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Best of the half– fuck, what a year it’s been so far… year

2020 has certainly been a year for the history books. True, more people died in the early decades of last century, but that did result in actually intelligent people being in charge for a while. But then old habits kicked back in and the British once again mistook privilege for intelligence and the US once again mistook the possession of wealth for intelligence, and so both countries now have the worst and most inept governments in living memory.

As if that weren’t enough, there’s the pandemic. I’ve spent most of this year so far cooped up indoors. And all my holidays plans – conventions in Stockholm and the Åland Islands – were cancelled; and ones later this year – in Reykjavík and Copenhagen – may also come to naught. You would think that working from home and not socialising would mean I’ve spent the last six months readings tons of books and watching shitloads of films. Sadly, no. Which has made this best of the half year both easier and harder – easier because there’s less to choose from; harder because there were no real stand-outs, just an even split between good and bad. But here goes, anyway…

books
To date, I’ve read 49 books, of which ten were rereads. Female authors accounted for 43%, and male authors for 47%. The remainder were graphic novels and non-fiction. Half were by British authors, a third by US authors, and the rest from Sweden, New Zealand, Israel, France, Belgium and Canada. The oldest book I read was first published in 1923, and the most recent was published this year. The best five books read in 2020 so far are…

1 The League of Extraordinary Gentlemen: The Tempest, Alan Moore & Kevin O’Neill (2019, UK). From a relatively easy to understand premise – a group of “superheroes” taken from late Victorian/early Edwardian fiction – this extended series has turned increasingly metafictional as it has progressed. And every piece of British fiction sooner or later references Shakespeare. And if you’re going to do that, and you’re genre, why not go for the big one, The Tempest? (It’d be King Lear for other genres, I suspect; but A Comedy of Errors for, er, comedy.) This latest installment of The League of Gentleman doesn’t just up the metafictional states, it also functions as a history of UK comics. I can understand the motives behind this – and I’m well aware it’s something Moore has tackled many times in other properties – but certainly the breadth of British comics doesn’t seem so well-known – US comics: superhero comics … UK comics: everything from the Bash Street Kids to Dan Dare to Judge Dredd to Susan of St Bride’s to Lord Peter Flint…

2 Joanna Russ, Gwyneth Jones (2019, UK). I’ve been a fan of Russ’s fiction for many years, and a fan of Jones’s writing for considerably longer, and in hindsight the two have a great deal in common. The science fiction of both is intensely feminist, although in Russ’s fiction it feels more combative – but claiming that’s a consequence of its time is too easy an answer, because while Russ may have been earlier, the war is far from over, even 65 years after the publication of Russ’s first story in 1955. Jones provides an overview of Russ’s life, and then discusses her fiction, both short and long. This book does what all good books of its type should do: it makes you want to go back and revisit the subject’s works. I finished Joanna Russ wanting to reread Russ’s stories and novels. Job done.

3 Unholy Land, Lavie Tidhar (2018, Israel). Tidhar has spent a lot of time exploring alternative Israels and, sadly, history has given him plenty of plausible alternatives to explore. In Unholy Land, the Jews are offered land in Uganda by the British – which really sort of happened – and they accept the offer and call it Palestine. But Tidhar can never tell a straight alternative history, there has to be some sort of spin. In Unholy Land, a science fiction author returns to this Palestine, except he’s not from that reality, and his presence changes things. For all that this is not new territory for Tidhar, it’s good stuff. I’m also pretty sure one of the stories written by the sf author in the novel is the first sf story by Tidhar I ever read.

4 Metropolis, Philip Kerr (2019, UK). It’s not just sentimentality that earns this novel its spot in this top five  – it’s the last of the Bernie Gunther books, as Kerr died the year before it was published – but as the last book in what has been an excellent series, and one of the better entries in that series, it definitely earns a place. Yes, there is a link with Lang’s film, but it’s pretty tenuous (Gunther is interviewed by Thea von Harbou, Lang’s scriptwriter and wife, and suggests the plot which becomes M). Metropolis covers Gunther’s career in its very early years, specifically an investigation into two serial killers, one who kills prostitutes and one who kills WWI veterans, and it’s excellent stuff. If you’ve not read these books, you really should give them a go.

