki-duk’s and one or two other Korean movies into December. I fully expected to carry on along the same trajectory during January 2015, given that the final film of the year that I watched was Hong Sang-soo’s In Another Country.

For one simple reason, that didn’t actually happen. Instead, partly because I decided early on in the year to re-watch Bruce Lee’s films for a retrospective I was planning on writing, I spent most of last month catching up on various martial arts flicks. Donnie Yen, Jackie Chan, one or two others; I accidentally became hooked on their films, nostalgia and Cantonese films in general. Add to that the fact I also ended up on an A.I. / sci-fi binge, and the flood of new releases I was actually interested in seeing at the cinema, there simply wasn’t time for any Korean films, sadly.

Anyway! I’m sure you’ll see for yourselves how my month turned out. On with the reviews…


Week 1: Thursday 1 – Sunday 4 January 2015

Thursday – Pinocchio (1940), AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (1997); Friday – Birdman (2015), Becket (1964); Saturday – Rapture (1965), Predator (1987); Sunday – I’m All Right Jack (1959), Big Hero 6 (2015)

austin powersOK, I’m aware none of those listed above could in any way be classed as martial arts movies. My year actually started with a Disney movie and a film I haven’t seen for years as I recovered from a New Year’s party hangover. Clearly, Mike Myers’ spy-spoof from the 90’s is not the best film listed there. Yet his puerile and immature sense of humour was exactly what I was looking for on New Year’s Day. It may not have aged particularly well; there’s a debate to be made over how good it ever was in the first place, I suppose! However, there’s no case to be made for how clever the film is, or how intelligent the jokes are, because it’s nothing more than one throwaway gag after another. Playing both the cryogenically frozen shagadelic British spy from the swingin’ 60’s awoken 30 years later in the hip 90’s, as well as his arch nemesis Dr Evil hell bent on holding the Earth to ransom for the princely sum of one million dollars, Myers is just very fun to watch. I used to love the Austin Powers films. Back in secondary school, me and my mates must’ve watched it and its sequel on VHS about a hundred times over and it never seemed to get any worse. I can look at it now with slightly more objective eyes, but it was still a hoot and it was somewhat surprising how it frequently had me laughing like an idiot as if watching it for the first time all over again.


Week 2: Monday 5 – Sunday 11 January 2015

Monday – Exodus: Gods and Kings (2015); Tuesday –  Passport to Pimlico (1949), Unbroken (2015), The Theory of Everything (2015); Wednesday – The Collector (1965), Manuscripts Don’t Burn (2013), The Big Boss (1971); Thursday – Taken 3 (2015), Fist of Fury (1972), Way of the Dragon (1972), Enter The Dragon (1973), Game of Death (1978); Friday – Alpha Papa (2013), The House of Usher (1960), Gremlins (1984); Saturday – Lost in Space (1998), The History Boys (2006); Sunday – PROJECT A: PART II (1987)

project a 2Obviously then, as you can see from the above, this is when my month really began. Having watched five Bruce Lee movies (six if you count the 40 minutes of the original Game of Death footage, or four if you discount GoD altogether) in little under two days during my final week off work over the Christmas period, I soon moved on to Jackie Chan’s back catalogue. Specifically a DVD I purchased for £2 on a whim back in December, Project A: Part II, Jackie’s follow up to his 1984 film. As well as being the star of this kung-fu comedy, he both wrote and directed it, and the influence of his idols like the Marx Brothers, Charlie Chaplin, Buster Keaton, Laurel & Hardy and so on are all over it. Just like they were doing for audiences 60 or 70 years before him, JC’s stunts here are both hilarious and genuinely thrilling. Like, in a similar way to Chaplin roller skating whilst blind-folded near a ledge in Modern Times, or Harold Lloyd dangling off a clock face in Safety Last, only with the danger and ingenuity increased ten-fold. Fighting off two men on a rickety construction, swinging off one bit whilst performing some amazing acrobatics off another bit, after swallowing a mouthful of chilli peppers, it is both excruciating to watch him put his life on the line for these stunts, and immensely entertaining. The plot to Project A: Part II is all over the place, the support characters are bland and the message (if it has one) is muddled, to say the least. But if it isn’t one of the best examples of Jackie’s talent at shooting comedic action sequences, then I don’t know what is.


