What I Watched in . . . March 2020

March ended a few days ago. After stretching on for what felt like an eternity, the Month of Horror has come to an end. It was also an extraordinarily busy month and I wasn't able to release a standard essay or review which was unfortunate. I have some in the works, but it will probably be a few weeks before they see the light of day.

I was able to get one thing done for the blog: this current post. As we do every month here on Seth and the Film Scene, I have put together my monthly recap of all of the film and television I saw along with some short thoughts about each one.

Last month, I saw 23 feature films and 1 television season. I continued on in my classics series with iconic films like The Shining, Jaws, and The Seventh Seal. I caught up on some contemporary releases I had previously missed included Cats and Bad Times at the El Royale. I checked out the new releases The Color out of Space, The Platform, and Spencer Confidential. Lastly, an assortment of other random films I was recommended or found rather randomly including The Mask of Zorro, Contagion, and Catch Me If You Can.

It was a diverse month.

This is what I watched in . . . March 2020.



Doctor Who: Season 12 (2020) [television series]
Exec. Prod. Chris Chibnall

I'm not vibing with the Chris Chibnall era of Doctor Who. He hasn't been able to really define the tone or style of his era, hasn't been able to figure out its characters, or really make his mark in the history of the character (I mean, he tried, but that's jumping the gun). The Thirteenth Doctor doesn't feel like her own character. It's as if Chibnall wrote a script that could have worked for any of the past Doctors and expects Whittaker to add her own spin to it instead of writing her part in any interesting way.

It's not even as if I can turn my brain off and enjoy the story because the individual episodes aren't interesting. The best episodes of season 11 and 12 would have been middle-of-the-road in any of the other past seasons. The action is bad, the villains are bad, and the stories themselves are bad.

I feel so gross simply lambasting the show like this, especially a show I love. My goal is always to approach media as more than just "it's bad" or "it's good", but rather to ask why it's good or bad. Yet, I can't seem to dig into this show because it is so empty. It feels like a ghost of what's come before or some poorly-written fan episode. It just isn't engaging.

And that Timeless Child twist at the end of the season? Rubish. Chibnall tries to make his mark on the show and it sucks. He sets up something cool, then drops the ball.



The VelociPastor (2018)
Dir. Brendan Steere

The VelociPastor is a strange movie to say the absolute least. The movie's official description reads "after losing his parents, a priest travels to China, where he inherits a mysterious ability that allows him to turn into a dinosaur. At first, horrified by this new power, a hooker convinces him to use it to fight crime. And ninjas." I think that about sums it up really.

The film combines several strange influences into a bizarre filmmaking soup. It's one part The Exorcist, one part Apocalypse Now, one part First Reformed, one part Jurassic Park, one part An American Werewolf in London, with a smidge of cocaine thrown in for good measure.

The VelociPastor has everything you could ever want from a film. It's got seizure-inducing editing, terrible performances, over the top violence, ninjas, multiple crises of faith, and a Vietnam War flashback. It is bad in all of the best ways which makes it wildly entertaining.

Despite the obviously poor quality, which is a clear creative choice, the film has some decent moments in it. Every once in awhile, the actors deliver some decent lines, or a scene is shot well, and, for the most part, the editing is smooth. It's memorable and keeps things short and fast-paced to not overstay its welcome. Steere knows how to please an audience. He knows how to make a movie. I can't wait to see what he and his team do next.

Score: 1.5


Water Lilies (2007)
Dir. Céline Sciamma

I have been meaning to check out some of Sciamma's other films after witnessing her breathtaking Portrait of a Lady on Fire last year. I'm finally getting around to it.

Water Lilies is a patient, heartbreaking, and powerful film. While not as refined as the aforementioned Portrait of a Lady on Fire, there's still a lot of think about and consider here. The themes that she discusses in that film start to emerge here. It's an incredibly strong debut. I don't mean to give anything away, but the ending is absolutely superb. Sciamma excels at good endings.

What I found to be the biggest drawback for me is that it isn't particularly emotionally engaging. There are lots of interesting themes and character work going on under the surface, but there's a disconnect between those ideas and the actual emotional impact. The film feels extremely cold at points.

I can't wait to get around to Tomboy and Girlhood.

Score: 3.5


Journey to the Begining of Time (1955)
Dir. Karel Zeman

Classics Series Part 13
Three Adventures from Zeman 1/3

My first Czechoslovakian film! So far, I've seen two films this year (the other being Stalker) from the Eastern Bloc during the Cold War. Third overall film from eastern Europe this year. Journey to the Begining of Time, along with two of Zeman's other films, recently joined the Criterion Collection. I thought it would as good as time as any to get into his work.

