What Was The Last Movie You Watched?

[BFTD]

On 07/12/2022 at 21:08, Slim Charles. said:

Someone should do a P&B Top 100 films thread. (Not me obviously)

Nocebo (cinema) - after a bout of illness, fashion designer Eva Green employs a new Filipino housekeeper who appears to show a supernatural ability to ease her malady.

f**k knows why this was in the cinema, as I believe it's been streaming on Shudder since last year.

This was OK - not really a horror film, but more psychological thriller with horror elements. There are a few problems with it, which mainly boil down to the script massively telegraphing where it's going almost from the start, and you'll have guessed the big reveal way before the halfway point. However, it's competently made other than that, and was a pleasant watch, although I'd suggest it really doesn't need to be seen on the big screen, and you'd lose nothing from seeing it on your TV.

[Shandon Par]

Top Gun: World Police/Maverick

Team America has ruined films like Top Gun Maverick. Really enjoyed it though, from the typeface of the opening credits and the Kenny Loggins I started smiling and just went with the cheese-fest. Some good action, some less good CGI but overall quite visceral compared to most big budget action flicks.

 

[accies1874]

Had quite a few weeks so a bit of a backlog, but it does include my fave of 2022 so far (spoiler: not She Said), another favourite and a couple of classics. No spoilers included, just don't want to f**k up the thread. 

210. Watcher (2022)* - Cinema

Spoiler

I think this will get even better on rewatch, but I can say that this is really good and worth a watch for most who want a simple, well-paced, miserable thriller that won’t take up much of your time but has plenty of scope for talking/theorising once it’s done.

Maybe it was because I watched Barbarian in the same week, but I was constantly trying to second-guess the film and I believe it knew that the audience would do that, as it keeps feeding you info to make you question the main character (Julia) and question yourself. It will wind down then takes a turn, rinse and repeat. Her husband gives off bad vibes too; he tries to do all of the right things to placate her but I got the impression that it was all for himself. It’s clear that he’s dragged her from her own life to a foreign country and abandoned all sense of being her own person, which is the kind of sacrifice that does sometimes need to be made in a relationship but he doesn’t go about it the right way. The first shot is of her looking out the window in awe at a prettier version of Bucharest, however that quickly turns into disappointment, indicating that he’s promised something more and they’ve also left behind something better (although their flat is nice imo). He’s not a black and white character though. On that subject, I think classism plays a part in the film but I don’t have any fully formed opinions on that.

A simple but effective way of depicting her loneliness was the decision to not have any subtitles for the non-English parts – if you don’t speak Romanian then you’re in the same boat as Julia and that’s crucial for a film all about isolation. It’s interesting to me, though, that she is technically free and liberated. She has no responsibility – no kids, no jobs, a largely absent husband – but she’s also completely trapped – by the language barrier, by her isolation, by her anxiety about the serial killer at large which feeds into her anxiety about the Watcher. That disparity between liberation and oppression is cool and makes sense considering it’s essentially a grim Rear Window. There’s that central concept of considering stories within an apartment block and wondering what goes on within. How much can you tell about a person through a window?

There’s a parallel between her and the Watcher and that all comes from their loneliness. Their connection comes from looking out the window to find connection and they are both alone in the cinema, the shop, on the train, in the street, through the window. There’s that contrast between the mystique of a lonely person and the suspicion it brings, and each character’s supposed backstory informs which is which.

It looks good, too, while also managing to convey the unsettling tone. The credits sequence is a one-shot going out of the window of Julia and her husband getting it on in full view of the other apartments. Pretty uncomfortable when you think about it in hindsight. I can’t say too much about the music or sound, though, as my soundtrack was at first a daft couple who spoke through the first few minutes before being told to be quiet, and constant rustles of whatever garbage folk could haul in for an 11am showing of some low-key thriller.

211. Hot Rod (2007)* - Netflix

Spoiler

It actually makes sense that this was directed by the same guy who did Popstar: Never Stop Never Stopping, as it has the exact same issue of not knowing when to let a joke be and when to run it into the ground. It’s more enjoyable than Popstar, but I still didn’t like it an awful lot.

212. In Bruges (2008) - Netflix

Spoiler

Everyone loves this and rightly so.