Week 3: Monday 12 – Sunday 18 January 2015

Monday – Foxcatcher (2015), Wild (2015); Tuesday – The Ipcress File (1965); Wednesday – In Bruges (2008); Thursday – Whiplash (2015); Friday – 2001: A SPACE ODYSSEY (1968) (Steven Soderbergh cut); Saturday – Armour of God (1986), Armour of God II: Operation Condor (1991), Gremlins 2: The New Batch (1990); Sunday – American Sniper (2015), The 36 Crazy Fists (1977), Once Upon A Time In China (1991)

2001I don’t think I’ve written or talked about any other film for Failed Critics as often as I have done with Stanley Kubrick’s pre-moon-landing science fiction feature, 2001: A Space Odyssey. Just last week I included HAL in my A.I. In Film article. The week before I reviewed this exact cut on the podcast. It even made its way onto my Into ‘Stellar piece last year, never mind the Stanley Kubrick: Corridor of Praise we recorded two years ago. And yet, I could talk about it even more. The thing about 2001:ASO is, there are dozens of ways to interpret what happens throughout the course of the movie. Every time you watch it, you notice something new that you missed out on last time. Whilst this is certainly what I’d consider a positive aspect, it’s also something that prevents you from truly knowing the film intimately. Well, it does for mere mortals like you and I. For someone like Soderbergh, he managed to get to know Kubrick’s magnum opus better than most as he took it upon himself to edit the film and present the footage how he sees it, available to watch for free (legally) on his website. Rather than taking a knife to the masterpiece and tarnishing it forever, creating something new, he merely trimmed some scenes down, re-arranged the score, re-ordered footage and shortened the overall run time to present a feature that still prominently displays one of its most integral themes, albeit in a more direct format. Like the original, it still naturally progresses the acquisition of knowledge, displaying how ‘knowledge’ is a primary driver in the progression of mankind from ape to, erm, gigantic floating space infant. Plus, it’s actually quite refreshing in a way to only have to dedicate one hour and fifty minutes to the film, rather than over two and a half hours, and not feel like you’ve seen a lesser film.


Week 4: Monday 19 – Sunday 25 January 2015

Monday – Gravity (2013); Tuesday – [absolutely nothing]; Wednesday – CINEMA PARADISO (1988); Thursday – The Machine (2013); Friday – The Twilight Samurai (2002); Saturday – Legend of the Fist: The Return of Chen Zhen (2010), Iceman (2014); Sunday – Ex Machina (2015), Warriors Two (1978)

cinema paradisoI tweeted my ★★½  /  ★★★★★ Letterboxd review of Cinema Paradiso not long after writing it and it was met with what might be considered “controversy”. On a small, completely irrelevant and non-life threatening scale, of course. Still, it seemed to irk a handful of people whilst an even smaller amount nodded in agreement. I don’t know what to tell you or how to explain myself. It wasn’t like the film was an awful, sloppy, intolerable mess. It just seemed to play very heavily on a nostalgic vibe, of which appeared to be on a separate wavelength to me. The saccharine tone and tosh profundity left me stony faced and unaffected, but I’ve since been told the director’s cut (which adds another hour onto the whopping 155 minutes run time) makes it less mawkish. I’m not sure I could stand to watch it again as is, never mind with an additional 60 minutes on top of that, but that would definitely be the first issue I’d address if I were to improve the film (as if I’d know how to improve a film). It wasn’t all sickly-sentimental. Occasionally, even I couldn’t prevent my lips from raising at the edges into something resembling a smile, particularly during the triumphant final scene. It also managed to make me laugh sporadically throughout, but it never quite touched me on an emotional level which as far as I could make out was the only thing Tornatore’s movie was trying to do. Ergo, ★★½. Sorry.