5 Bridge 108, Anne Charnock (2020, UK). This is previously-mined territory for Charnock as Bridge 108 is set in the same universe as A Calculated Life and The Enclave. In fact, the opening chapters of the novel were previously published as The Enclave. Charnock presents a future UK suffering from both climate change and the migrant crisis, but also a world split into haves and have-nots where the distinguishing item is a brain chip allowing direct access to, well, something probably not unlike the internet – but without the trolls and fake news and shitstorm social media. Bridge 108 is a bit like Law and Order – a format I’ve used myself – as the story is carried forward from one character to the next. Science fiction which interrogates our world is becoming increasingly rare – indeed, science fiction which interrogates its own world seems on the wane – so we should value such novels when they do appear.

Honourable mentions: The Green Man’s Foe, Juliet E McKenna (2019, UK), a trunk novel rewritten as a sequel to The Green Man’s Heir, and while it’s a bit, er, bitty, it’s a fun read and a good instalment in a series that deserves to continue; The Real-Town Murders, Adam Roberts (2017, UK), the Hitchcock connection, to be honest, is a bit of a red herring, as is the crime which opens the story, but this is a typically Robertsian exploration of political conflict between two worlds, in this case the real and the virtual, which on reflection seems particularly British; A City Made of Words, Paul Park (2019, USA), a short collection of metafictional pieces by an author who probably writes the best prose of any US genre writer currently being published; The Sinister Mystery of the Mesmerizing Girl, Theodora Goss (2019, USA), the third and, sadly, final, volume in the adventures of the Athena Club, a female-only group of fictional characters from Victorian literature, and, while it doesn’t celebrate the metafictions it explores, this trilogy is pleasingly metafictional; Beneath the World, a Sea, Chris Beckett (2019, UK), Ballard meets Greene in strange adventures in an alien zone in South America, which succeeds because it’s on strong on atmosphere and appropriately vague on rigour; Shardik, Richard Adams (1974, UK), after rabbits Adams turned to secondary-world fantasy, and managed something that is more literary than is common for the genre, even if it wasn’t published as genre per se, but is just as grim and bleak.

films
I bought a dozen Blu-rays with me when I moved here and I’ve still not watched them all. Admittedly, one is 17.5 hours long, so it may be a while yet before the shrinkwrap comes off that one. I’ve not watched any Swedish TV this year, but then I was never a fan of Midsomer Murders. But I have been binge-watching several sf TV series. After finishing off Stargate SG-1, I moved onto Quantum Leap. And there was a season of Space: 1999 in there somewhere as well- and that definitely didn’t match my fond memories of it. There were also some newer series, such as Watchmen, Avenue 5 and For All Mankind, of assorted quality. And then there were the films…

This year, I’ve seen 198 films, so slightly up on last year. Two-thirds were new to me. A third were from the US, slightly less than a third from the UK, and the rest from Argentina, Australia, Belgium, Brazil, Canada, Chile, China (including Hong Kong), Denmark, Estonia, Finland, France, Germany, Greece, India, Iran, Israel, Italy, Japan, Lebanon, Morocco, New Zealand, Norway, Russia (including the USSR), South Africa, South Korea and Sweden. China, India and Italy were the top three among those – that’s a lot of Jackie Chan and Shaw Bros movies, Bollywood films and gialli. The best films – and one “limited event series” – I watched in 2020 so far are…

1 Blue, Derek Jarman (1993, UK). I remember watching some of this back in the 1990s – I’m pretty sure I did, although I left the UK in March 1994 and it was broadcast on Channel 4 in September 1993, which would have been my only chance to see it… So perhaps I didn’t it. I certainly knew of it. And at that time I likely thought it hugely self-indulgent – 79 minutes of a single shot of International Klein Blue? But I’ve now watched it several times, and I find it an extremely moving film. Plus, I could listen to Nigel Terry’s voice for weeks.