I really liked this one. The animation is pretty fantastic. It's a little slow in parts, but I respect the technical prowess and for how important this film is in the world of special effects. I am really excited about getting to Zeman's other works. Although, I have been having loading some subtitles recently so my foreign consumption is down this month (so no Tati or Zeman for me at the moment).

Score: 3.5


Spenser Confidential (2020)
Dir. Peter Berg

Unlike the Velocipastor, this is bad in all of the bad ways.

Spenser Confidential is a lazy, poorly paced, badly constructed, unentertaining, garbage movie. It's uninspired in its creation and features nothing of value. It thinks it has a style because it plays a lot of music, but it lacks anything that makes it truly creative. Hell, even the titles are bad. Did we really need a giant title reading 'PRISON' to appear over a shot of a prison? No, we really didn't.

It's an insult to the action genre.

Mark Wahlberg plays the lead in this film, which should say enough. After his success as a young man, the actor has lost his ability to be a strong performer. Transformers proved this. That argument is just strengthened here. He isn't a good leading man because he isn't a good actor. Please stop putting him in movies.

Spenser Confidential is a waste of two hours. There are far better and more entertaining action films out there. Don't waste your time with this.

Oh, and Post Malone cameos as a white supremacist.

Score: 1


This is Spinal Tap (1984)
Dir. Rob Reiner

Classics Series Part 14

"Yeah, but this one goes up to eleven!"

This is Spinal Tap has remained a cult classic ever since its debut in 1984. The mockumentary follows aging British rock band Spinal Tap on there US tour to promote their upcoming album, "Smell the Glove." As the tour begins to go disastrously wrong, tensions within the band start to form and the future of Spinal Tap is uncertain.

An absolute classic of a film. This is Spinal Tap is 90 minutes of absolutely iconic dialogue and performances. It's ridiculous and wildly entertaining. This also marks one of the first uses of the "mockumentary" filmmaking style - a style popularised in recent years by The Office.

If you have 80 odd minutes to kill and want a decent laugh, check this one out.

Score: 4



The Seventh Seal (1957)
Dir. Ingmar Bergman

Classics Series Part 15

Watched in honour of the passing of Max Von Sydow. RIP to the legend.

This is special. This is something truly special. I am far from the first person to notice this. Ingmar Bergman is one of the greatest. He has remained such a profound influence over so many filmmakers. This film proves why that is.

Bergman is a master of the craft. The Seventh Seal is such a wonderfully constructed film. The performances are amazing, the script is amazing, and the cinematography is amazing. This is cinema at its finest. The wonderful screenplay was the biggest take away for me. The dialogue is beautifully written and the themes are complex and layered. The religious commentary is engaging and thought-provoking.

I've said it before and I'll say it again. Good cinema never really grows old.

Score: 5


The Producers (1967)
Dir. Mel Brookes

Classics Series Part 16

Another iconic comedy that I am only just getting to. The Producers is so a really well-constructed comedy. Gene Wilder and Zero Mostel are on the top of their game. Mel Brookes' legendary writing and directorial abilities shine through.

Although appearing on the surface as a silly and stupid film, it is surprisingly layered and interesting to discuss. It manages to handle its controversial subject matter - the film revolves around the production of a musical entitled "Springtime for Hitler" - in a way that comes not blatantly offensive. It shouldn't work, and yet it does.

The worst part about this movie is the fact that the chorus from the title song from the fiction musical was stuck in my head for quite a while afterward. It got a little uncomfortable muttering "it's springtime for Hitler and Germany" under my breath.

Score: 4


Mission: Impossible - Fallout (2018) [rewatch]
Dir. Christopher McQuarrie

Technically, I only rewatched the second half, my parents and my sister were watching it one night and I joined part way through, but I thought it deserved an entry here just for my own sake.

I love this movie. One of my favourite action movies in recent memory. The action setpieces were especially well done. I love the dedication to practical stunts. It gives the film far more affect. The score and editing are also pretty exceptional. The third act is well executed and builds excellently. I am always blown away by the technical aspects of these movies. This one is no exception.

The blend between camp and serious action film is a fine line that the entire series rides to perfection. Fallout takes itself seriously, but not to a point where it becomes ridiculous. The stakes feel real, but the film still breathes and has fun.

The Mission: Impossible series really is in a league of its own. Powerhouses of the action genre.