Week 5: Monday 26 – Saturday 31 January 2015

Monday – Kingsman: The Secret Service (2015); Tuesday – [absolutely nothing again!]; Wednesday – The Pirates! In an Adventure with Scientists! (2012), Sabotage (2014); Thursday – THE ENIGMA OF KASPAR HAUSER (1974); Friday – The Road (2009); Saturday – Chinese Zodiac (2012)

kaspar hauserJeder für sich und Gott gegen alle (literally “Every Man for Himself and God Against All”) or as we know it here in the UK, The Enigma of Kaspar Hauser, came close to becoming my favourite Werner Herzog film last week. I’d been recommended it a year or two ago, but noticed that Film4 were holding a Werner Herzog Season and jumped at the opportunity to watch this (supposedly) true story of the 19th century German foundling. I’m going to review it in more detail on the podcast due out this week (look out for that!) but suffice to say, it’s bloody excellent. It took a certain degree of effort, patience and perseverance to get into it, as do most of Herzog’s best films, but it was absolutely worth it in the end. From the outstanding performance of its enigmatic (see what I did there) lead actor, Bruno S. (as he was credited) to the simply astonishingly well plotted story, it’s just magnificent. You can expect to see Heart Of GlassFitzcarraldo and Stroszek in next month’s entry to this series.


Phew! That’s it. I’m done. I’m only half joking when I say that I’m only writing this for my own personal benefit. If you’ve got any comments on the above, or if you want to talk about any of the other films I’ve listed then please leave a comment below or talk to me on Twitter. Until the end of February, adiós!

Owen Hughes: 2014 Reviews Part 1 – Jan-Jun

by Owen Hughes (@ohughes86)

I know technically that title doesn’t really make sense as I’m not about to post two-thousand and fourteen reviews, but it sort of rhymes. Following in my colleague Callum Petch’s footsteps with his top and bottom 10 movies of 2014 lists – and of course after the Failed Critics Awards winners were announced on our end of year podcast last month – I wanted to share my personal review of the last 12 months. Because… why not. It’s my film blog and I’ll cry if I want to. However, rather than provide a list of my favourite films, and given how much I enjoyed writing my Horrorble Month article back at the end of October, I wanted to adopt a similar format for a whole year in review.

As I mentioned in the top of that article, I watch what I would consider to be a lot of films. Indeed, from 1 January to 31 December 2014, I watched a total of 534 films. Not all of them good, either. In fact, exactly 250 of those I gave 3 stars out of 5 or less to. All the same, I just love watching films. Even the not-so-good ones. They’re worth it for the times you occasionally stumble across a film that thoroughly changes the way you think and feel about movies; about life; about, well, anything and everything, really. Films such as A Bittersweet Life, Ikiru, Poetry, The Great Beauty, The Great White Silence, The Act of Killing, Inside Llewyn Davis, Nashville……. A Bucket of Blood, even! All films that I watched for the first time in 2014, and all of which were astonishing in their own way and have left a heavy impression.

So, without further ado, I’m going to go through each month, listing my favourite 10 first time watches from each (in no particular order of preference) and discuss one of those that profoundly changed my opinion on films. For the sake of argument, I’m going to exclude those that were actually released in the UK in 2014 as I’ve talked about all those that I wanted to on the podcast. This is more of a “new discoveries” list. Also, like Callum, I will be splitting it over two parts (January – June, and July – December).


bittersweet lifeJanuary – The Yellow Sea (2010); A BITTERSWEET LIFE (2005); Brotherhood (aka Tae Guk Gi: The Brotherhood of War) (2005); The Housemaid (1960); Spring, Summer, Fall, Winter… and Spring (2003); Annie Hall (1977); The Informer (1935); The Hustler (1961); A Serious Man (2009); The Last Temptation of Christ (1988)

During our end of year awards podcast, James asked each of us what we’ve learned from films in the past year. Matt made a very salient point that one should always seek to broaden their horizons. Not to be afraid to try something new or different. It’s an opinion that immediately resonated with me as, if you can’t tell from the titles above, half of those listed are Korean movies. It was towards the tail end of 2013 I finally started to get into films by Korean filmmakers, but that carried on right through to 2014. Within four days of the new year, I discovered Kim Jee-woon’s beautifully unpleasant romantic gangster thriller, A Bittersweet Life. Something about it was so… different. So unusual. So extraordinary. I’d already seen films like New World, I Saw the Devil, Oldboy etc, all films that deal with violence and, to an extent, organised crime… but this? It blew me away. It married that familiar raw savageness with an astounding beauty as the remarkably talented high-ranking Lee Byung-hun (due to star in Terminator: Genisys this year) deals with the consequences of falling in live with his bosses girlfriend. It’s grim, unrelenting and astonishingly exquisite. I doubt I’ll see another film like it.


