I finally found the title for this blog I actually like, – it’s now called Cinegmatic, and I think it’s gonna stick.
Over the course of the year 2017: 433 notes were posted in this blog; number of feature films with registered impressions reached 1741 (160 new ones; +10.1%), number of short films reached 458 (152 new ones; +49.7%), and I added 43 new entries to the list of all the shows I’ve seen, thus bringing their total number to 276 (+18.5%).
13 of the movies watched I have seen before but failed to leave a note about it. Most of them were really good, but some turned out to be a disappointment:
Legally Blonde by Robert Luketic; Closer by Mike Nichols; Taxi Driver by Martin Scorsese; Death Becomes Her by Robert Zemeckis; Naked Lunch by David Cronenberg; Pleasantville by Gary Ross; Night on Earth by Jim Jarmusch; The Tuner [Настройщик] by Kira Muratova; The Stray White and The Speckled [Чужая белая и рябой] and Black Rose Is an Emblem of Sorrow, Red Rose Is an Emblem of Love [Черная роза – эмблема печали, красная роза – эмблема любви] by Sergey Solovyev; Il buono, il brutto, il cattivo [The Good, the Bad, and the Ugly] by Sergio Leone; Átame! [Tie Me Up! Tie Me Down!] by Pedro Almodovar; Teaching Mrs. Tingle by Kevin Williamson
New Great Findings
Good films constitute more than a half of the general amount – 51.9%. Among the previously unseen the best were:
Jeff, Who Lives at Home by Jay & Mark Duplass; Abattoir by Darren Lynn Bousman; Sátántangó by Béla Tarr; Loft by Erik Van Looy; Orlean [Орлеан] by Andrey Proshkin; Anthropoid by Sean Ellis; Mondo and Geronimo by Tony Gatlif; The Overnight by Patrick Brice; 10 Cloverfield Lane by Dan Trachtenberg; The Dark Knight by Christopher Nolan; What’s Up, Tiger Lily? by Woody Allen; Ai no korîda [In the Realm of the Senses] by Nagisa Ôshima; Imperium by Daniel Ragussis; American Sniper, Flags of our Fathers and A Perfect World by Clint Eastwood; La leggenda del santo bevitore [The Legend of the Holy Drinker] by Ermanno Olmi; Love by Gaspar Noé; Cheap Thrills by E.L. Katz; Django Unchained by Quentin Tarantino; Carne trémula [Live Flesh] and Julieta by Pedro Almodóvar; MASH and Short Cuts by Robert Altman; El mal ajeno [For the Good of Others] by Oskar Santos; A Few Good Men by Rob Reiner; Pride and Prejudice and Zombies by Burr Steers; Rush by Ron Howard; The Master by Paul Thomas Anderson; Жила-была одна баба [There Once Lived a Woman] by Andrey Smirnov; L’appartement [The Apartment] by Gilles Mimouni; The Tall Man by Pascal Laugier; Life During Wartime by Todd Solondz; Popiól i diament [Ashes and Diamonds] by Andrzej Wajda; Baal by Volker Schlöndorff; Vénus noire [Black Venus] by Abdellatif Kechiche; Rabid by David Cronenberg; Fright Night by Craig Gillespie; The Sunset Limited by Tommy Lee Jones; Country Strong by Shana Feste; Foxcatcher by Bennett Miller; La grande bouffe [The Great Feast] by Marco Ferreri; Per qualche dollaro in più [For a Few Dollard More] by Sergio Leone; The Serpent and the Rainbow by Wes Craven; Thursday by Skip Woods; Беспредел [Outrageous] by Igor Gostev; The Long Good Friday by John Mackenzie; End of Watch by David Ayer; Silent Hill by Christophe Gans; The Tree by Julie Bertuccelli; Dupa dealuri [Beyond the Hills] and Bacalaureat [Graduation] by Cristian Mungiu; Nuovo Cinema Paradiso by Giuseppe Tornatore; Monsters University by Dan Scanlon; Cracks by Jordan Scott; Monster by Patty Jenkins; Miss Peregrine’s Home for Peculiar Children by Tim Burton; The Chekist [Чекист] by Aleksandr Rogozhkin; Calvary by John Michael McDonagh; The Taming of the Shrew by Franco Zeffirelli; La voce della luna [The Voice of the Moon] by Federico Fellini; Blade Runner 2049 by Denis Villeneuve; Che strano chiamarsi Federico [How Strange To Be Named Federico] by Ettore Scola; Medea by Lars von Trier; Seven Days… Seven Nights [Moderato cantabile] by Peter Brook; Moonrise Kingdom by Wes Anderson; Mission London by Dimitar Mitovski; You and Me [Ты и я] by Larisa Shepitko; Unfinished Piece For the Player Piano [Неоконченная пьеса для механического пианино] by Nikita Mikhalkov; No Strings Attached by Ivan Reitman; Dallas Buyers Club by Jean-Marc Vallée; Bunraku by Guy Moshe; Insignificance by Nicolas Roeg; and The End of Old Times [Konec starych casu] by Jiri Menzel
The Bad and the Normal
The rest (~48.1%) were okay at best, but a few were pretty terrible, and the worst of the previsouly unseen were:
The Do-Deca-Pentathlon by Jay & Mark Duplass: too cheap, too careless. [Rec]³: Génesis by Paco Plaza: unnecessary and stupid continuation of a decent story. Il colosso di Rodi [The Colossus of Rhodes] by Sergio Leone: a hollywood-like fake. Du hast es versprochen [Forgotten] by Alex Schmidt: remarkably unremarkable. Sport, Sport, Sport [Спорт, спорт, спорт] by Elem Klimov: result of a compromise between a good director and soviet propaganda machine. Julius Caesar by Joseph L. Mankiewicz: so many empty words. It by Andy Muschietti (disappointment of the year): sloppy and hastу adaptation of a good book, not nearly as scary as it could be. Lulu on the Bridge by Paul Auster: good cast, really bad script.