2 Capernaum, Nadine Labaki (2018, Lebanon). I’m surprised I’d not come across this film sooner. It won the Jury Prize at Cannes, and the name Labaki is not unknown to me. Admittedly, it’s getting harder and harder to find the sort of films I like these days. New releases on streaming services seem to dominate social media, and Amazon’s search engine is notoriously useless. And I no longer subscribe to either LoveFilm (which is defunct anyway) or Cinema Paradiso, which was one way of finding new films that might interest me… Fortunately, I stumbled across Capernaum on Amazon Prime, a film about how the West has comprehensively fucked up the Near East, as told through the story of a twelve-year-old Lebanese boy who stabs a man who buys his eleven-year-old sister as his wife (and she dies in childbirth), and the boy wants to sue his parents for having him. This is harrowing stuff, and a film that should certainly be better known.

3 In Order of Disappearance, Hans Petter Moland (2014, Norway). Skarsgård plays a taciturn Swede living in Norway who has just been made Man of the Year of his small town. Then his son is found dead of an overdose, except Skarsgård is convinced he never touched drugs. (He was actually murdered by a drug dealer.) Skarsgård investigates and works his way up the drug cartel hierarchy, killing off each person he finds, and inadvertently kicking off a gang war between the Norwegian drug dealers and a gang of Serbian drug dealers. This is the blackest of comedies and it’s perfectly pitched. The head of the Norwegian gang, a pony-tailed Vegan, is an excellent comedic character. Bizarrely, some of the characters spoke Swedish, some Danish, and the rest Norwegian. Which resulted in a somewhat weird viewing experience.

4 Twin Peaks: A Limited Event Series (2017, USA). I’ve been a fan of Twin Peaks since it was first broadcast on British TV. The one thing I never thought it needed was a third season. And, to be honest, I’ve sort of gone off David Lynch’s movies. So expectations were mixed when I started watching Twin Peaks: A Limited Event Series, as it was branded in the UK. And… The second season of Twin Peaks ended in a very strange place, and this third season takes that and runs with it. It’s almost impossible to summarise or make sense of the plot. Most of the original cast return, including several who had retired, but especially notable in this season was the cinematic quality of camerawork. The original two seasons of Twin Peaks were television soap opera, and both looked and felt like a – somewhat bizarre, admittedly – television soap opera. But the third season often looks and feels like a string of arthouse films. There’s that famous theme tune, and lots of familiar faces, but watching Twin Peaks: A Limited Event Series is a bit like watching the entire oeuvre of an alternate world David Lynch.

5 Gloria, Sebastián Lelio (2013, Chile). A middle-aged divorcee decides she has spent long enough on the shelf, and begins to enjoy a social life. She meets a man of the same age, and they start seeing each other. But he’s still tied to his kids, and he can’t let them go and enjoy their relationship. Middle-aged women are not a common subject of movies – and particularly not, you would have thought, in South America – so such films should be treasured when they do appear. It helps that Gloria is so good. It’s mostly a one-hander, but Paulina García is excellent in the title role (and won a Golden Bear for it). Again, like the other two non-Anglophone movies above, this was a lucky find. I’m glad I found it.

Honourable mentions: Enter the Fat Dragon, Kenji Tanagaki & Wong Jing (2020, China), highly entertaining kung fu action/comedy that starts in Hong Kong then moves to Tokyo; Thale, Aleksander Nordaas (2012, Norway), two nobodies who clean up after deaths get more than they bargain for when they discover a hulder, a Scandinavian forest satyr, in a dead man’s bunker; Hara-kiri: Death of a Samurai, Miike Takashi (2011, Japan), a remake of a 1960s film about a samurai forced to commit hara-kiri and the man who avenges his death; Ali Zaoua: Prince of the Streets, Nabil Ayouch (2000, Morocco), a movie with an amateur cast of Moroccan kids who decide to give one of their own a fitting funeral after he dies in a senseless gang fight.

albums
No albums, I’m afraid. I’ve spent most of the last six months listening to playlists on Spotify. Some I created myself, some myself and colleagues put together, and others I found on Spotify. If I had the time, I could probably pick five best songs I’ve stumbled across in 2020, but that would be a monumental task and I don’t track the music I listen to like I do the films I watch and the books I read. But perhaps by the end of the year, I may have found some albums new to me in 2020 worthy of a top five.