act of killingFebruary – The Thin Red Line (1998); THE ACT OF KILLING (2012); Poetry (2010); Yojimbo (1961); The Skin I Live In (2011); Rushmore (1998); The Tree of Life (2011); Howl (2010); Ran (1985); Synecdoche, New York (2008)

Regardless of how some folk wrote off Joshua Oppenheimer’s profoundly moving and downright incredible documentary as little more than torture porn (they couldn’t be more wrong if they tried) (oh, wait, they could as some critics who claimed that didn’t even watch it), The Act of Killing was very highly thought of here at Failed Critics. I like to think I can stomach quite a lot when it comes to violence in films; I’ve been watching 18 rated movies for as long as I can remember! But the atrocities that former executioner Anwar Congo and his team re-enact churned my insides. Not necessarily because of the brutality of them, but the way in which these Indonesian death squad members jokingly tell Oppenheimer and his crew about how they would execute people, and the fact they are so disassociated with it despite fully, honestly and cooperatively explain the acts committed is haunting and chilled me to the bone. Whilst clearly giving Anwar enough rope to hang himself with, it’s not just about showing up these people for the monsters they are. There’s a real journey being captured on screen and I have never been so satisfied with a resolution to a documentary in my entire life than I was when the ugly, unbearable truth forced itself out of Anwar’s every orifice.


ikiruMarch – K2: The Killer Summit (2012); Cutie & The Boxer (2013); The Stranger (1946); The Lady Vanishes (1938); Ai Weiwei: The Fake Case (2013); Mother (2009); IKIRU (1952); Throne of Blood (1957); eXistenZ (1999); The Mission (1986)

Before Film4 began their Akira Kurosawa season in February, the only movies of the acclaimed Japanese director’s that I’d seen were probably his most famous two, Rashomon and Seven Samurai. Both of which I’d liked, neither of which I’d loved. However, watching Yojimbo, Sanjuro, The Hidden Fortress, Ran, Throne of Blood and finally Ikiru in quick succession immediately changed my opinion on him. I finally saw what all the fuss was about. None changed my opinion quite in the same way as his tale of a boring old bureaucrat called Kanji Watanabe (played affectionately by Takashi Shimura) being diagnosed with terminal cancer. The title of Ikiru literally translates as ‘living’; poignant in so many ways. Of course, it’s poignant because Kanji is dying, but also because he comes to the realisation that he’s not yet done and still has some living left to do. It’s amazing to think that although it was made on the other side of the world and over half a century ago, it crosses any cultural divide to try and inspire people to make the most of their lives. To not waste away your time on this planet working for a faceless company that doesn’t care about you. Go places, experience things, meet people, love someone and have a good time. It’s a beautiful innocence that is neither saccharine, naive nor insincere. If it takes a dying man to inspire people to live, then so be it. It certainly seems more easy to accomplish than building a blue-meth empire, in any case.


32_Toni_Servillo_foto_di_Gianni_Fiorito_05313.JPGApril – Stoker (2013); The Foul King (2000); Shiri (1999); Desperado (1995); Attack the Gas Station (1999);  (1963); Breathless (2008); THE GREAT BEAUTY (2013); Badlands (1973); Volver (2006)

I watched Fellini’s  just under a week before sitting down to watch Paolo Sorrentino’s film that had somehow rather unbelievably beaten The Hunt to best foreign language film at the recent Academy Awards. There are certainly similarities between the two; they’re both Italian, quite existential and assess where one finds beauty in life. Albeit through Fellini’s it’s mostly through women, in Jep’s world (Toni Servillo) he finds it in the city of Rome. The film is mostly just about the retired critically acclaimed author Jep wandering around town, meeting friends old and new, seeing the world as if experiencing it for the first time. However, that is where the real beauty lies. Whereas I wasn’t quite as blown away by Fellini’s 1963 thought-provoking classic as I’d hoped to be, I was more absorbed in Sorrentino’s film. It has been labelled as pretentious in some of the reviews I’d read prior to watching The Great Beauty, and it’s easy to understand why, but it is as hilarious as it is contemplative. The clever writing appears to be very knowing; an exchange between Jep and a highly pretentious artist early on in the film, whereby she is completely demolished by Jep during an interview. Brought to tears when trying to describe the vibrations she claims to live for, it was one of the funniest scenes I’d seen all year. But that’s just Jep. The effortlessly cool persona that Toni Servillo brings to the roll meant I could’ve spent all day hanging around with him, walking the streets of Rome in the middle of the night, and I’m damn well sure I’d have never gotten bored.