I watched quite a lot of shorts; in the beginning of the year I finished off several dozen that awaited their turn for too long, the rest were relatively new. The best of them were:
Face-to-Face [Очная ставка] by Igor Khomsky; The Walk [Прогулка] by Yuliya Kolesnik; ReMoved by Nathaniel Matanick; Move Mountain and other works by Kirsten Lepore; The Song of Lunch by Niall MacCormick; Who The Hell Is Tanya? [Кто такая Таня?] by Vitya Gurov; Curmudgeons by Denny DeVito; Humans. Beasts [Люди. Звери] by Ruslan Sorokin; Rakka and other works by Neill Blomkamp and Oats Studios; Curve by Tim Eagan; The Gunfighter by Eric Kissack; Klementhro by Sue Dunham; The Flesh of My Lovers by Joshua Guiliano; Being Flat by Quentin Dupieux; State Zero by Andree Wallin
New Great Ones
Overall, there were 156 notes about series. The most interesting discoveries were:
Justified (technically, 1st season was December 2016, but real goodies come later); Spotless; That ’70s Show; The Affair; The Bastard Executioner; Downton Abbey; Will & Grace; Flowers; Hell on Wheels; Frasier; Fear the Walking Dead; Wasted; Orange Is the New Black; Doll & Em; In Treatment; Man Seeking Woman; Treme; 3rd Rock from the Sun; and Love
Most of the shows I continued to watch recieved truly great continuations. These were:
Adam Ruins Everything: (s.1, part II) and (s.2); Shameless (s.7); Sherlock (s.4); It’s Always Sunny in Philadelphia (s.12); Review (s.3, final); Homeland (s.6); The Walking Dead (s.7); Girls (s.6, final); Black Sails (s.4, final); Modern Family (s.8); Sense8 (s.2); Unbreakable Kimmy Schmidt (s.3); House of Cards (s.5); Fargo (s.3); Veep (s.6); Silicon Valley (s.4); Orphan Black (s.5, final); Game of Thrones (s.7); Twin Peaks (s.3, final; impression of the year); Transparent (s.4); Episodes (s.5, final); American Horror Story (s.7 – Cult; the scariest thing of the year); Mr. Robot (s.3; shared impression of the year)
Of the few miniseries I watched, only Olive Kitteridge produced a truly poweful impression.
Only a few of shows I’ve seen can be deemed bad enough to mention it:
Дневник убийцы [Diary of a Murderer]: miniseries by Kirill Serebrennikov before he got a chance to become a good director. Vikings: a bunch of talltales and myths sold as historic truth with decreasingly feasible and effective drama. Vicious: a loose, unbalanced comedy with too much bullshit. Scary B.O.O.M. в андеграунде: an attempt of a failed music group to create its own chronicle, which has also failed miserably. 2 Broke Girls: I watched only 1 season of this so-called ‘comedy’ and got enough of it.
I’m a slow reader, and I only read a handful of books during the year 2017, but most of them were truly great:
Sapiens: A Brief History of Humankind by Yuval Harari; Einstein’s Greatest Mistake by David Bodanis; Mortality by Christopher Hitchens; Fermat’s Last Theorem by Simon Singh; Foundation. The History of England. Volume I by Peter Ackroyd; History of the Russian State – I. A Part of Europe – From the Beginnings to the Mongol Conquest by Boris Akunin [Grigoriy Chhartishvili]
As of the beginning of year 2017 I had 676 movies in the qline. By the end of the year this number has reduced to 514. Fresh batch for 2018 is 233, so the number I’m starting the year with is 747.
Over the course of 2015 274 notes were posted in this blog, including 130 films, 118 TV show items and 17 shorts. Monthly spread is as follows: Jan – 14; Feb – 11; Mar – 16; Apr – 16; May – 17; June – 25; July – 25; Aug – 33; Sep – 28; Oct – 28; Nov – 29; Dec – 30.
Of those 130 films the best were: The Life Aquatic with Steve Zissou, Balada triste de trompeta, The Godfather, Lucía y el sexo, Io e te, Intouchables, Crimen ferpecto, Jagten, The Usual Suspects, Bringing Out the Dead, Escape from Sobibor, Mirrormask, The Aviator, Tusk (this one is terrifying, actually), Two Lovers, Habitación en Roma, Hurlyburly, Wolf Creek 2 and Killing Them Softly.
I’ve watched 26 new shows, including The Wire, Him&Her, Babylon 5, Eagleheart, The 100, Unbreakable Kimmy Schmidt, Battlestar Galactica, Sense8, Girls, Veep, Childrens Hospital, Peaky Blinders. Such series as The Good Wife, Boardwalk Empire, Bron | Broen, Mad Men, Orphan Black, Sons of Anarchy either confirmed their level, or proved to be rapidly evolving. Some of them are over and probably won’t appear here anymore, others are definetely returning. I also finished off Dexter, Californication, Community (I think), Eastbound & Down and The Mentalist.
The hdline fixed at 672/80