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Movie roundup 2020, #7

I’ve been trying to catch up on all the blog posts I should have written and posted over the last few weeks. I’m not sure what’s prompted this sudden burst of productivity. Perhaps it’s because the weather has turned and it’s been (mostly) sunny for the last week. Unfortunately, at this time I also have to contend with the sun rising at you-must-be-fucking-joking o’clock and setting at stupidly-late o’clock …

Reservoir Dogs, Quentin Tarantino (1992, USA). I don’t remember where and when I first saw Reservoir Dogs, but it has certainly not survived a twenty-first century rewatch. I’d thought Pulp Fiction much more racist than I remembered it, but Reservoir Dogs is much worse. Tarantino’s characters as written spend most of their time spouting racist slurs as if that’s some sort of badge of authenticity. It certainly makes them authentically racist. Most of the dialogue and the acting is over-the-top, which doesn’t play well with the stripped back locations and simple camera-work. In those respects – framing and blocking – Reservoir Dogs works well. And Tarantino clearly had the smarts to hire a good DP. But Tarantino’s films are notorious for their stories and snappy dialogue and, oh dear, that does seem to be somewhat unearned on the strength of this film. Best forgotten.

Chaudhvin Ka Chand, Mohammed Sadiq (1960, India). A classic bit of Bollywood starring Guru Dutt. Two men fall in love with the same woman. Unfortunately, this is Muslim Lucknow, and one of them is married to the woman and the other didn’t realise she’s his best friend’s wife. There’s plenty of comic scenes, courtesy of Johnnie Walker – yes, that really was his screen name, and he had a long and successful career – and Dutt proves he’s the “Orson Welles of Indian cinema” just as much as an actor as a director. This is classic Bollywood, perhaps not up there with Pakeezah or Mughal-e-Azam, but certainly one that should be on every Bollywood fan’s watch list.

Armour of God, Jackie Chan (1987, China). I’d thought in Andrzej Żuławski’s L’amour bracque I’d found the most 1980s film ever, but Armour of God runs it a close second. The former qualified because its cast robbed a bank in shoulder pads, Armour of God, however, features some concert scenes that are even more 1980s than I remember the 1980s actually being. None of which has anything to do with this plot. There’s this suit of armour that was involved in a fight between good and evil, and a guy who is trying to collect it all, and Chan and his partner are sort of hired to find the last few pieces of it in order to prevent its misuse by a bad guy. Like most Jackie Chan films, Armour of God is a string of cleverly done fight scenes, bad dialogue, cheesy romance and relentless action. It’s a formula that’s produced many entertaining Hong Kong movies, but the presence of Chan at the centre of it does give them that little bit extra.

In Order of Disappearance (AKA Kraftidioten), Hans Petter Moland (2014, Norway). I mentioned this film to my mother and she said, “It’s brilliant!” and admitted she’d even recorded it so she could watch it again. Stellan Skarsgård’s son works at the local airport and is murdered one night by gangsters who thought he’d stolen some drugs. True, he’d been helping a friend smuggle in drugs, but he’d not stolen any. He wasn’t an addict but apparently died of an overdose. Skarsgård doesn’t believe this and investigates. And works his way up the drug dealers’ chain of command, killing everyone who had a hand in his son’s death. The drug dealers think a rival Serbian gang is muscling in on their territory and inadvertently kick off a gang war. Excellent film. And slightly weird for me as Skarsgård speaks Swedish throughout, and different bits of the Danish and Norwegian were sort of intelligible. Definitely check it out.