I am excited for the next two (and final two?) films in the series. Really hoping they don't get delayed too much because of the virus.

Score: 4.5


Contagion (2011)
Dir. Steven Soderbergh

And the academy award for best retroactive documentary feature goes to . . .

Contagion has been trending again recently. It's all over film Twitter, the third most popular movie on Netflix Canada on the day of writing, and the 8th most popular movie on film social networking site Letterboxd. Despite the small initial gross back in 2011 of only $135.5 million. The film is making waves again for mirroring the coronavirus outbreak to a startling degree.

The film itself is pretty solid. I really liked the performances from the entire ensemble cast. Matt Damon is a highlight. Soderbergh's direction is absolutely amazing. The editing is super solid.

The film relies on a very unique story structure. Instead of following the standard three-act, character-and-action driven narrative common in Hollywood filmmaking, it uses a more "sociological" story. The movie isn't about characters, but about how society as a whole reacts to something as crazy as a pandemic. Essayist Dan Olson did a fantastic video on exactly how this story structure works. You can watch it here. It certainly won't work for everyone, I have my criticisms of it, but I appreciate what Soderbergh is trying to do.

Score: 3.5


Catch Me If You Can (2002)
Dir. Steven Speilberg

I knew from the moment the opening credits began and the wonderful John Williams score began that I was going to love this. And it did. Based on an insane true story of Frank Abagnale, Jr., the film follows Abagnale on the run from the FBI as he conducts one of the most complex check fraud scandals in American history.

What starts out as a fairly lighthearted adventure, it quickly takes on a far more serious tone as it progresses and packs a surprising emotional punch by the end of the run time. The contrast in emotion works really well and gives the movie a strong impact.

The two leads, Abagnale and the FBI agent chasing him, are played by Leonardo DiCaprio and Tom Hanks, respectively. It seems like a rather pointless observation, but they are both incredible here. You mix one of the best directors of all time with two of the most well-respected actors of our time, with the greatest screen composer of all time and you're bound to wind up with something pretty great.

Score: 4.5


Color out of Space (2020)
Dir. Richard Stanley

"It was just a colour out of space—a frightful messenger from unformed realms of infinity beyond all Nature as we know it; from realms whose mere existence stuns the brain and numbs us with the black extra-cosmic gulfs it throws open before our frenzied eyes."

- H.P. Lovecraft, The Colour out of Space (1927)

Color out of Space is something else. It's messy and all over the place. The performances all around are uneven. Some, at points, get downright bad. The first act gets off to a slow start. The film is a disjointed mess.

But that second half, though.

I feel overwhelmed more than anything. I think that's what Lovecraft tries to get at so often in his works. The feeling of overwhelming meaninglessness. The fact that you are so insignificant in the scope of the universe. It's a feeling I've had in only a few other films

The technical aspects are really what sells the film. The sound is amazing, I loved the cinematography, and the production design is flawless. The body horror was really dope, too. I got extremely uncomfortable numerous times.

There is so much energy leaping off the screen. I mean, you give Nic Cage free range on a role and you get true art. The ending monologue from the character Wade, played by Elliot Knight and most of which is taken verbatim from the original short story, was a perfect little haunting note to send the film out on.

I understand that a whole lot of people will dislike this. There's a lot to critique, but I can't lie and say I didn't enjoy this greatly.

Score: 3.5


Cats (2020)
Dir. Tom Hooper

I would like to congratulate Cats on being the ninth entry in my exclusive list of films I have given an 0.5 rating to, the lowest rating I can give on a five-point scale.

There is a certain terror associated with Cats. Maybe it's the production, maybe the effects, maybe the performances - more like some bastardized version of all of them. It's in the way the fur moves, it's in the slight incongruities in the sets, it's on the bizarre camera choices, it's in the combination of human and cat that leads to a creature that even the even eldritchian abominations fear. There is a deep, relentless terror in everything in this film.

The story is nonsense. The world-building is nonsense. The characters are nonsense. The world holds itself to no rules.

Literally, the entire film is a mixtape of new cats introducing themselves. It gets too annoying and so repetitive. I found myself fast-forwarding through so much of it by the end. Nothing was happening. Just theme song after theme song after theme song.

I don't think I've ever seen a film so fundamentally hard to get through. I have no respect for Tom Hooper and the entire creative team behind this movie. What an insult.

Cats is an abomination. It hurts to even think about it. If you've heard something terrible about this film, no matter how extreme it seems, it is probably true.

I want to die.

I have one question coming out of the film, what the heck is a Jellicle cat?