the damned unitedMay – The New World (2005); Late Chrysanthemums (1954); Day of Wrath (1943); Out of the Furnace (2013); Metro Manilla (2013); THE DAMNED UNITED (2009); The Selfish Giant (2013); Short Term 12 (2013); The Exorcist III (1990); Age of Uprising: The Legend of Michael Kohlhaas (2013)

I am a red blooded male from Great Britain. Phwoar, women eh! Oooh I love well done steak, me. Football? Get in! And so on and so forth. OK, you got me, that’s a slight exaggeration… but I do love football. And I am from the UK, therefore I know about the greatest manager England never had, the multiple league and cup winning legend that was Brian Clough. I was also aware of his ill-fated spell as Leeds United manager in the 70’s and that a few years ago, a film starring one of Britain’s greatest modern actors Michael Sheen was in it. Even so, I wasn’t that bothered about watching it. Don’t get me wrong, sports movies are all well and good, but they’re hardly ever worth going out of your way for. A rise, a fall and a rise again is probably one of the most over-used plots within the genre and that’s all I expected from The Damned United. How foolish I was. It took a train journey to London with nothing else on iPlayer worth downloading to my tablet than Tom Hooper’s movie before I finally gave it a chance and I absolutely loved it. Obviously, it’s not a bog standard sports movie so much as it is a short biopic tracking a rivalry only one half is aware of. I’m sure it probably takes a few liberties with some facts, but it was one of the finest acted dramas I watched all year. Sheen is somehow even better than he was in Frost/Nixon. He’s such a fantastic actor and is supported by a great cast of British/Irish talent including Colm Meaney, Timothy Spall, Jim Broadbent, Giles Alderson, Maurice Roeves, Stephen Graham and plenty of others. The direction is equally as impressive but it’s what was achieved by the actors involved that really left a lasting impression.


peppermint candyJune – Punishment Park (1971); The Man from Earth (2007); The Show Must Go On (2007); PEPPERMINT CANDY (1999); The Borderlands (2013); You’re Next (2013); La Haine (1995); Green Fish (1997); Filth (2013); Save the Green Planet! (2003)

Back to South Korea again, I’m afraid, as I look at one of my favourite films from Lee Chang-dong, a man who over the course of the last 12 months became one of my most highly rated filmmakers working today. Although, I say “today”, between his work for the Korean government, it did take the multiple award winning 60 year old 13 years to release five films, with the last of those released in 2010. It was with each new film that I found myself in complete adoration of him. From Poetry back in February, to Green Fish and then Peppermint Candy in June, I knew I had found a director who had never made anything less than an astonishing film. In fact, I started to watch Peppermint Candy straight after finishing Green Fish, but stopped eight minutes in for two reasons. Firstly, I wanted to really give my full attention to it, as I knew I would still be thinking about Green Fish; and secondly, because I wanted to wait until my wife was home so she could watch it too. It struck me as a movie that was better shared and I think it was worth the wait. Peppermint Candy was just about perfect on almost every scale. From the reverse-linear narrative that begins with a man killing himself and working backwards through his life, chronicling his various exploits in love and work. It’s so layered and has such depth that it’s almost as if it’s the story of a real person and not a work of fiction. A moment towards the beginning of the movie where Yongho (Sol Kyung-gu) meets a woman he hasn’t seen for a long time is as emotional and powerful as anything you’re likely to find anywhere else. Combined with the expertly structured narrative, the ingenuity of the story and the gorgeous cinematography, Peppermint Candy firmly established itself as one of the greatest movies I have ever seen. It’s almost inconceivable that it’s not even Lee Chang-dong’s best film!


Thanks for reading! I’ll be back soon to conclude the series looking at my favourite films from July through to December.