Hara-Kiri: Death of a Samurai, Takashi Miike (2011, Japan). After my last post’s disappointment with Miike, he goes and remakes a Masaki Kobayashi film from 1962, which is highly regarded, and produces something that is arguably better than the original (which, admittedly, I’ve not seen). A young ronin asks permission to commit seppuku in the palace courtyard of a lord, hoping he will be turned away and given money instead – a common practice. But the lord’s head samurai calls the ronin’s bluff, and he is forced to commit suicide with a bamboo blade, having already pawned his sword. Some months later, another ronin turns up and makes the same request. Flashbacks explain that the previous ronin was his son-in-law, and he holds the lord’s samurai responsible. This was excellent – gripping, violent, excellent fights scenes, sympathetic protagonists… Everything you could want in a samurai film. Worth seeing.

Hitch-hike, Pasquale Festa Campanile (1977, Italy). The title pretty much tells you the story. And there are no doubt a dozen films with the same title and plot. A couple holidaying in some canyons on their way home pick up a hitchhiker who proves to be a violent criminal on the run. He takes them hostage and forces them to drive to Mexico. Although set in the Us, the film was actually made in Italy – but it doesn’t long to get used to American set dressing and Italian dialogue in giallo, or even well-known UK or US faces seemingly speaking fluent Italian. The star here is Franco Nero, an actual Italian, who at the height of his career was probably as good-looking as John Phillip Law. The villain, however, was played by a Z-list US actor dubbed into Italian. Meh.

The Fox and the Hound, Ted Berman, Richard Rich & Art Stevens (1981, USA). This was apparently a hand-over film for Disney, when the Nine Old Men, Disney’s original team of animators, retired and passed the torch to a new generation. Unfortunately, the two generations argued over the story for this film, resulting in something even more mawkish than usual. The story is a Disney staple – kids from opposing sides grow up together, are forced to confront their differences once grown, manage to put them aside after a dangerous situation shows their hearts are in the right place. It’s such an American lesson. And completely unsupported by US history or national character. In this case, one kid is a dog and the other is a fox. They play together as pup and cub. The dog hunts the fox once adult. Fox helps save dog and his owner from a bear. Everyone lives happily ever after. sort of. Not one of Disney’s best.

The Incoherents, Jared Barel (2019, USA). Lead singer/songwriter of an alt rock band packs into because he can’t handle the uncertainty. Twenty-five years later, he has a mid-life crisis and decides to “put the band back together”. It’s never that easy, of course. But he persuades the others to follow his dream, they get some small online interest and perform a few well-reviewed gigs. The film is good on the the difficulties in succeeding in a greatly changed industry and market. Other than the giant conglomerates, culture in the twenty-first century has once again become a cottage industry, and The Incoherents makes a good fist of showing the perils, the work required, and the limited success available that entails. Of course, there’s a big showdown at the end, but its results don’t follow the usual Hollywood formula. Not bad.

Project A I & Project A II, Jackie Chan (1983 & 1987, China). Chan plays a sergeant in the Hong Kong Maritime Police, called, of course, Jackie Chan. Or was it Kevin? Might have been both. Pirates and corrupt businesses have Hong Kong tied up. The Marine Police are disbanded after one too many fight with the regular police and subsumed into the latter. This includes Sergeant Jackie Chan. He impersonates one of the business men doing, er, business with the pirates, infiltrates their lair, and defeats him, with the help of his Marine Police friends and the regular police. The sequel wraps in mainland politics, when Chan is given command of a Hong Kong district whose previous inspector was on the take. Chan gets involved with Kuomintang agents (coincidentally female) while trying to take down a gangland boss. The first film is best-known for a twenty-metre fall by Chan from a clock tower; the second features a climactic battle at a chili-drying factory and on a giant bamboo stage. Excellent stuff.


