Due to numerous other time constraints, my film watching year hasn't really gone quite as planned. However, I've been watching at a steady rate of about one film every two weeks, and as soon as I'm back on top of work, I plan to motor through a lot more.

Films I have watched: 15
...of which are rewatchings: 2 (Da Vinci Code, The Prestige)

Films I have watched by the Coen Brothers (despite owning every single Coen Brother movie on DVD): 1
...of which were A Serious Man: 1
...of which were a comic masterpiece: 1

Films I have watched by Tarantino: 1
...in which Nazis were killed with reckless abandon: 1
...of which I loved: 1

Films starring George Clooney: 2
...of which seemed like less than the sum of the parts: 1 (The Men Who Stare At Goats)
...of which did not: 1 (Up In The Air)

New favourite films: 1 (Network)

Black comedies: 3
...of which seemed like they were written for me personally: 1 (Drop Dead Gorgeous)

Films that are good because of great solo performances: 3
...by a man: 2 (Up in the Air, The Assassination of Richard Nixon)
...by other (woman, etc.): 1 (The Reader)

We just watched Glorious 39, a British film set during the summer and autumn of 1939 which neither Cath nor I had ever heard of, but we picked up on a shopping trip earlier. It's about a wealthy family who are strongly linked to the government and a plot to make peace with Hitler rather than fight a war many believe unwinnable. I found this a really intriguing viewpoint on a period of British history generally associated with heroism and principle. The scenes about the suspension of habeas corpus and military detainment, and those about blackmail of opposing voices, focus on the uglier side of war, a theme extended in a more personal way by the mass putting down of household pets. The lead character, Anne Keyes, an adopted daughter of the family and actress, stumbles across recordings of the plot, which involves disposing of dissident voices within government, especially those who wanted to follow Churchill's much tougher line of anti-appeasment. Slowly, the plot reveals more and more people who are involved, who, perhaps predictably, are increasingly close to Anne, and her previously comfortable existence unravels.

The whole story is really engaging, with little details and twists added gradually, and the tension builds nicely. There are a number of scenes which seem slightly surreal, which added to the growing sense of unease as Anne becomes increasingly unsure about who to trust. That said, there were a few things which, at the end, were unsatisfactorily explained. Anne's escape, aided by her mother, is particularly confusing - her family, who want to keep her locked away to avoid her asking more questions, react warmly to her when they see her in the town. Cath say's its about public appearances, but it seemed strange to me. The presence of Walter, a boy whose older self tells the whole story in the present-day, provides a number of jarring moments as he appears, alone, unexpectedly - it emerges that he helped the family at times, but its not always clear why, neither does it become particularly clear who is involved in what parts of the plot.

That said, I suppose some confusion or unresolved issues in the story are needed - it's a conspiracy thriller, told by individuals not fully informed about the whole thing. Romola Garai was excellent portraying the mounting paranoia and terro of Anne, as was David Tennant's all to brief appearance as a outspoken MP and supporter of Churchill. I can't decide whether I liked Bill Nighy here - his character is so mellow, its hard to reconcile him with being a plotter doing unpleasant things for the good of his country. Then again, such jarring distinctions works in mirroring the doubt Anne increasingly feels with her familiar surroundings. Overall, a gripping and tense story, with minor fumblings.