Score: 0.5


Bad Times at the El Royale (2018)
Dir. Drew Goddard

All roads lead here . . .

Wow! Loved this one a lot. Surprising and engaging. Not at all like the trailer, but I think that works in its favour. It's hard to tell what's coming next. I like films like this that feel like a very full, rewarding experience. This is certainly that. As the credits started to roll, I felt a deep sense of satisfaction with the movie.

Everything is handled so expertly. Goddard is a strong director and a great character writer. Lots of cool ideas in the screenplay. Seamus McGarvey did the cinematography, which is gorgeous, for this. He previously did both Godzilla and Nocturnal Animals, two other movies that also look fantastic. Of course, there would be nothing pretty to shoot if it wasn't for Martin Whist, who does fantastic work.

My one big criticism is in the tonal shifts that happen every so often. I don't think they work as well as they could. I understand the comparisons to Tarintino. There's certainly a lot of overlap and obvious inspiration. It doesn't feel so derivative, however, to really take away from the value of the film.

Bad Times at the El Royale is pretty great. Check it out if you have the time during the quarantine.

Sidenote: The film could also be a really cool anthology show. Like, each episode is something different, just all set in the El Royale.

Score: 4.5


Mission: Impossible II (2000)
Dir. John Woo

Finally seen all of the M:I films. I have seen these films in the most bizarre order. The first one I saw was Rogue Nation, the fifth film back in 2016. Then I saw III, followed by Fallout when it was in theatres in summer 2018. I saw Ghost Protocol on DVD in late that year than the original last summer also on home media. And now I got around to the second one. I don't recommend that way of watching them.

I wasn't expecting this to be good, but I wasn't expecting it to be that bad. I am amazed that the same series can produce some of the best action films in recent memory that can also produce this disaster and a half.

The film is a mess. John Woo is so self-indulgent. The excessive slow-mo drove me up the walls. I couldn't take it seriously by the end. Thandie Newton's character disappears for the third act. The third act drags way too much.

There is a lot of weird sexual energy that felt out of place within the context of the rest of the series.

The stunt work is great. It always is in these movies.

Surprising usage of artsy bird shots.

Score: 1.5


Jaws (1975)
Dir. Steven Speilberg

Classics Series Part 17

A small town has its summer threatened by a dangerous killer. Some say it's fake, some try to downplay the effects. Three men - a sea captain, a biologist, and the chief of police - are out on the waters to find the creature before it wreaks more havoc upon the town. In a lot of ways, it reminds me of the global response to the coronavirus.

We owe a lot to Jaws. Often credited as the first true blockbuster, it radically changed cinema in 1975 and the effect that it left is still here today. The movie world would be nothing like it is today without this one.

The screenplay by Peter Benchley and Carl Gottlieb deserves a lot of respect. Jaws is a well-written film. Memorable characters, great pacing, and some really funny dialogue.

My second Speilberg joint this month. I am constantly reminded of just how good of a filmmaker he is. He makes these well-constructed and easy to digest features that remain so iconic years after their original release. Such great tension and action scenes. Jaws hold up against the grandeur of the rest of his filmography.

Score: 4.5


The Platform (2020)
Dir. Galder Gaztelu-Urrutia

I am losing my faith in humanity.

Set in "The Hole" - a prison in the not too distant future, the prisoners rely on the daily arrival of the titular platform once a day to supply them with food. One small problem, as it travels down the floors of the Hole, food becomes more and more scarce. If you're near the bottom, you may have to turn to other sources to get sustenance.

The Platform is not a subtle film. It's a pointed critique of the class system of contemporary capitalism and the terrible things it makes people do. The film is deeply disturbing. It's grotesque violence and imagery is difficult and uncomfortable, but all serve to make a point. Perhaps it is a little exaggerated in its representation of the system, it certainly makes the message clear.

Score: 3.5


The Mask of Zorro (1998)
Dir. Martin Campbell

Get you a man like Antonio Banderas who can do one of the best dramatic performances in recent memory in Pain and Glory and also have this film under his belt and play both roles with as much dedication as the other.

The Mask of Zorro is really good? The lavish production design is a huge standout. The action scenes are so much fun and well-choreographed. The chemistry between Catherine Zeta-Jones and Banderas is electric.

I loved the campy-ness of this film. Camp, when done right, is such a rewarding experience. That is absolutely true here.

Just an all-around banger of a film. I would highly recommend renting it on iTunes or Google Play. It is a fantastic experience. The Mask of Zorro is unapologetic in what it is and that is all for the best. An endearing and entertaining adventure.