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Moving pictures 2018, #18

I managed to crack off a few from the 1001 Movies you Must See Before You Die list recently. So to speak. And ended up with an unexpected entry on my best of the year list…

The Heartbreak Kid*, Elaine May (1972, USA). I think I’ve said before that some of the picks for the 1001 Movies You Must See Before You Die are, quite frankly, baffling, and this is certainly one of them. There you are on your deathbed, and you’re thinking about the movies you wished you’d got around to seeing… and a smug comedy about a man who abandons his wife on their honeymoon to run off with a younger, and WASPier, woman, with no guarantee of a relationship, can hardly be near the top of the list. True, this is a Neil Simon script, although I’ve never really understood his appeal, and a female director, and it’s a very American Jewish story but… Charles Grodin is an up-and-coming sporting goods salesman in New York. Like every young man his age, Jewish or Gentile, his life revolves around relationships with women. He meets a young woman, also Jewish. They get married. And go to Florida for their honeymoon. Where Grodin meets Sybill Shepard. He splits with his wife and follows Shepard back home to Minnesota, declares his undying love, and eventually persuades her father to let him marry her. At which point he realises he has given up his life and culture for something he never really understood and cannot relate to. And, to be honest, it’s hard for the viewer to care. The story is so universal the Jewish elements seem almost irrelevant. They could, in fact, have applied to any self-identified cultural group in the US. True, the Minnesotans’ (#NotAllMinnesotans…) antisemitism is laid bare as the plot unfolds – and the fact of its existence likely comes as little surprise to anyone who watches this film. It’s like the old bloke at bus stop who complains that there were no black people in the UK when he was growing up. He’s a racist; he’ll always be a racist. That’s hardly a twist ending.

Zero Kelvin*, Hans Petter Moland (1995, Norway). This is much more like a candidate for the 1001 Movies You Must See Before You Die list, a Norwegian film set in the 1920s and filmed in the Arctic Circle. A poet in Oslo signs a contract to assist a pair of trappers in Greenland. He ships out there, and meets them – one is a taciturn scientist-type, the others is a rough-and-ready alpha male type. The poet and the alpha male type do not get on very well. The former is friendly with the dogs, the latter mistreats them, because, he claims, if your life depends on them then they’ll respond better if they fear you. A common excuse used by psychopaths. Their – er, the poet and the alpha male, that is, not the dogs – relationship has its ups and down, partly mediated by the scientist. And embalming alcohol. But it all goes horribly wrong, as things do, and their hut burns down, the scientist dies, and the two head off across the arctic waste to the nearest settlement. It’s all pretty intense stuff, and the scenery – it was filmed on Svalbard – is astonishing. After The Heartbreak Kid, this is definitely a film that belongs on the 1001 Movies You Must See Before You Die list. And Stellan Skarsgård as the trapper is on top form. Worth seeing.

Rust and Bone, Jacques Audiard (2012, France). I’m pretty sure I stuck this on my rental list after seeing a trailer on another disc. Having now seen it, I wonder what it was in the trailer which persuaded me to add it to my list. It’s good film, there’s no doubt about that, the sort of dysfunctional romance the French do so well (in fact, they’re probably the only country to have made a genre of it; indeed some French directors have made entire careers out of it). Matthias Schoenhaerts is a single father with a young son, a drifter and unemployed, who ends up in Antibes. Where he gets a job as a bouncer. Marion Cotillard is a trainer at a marine world, working with orcas. She likes to go out dancing, but gets into a fight at the night-club where Schoenhaerts works. He intervenes, and ends up driving her home. Soon after, there’s an… accident at the marine world, and Cotillard loses both her legs. Her life falls apart, and just about the only person who doesn’t reject her is Schoenhaerts. She accompanies him as he tries to make money bare-knuckle fighting, and thanks to his support she starts putting her life back together. It is, as I said, very French. A well-acted drama, with two good leads, and if not a cheerful story then a well put together one.

