T2 Trainspotting (2017). 12.11.25. Spoilt by the constant self-conscious references to the first (classic) film, and the first half was significantly better than the second. Despite this, and the female cardboard cut-outs, there is lots to enjoy, and the collage of the primary schoolboys playing football (“A perfect day”) is inspired. 7/10
A thousand and one (2023). 19.11.25. Anchored by an electric central performance by Teyana Taylor: an unchanging character in a city rapidly “cleaning itself up” (aka undergoing a form of ethnic cleansing in which poor people / ex-cons are not tolerated). Well-paced, with a streak of originality and a lot of heart. A neat little twist near the end. Recommended. 8/10
Wagon master (1950). 25.11.25. No-frills, entertaining ‘road trip’ Western. 7/10
Suspicion (1941). 2.12.25. A light and breezy first half, then progressively more claustrophobic. Cary Grant seems completely miscast as the mysterious husband (with barely changing facial expressions, he seems more like a mannequin than a flesh and blood man, although was that Hitchcock’s intention?), and the final third seems rushed - especially the finale itself, which feels sloppy (but typical of films of that era). A fine film despite these flaws, and Joan Fontaine shines. [After writing this, I see that JF won the Best Actress Oscar for her performance.] 8/10
Curse of the cat people (1944). 10.12.25. This works - surprisingly - both as a children’s film and intelligent adults’ film. Each group would arguably get something different out of it. The child actress is delightful and upstages most of the adults. The short length helps make it punchy and involving throughout. Charm galore, and worth watching. Note: I did not watch the prequel Cat People before seeing this film, and intend to do so at a later date. 8/10
3 faces (2018). 17&18.12.25. A drama, but with the actors and director playing themselves. A sort of road trip film with a hypnotising quality. Watching the photography and hearing the dialogue really makes one want to go to Iran. 7½/10
The holdovers (2023). 22.12.25. Hollywood, yes, clichéd schmaltz at times, yes, but also awash with genuine charm, warm-heartedness and subtlety. This will be a classic Christmas film. 8/10
Sentimental value (2025). 13.1.26. CINEMA. An acting masterclass from the three leads and full of poignant, moving scenes in the most subtle and least contrived way possible. It felt a touch listless and heavy-going in the second half and the thematic whole takes a little thought to fully ‘get’ (although the latter issue is not really a flaw). I now see that the actress playing Nora played the lead role in The Worst Person in the World (which I described in my review of that film as an astonishing portrayal). Just scrapes 8½/10 on account of the performances.
The damned don’t cry (2022). 15.1.26. Enhanced by a brilliant performance from non-professional Aicha Tebbae, this is well worth a watch despite seeming a touch muddled at times, and a rather contrived ending. 7½/10
Marty
Supreme (2025). 16.1.26. CINEMA. A very good, powerful, intense film. The 1950s
New York characters and setting seemed very authentic, and Chalamet is
brilliant as are the supporting cast. One or two things didn’t quite make sense
to me, either because I missed a line or two due to the music overlapping the
dialogue, the film simply wasn’t clear, or I’m a bit slow! The ending too could
have been a bit more cleverly thought out. Overall though a fine piece of work.
8/10
I also started watching the following films, but they didn't interest me enough to keep watching.
Godland (2022). 17&18.11.25. Watched half.
Benediction (2021). 26.11.25. Watched half.
Oppenheimer (2023). 11.1.26. Watched the first 34 minutes only. It feels like an extended trailer, a dialogue of soundbites vying for attention with stupid incidental music. A similar directorial style to JFK or Dunkirk: I now see that the latter film is by the same director (I am blissfully ignorant of very modern films). It might have become more watchable, but decided to cut my losses.