Also a really good Batman movie.

Score: 4


Ferris Bueller's Day Off (1989)
Dir. John Huges

Classics Series Part 18

Ferris Bueller's Day Off dropped on Netflix a couple of weeks ago so I thought I'd give it a watch. I can't believe I hadn't seen it before now considering how iconic it is. The film is certainly good, but it doesn't fully live up to its incredible reputation.

What's to say that hasn't been said? Ferris Bueller is a wonderful film. It has some great writing and characters. It's really comical. The "anyone? anyone?" scene is an absolute killer.

I don't think this had the same effect for me that it has on other people. It is beloved by so many, especially those who grew up in the 1980s, but when I'm lacking that immediate emotional connection, the film doesn't stand out all that much. It's certainly a very good movie, but there are movies that do what it does better.

Score: 3.5


The Shining (1980)
Dir. Stanley Kubrick

Classics Series Part 19

There is something so profoundly terrifying about The Shining. It's the fear of the unknown. The unknowable face of the danger. It wears a house as a mask and only gives you a glimpse of the other side. It's creepy. It never lets you have the peace of mind in knowing what the danger is exactly. It's there. It has to be. But, is it? Can we be sure?

For me, the moment that encapsulates these feelings the best happens early on in the run time. Danny Torrance, the son of the Jack, the film's lead, is playing with his toys on the strange carpet of the hotel. Suddenly, a ball rolls towards him. He looks up. We cut to the reverse shot, but there is no one there. It's just an empty hallway. Nothing in the whole film captures the mood and tone better than those two simple shots.

Who rolled the ball?

A lot is going on in the background. All of the little details slowly build into a symphony of chaos. What haunts the hotel? Is it the devil? Who rolled the ball? Who is Jack really? For me, the best part is the most obvious part. It's a simple part. As the director said himself:

"It's the story of one man's family quietly going insane together."

I can't find a better way of putting it. The Shining is a truly disturbing work of art. It latches itself to your conscious and won't ever let go. I am feeling more than a little paranoid at the moment. What lurks in the shadows of my own home?

Masterwork.

Score: 5


Monty Python and the Holy Grail (1975) [rewatch]
Dir. Terry Jones and Terry Gilliam


This is the third time I've seen The Holy Grail and it is just as good as it was the first time. An all-time favourite of mine. I rewatched this with my sister late one Friday night and had a great time. I think the emotional exhaustion and the deep desire for not existentially depressing made this the perfect film at the moment.

Set in Medieval England, King Arthur searches far and wide for the bravest and most noble knights in the land to join him in his court at Camelot. After receiving a message from God himself, King Arthur and his Knights embark on a search for the Holy Grail to bring it back to its rightful place in England. Along the way, they come up against some fearsome foes including the Knights Who Say 'Ni', the Black Knight, Tim the Enchanter, and the bloody French.

If you haven't seen this by now, get on it. It runs at only 92 minutes and is some of the best 92 minutes of your life. A truly incredible piece of absurdist comedy.

Score: 5


The Third Man (1949)
Dir. Carol Reed

Classics Series Part 20

That expressionist-inspired cinematography is something else.

Set in Post-World War II Vienna, writer Holly Martins arrives to visit his friend Harry Lime. One small hitch, Lime has died. It seems like a clear accident, but Martins learns that an unknown "third man" was at the crime scene, he realises that there is more at play than he originally thought.

The film is a fantastic crime thriller. All three leads, played by Joseph Cotton, Orson Welles, and Alida Valli, are really strong. Lots of atmospheres. A very weird score played entirely on the Zither. If you like crime films or classic cinema or both, crack this one open. It's surprising, thrilling, and incredibly well executed.

Score: 4.5


Aliens (1986)
Dir. James Cameron

Classics Series Part 21

Viewed the Special Edition

I would not have thought that making an action movie would be the perfect sequel to a horror movie but here we are.

Aliens is great. The visual effects and production design are the real standouts here. The film looks ridiculously good. They just don't make blockbusters that look this good anymore. That shot which reveals the xenomorph queen is just something else.

Sigourney Weaver as Ripley is obviously incredible. She is just such a fantastic actress and the perfect fit for this role. Can't imagine Ripley being played by anyone else.

What a great sequel as well. It builds nicely on the original without overcomplicating the world. It is a great continuation of the story and still manages to be its own beast.

I am aware that the third and fourth films feature a notable drop in quality. Do I want to just want to move on to the prequels or do I press on with them anyway?

Score: 4.5