Science Fiction Volume 1: The Osiris Child, Shane Abbess (2016, Australia). I’ve no idea where I came across mention of this movie, but I hadn’t known it was Australian until I came to write this. Certainly there are no clues in the film, and all the cast speak with American accents. I have to wonder about that title, however. Science Fiction Volume 1? Although it was apparently retitled Origin Wars in Ireland. For, er, reasons. But that original title has to be a hostage to fortune. I mean, this is bog-standard space opera – in science fiction terms – although the film-makers have done a good job in realising it on screen. A pilot for an off-world military contractor finds himself trapped on Earth when his fighter is shot down, and he must travel to a nearby city to rescue his young daughter. He is captured by an escaped convict, and the two form an unlikely alliance. And there are these genetically-engineered creatures from the prison the guy escaped from, which are out to kill everyone. The Osiris Child‘s biggest problem was that it couldn’t decide what it was: The Force Awakens or a Mad Max movie. It tried for both. It didn’t help that the villains of the story – the genetically-engineered creatures – looked like something out of Dark Crystal. Having said that, there was nothing bad about it. It felt like a mostly unoriginal sf novel that was quite well-written. The special effects were good, the mise en scène effective, the acting quite good… but it all added up to bits and pieces seen before. The director had tried to mix things up by adding a prologue and epilogue, making the film’s main narrative a flashback, but it didn’t quite work. All the same, I’ll keep an eye open for Volume 2.

The Rapture*, Michael Tonkin (1991, USA). Mimi Rogers plays a telephone operator who enlivens her humdrum existence by picking up couples with her partner and engaging in sex. But then one day she is accosted by a pair of earnest young Christian door-knockers, and converts. She converts acquaintance David Duchovny, and the two marry and move away and have a little girl. Some years later, Duchovny is killed when an employee goes postal, so Rogers and kid move to a national park and start living rough. But, convinced the Rapture is near, Rogers kills her daughter. But she cannot kill herself, so she is arrested and put in jail. So far, so humdrum. There are countless stories about people finding God, losing God, finding Him again, losing him again, whatever. And it’s dull as shit. Especially to an atheist. Despite Rogers’s excellent performance, and the generally well-made nature of The Rapture, I’d have written it off as a well-played but uninteresting drama that failed to make a cogent point, except… Tonkin takes it all the way. He totally commits to his concept. The actual Rapture takes place, and Rogers ends up wandering a strange empty wasteland. Her daughter tries to persuade her to forgive God, but she refuses. It’s not unknown for films to take a sudden turn in the final act which totally redeems what has gone before. And, to be fair, the title was probably a big clue. But I hadn’t actually expected it, and it really did make the movie. I suspect it deserves its place on the 1001 Movies You Must See Before You Die list. Worth seeing.

Dunkirk, Christopher Nolan (2017, UK). I’m not a Christopher Nolan fan. I thought Memento was brilliant, but nothing by him since has impressed me. Interstellar, his film most likely to appeal to me, looked fantastic in parts, but was a horrible mess. Having said that, he’s the nearest thing Hollywood currently has to an auteur, and is successful and powerful enough to pretty much pick his own projects and do them the way he wants to. Which brings us to Dunkirk, a film I had every intention of avoiding. In these days of Brexit, the last thing I wanted to watch was some luvvie-heavy depiction of past glories as some sort of motivational mandate for our current economic death spiral. But I ended up watching it anyway. And it is completely brilliant. Seriously. It has no plot. It’s just the day of the BEF’s evacuation from the beaches of Normandy in mind-numbing and brutal detail. Yes, there are luvvies in it, but not that many; and they don’t have character arcs or narratives, or even overplay their parts. But it’s all so solid on the details – you have guys on fishing boats wearing ties! It doesn’t need to editorialise about the events, they are their own commentary. I don’t how much of the audience were familiar with the actual events, although I suspect most thought of Dunkirk as some sort of British success, which in actual fact it was the final indignity of a failed campaign by the British Expeditionary Force in France. It’s nothing to be proud of. Our army was so badly prepared, they fled in retreat. And we had to use fishing boats to rescue them. “Dunkirk spirit” means failing so badly we have to rewrite history in order to make it a victory. Nolan stitches together a variety of tales from the evacuation, and presents them in convincingly accurate detail. He’s not making a point about Dunkirk and British spirit. He’s just showing what happened. There’s no through-line. I tweeted while watching Dunkirk that it may well be the film of the early twenty-first century as it’s pure spectacle, with no story just pure historical voyeurism – and given the present fad for finding narratives in current affairs, that’s refreshingly contrary. Oh, and the film looks absolutely gorgeous too. I might even invest in my own copy on Blu-ray…

1001 Movies you Must See Before you Die count: 899