213. Charade (1963)* - MUBI

Spoiler

This actually featured in Watcher, although it was on The List before I saw that so whatever. As a mystery, it’s incredibly fun. So many daft twists and turns that keep the plot moving in enjoyable ways and keep the audience on their toes. It’s a delight in that respect. I did find it slightly odd tonally, which can be an issue for a lot of rom-com-murder-mysteries, and the dialogue is very, very Movie Dialogue which was distracting quite a few times, but I’d be lying if I said I didn’t enjoy it throughout.

214. She Said (2022)* - Cinema

Spoiler

It’s a stinker, I’m afraid. A televisual snoozefest that gives the impression of being far too loyal to the book with its dialogue and lack of anything cinematic. It might be worth watching if you don’t know much about the beginnings of the Weinstein case, but if you do know about the story then this brings nothing that a read of the Wikipedia article doesn’t.

215. The Menu (2022)* - Cinema

Spoiler

I thought this was an enjoyable time-passer, although I am a bit biased towards this kind of film where strangers are brought together in a strange location and a mystery begins to unfold. It could’ve been more interesting which makes it a bit underwhelming, as do the caricature characters and on-the-nose messaging, however I found it entertaining. We’re teased with some trippy stressful moments, but they never last beyond moments which kind of sums it all up as it doesn’t do anything to stamp itself onto your mind other than the delish-looking food.

216. Spotlight (2016) - Sky Cinema

Spoiler

She Said put me in the mood for this. It’s interesting to see just how much two films can do the same thing with such differing results. Strangely, the main thing that stood out to in Spotlight’s favour was just how much of a difference having multiple people involved in a conversation makes. Of course, it helps when the pacing, acting (not Ruffalo though) and script are all miles better, but three/four/however many people speaking in a room* was much more interesting than She Said shooting two people sitting down talking.  *Spotlight is also clever in varying its locations just as somewhat surface level way of sexying up the film, and it also isn’t bogged down by using waaaaay too many phone calls.

I will admit that I’m still quite surprised that something so unshowy and just really good won Best Picture.

217. Death on the Nile (2022)* - Digital Rental

Spoiler

Branagh is a ham as an actor and that seeps into his direction too. Sometimes that can add a bit of grandeur to things, but I often longed for the Sunday morning reserved nature of the fairly meh 70s version.

218. Flux Gourmet (2022)* - Digital Rental

Spoiler

I really like Peter Strickland’s films but this just fell into the realm of wtf for me. In Fabric and Berberian Sound Studio, while really clever, are pretty much all about the experience for me. This still has the dreamy, bizarre scenes and quite an odd, supernatural tone but that’s juxtaposed against a documentary vibe which didn’t marry up for me.

219. The Woman on the Beach (1947)* - GREAT! movies classic

Spoiler

A dickhead of a love triangle.

220. Blonde (2022)* - Netflix

Spoiler

A Netflix release that’s fun for all the family this Christmas time!

There’s been a lot of Discourse about Blonde, some of which is quite fair, some of which seems to ignore some basic practices of cinema and storytelling which depressingly isn’t uncommon when it comes to film discourse. I’m not sure how I feel about how much it played into the victimhood and daddy issues – they’re obviously the backbone of the film, but they’re not particularly interesting, albeit do make for an intense expense.

That said, I’d much rather something like this than the awful My Week With Marilyn.

I love the whole strange and dreamlike (or nightmarish) mood of it as the film feels like a nightmare that, from the outside, could be a dream or fairytale. There’s a ruse of escapism which never comes, meaning Mariyln/Norma feels more and more trapped. There are a lot of horror-esque images, sequences and scenes which I really appreciated, and the psychedelic – sometimes haunting, sometimes ethereal – score both play into this nightmarish atmosphere. The black and white cinematography is really cool too. It’s lit in a way that captures faces really nicely, helped by the predominantly boxier aspect ratio, which can make things resemble photographs framing Marilyn as the star of the show – very ornate, tight frame, black and white – which is kind of abstract and plays into the surrealist nature. I’m not actually sure if the majority of the film is captured in that way – it usually but not always has the same aspect ratio, but ventures into different colour schemes and looks – but I can’t put my finger on why it shifted between them.

It's very showy in a lot of ways, but I like that if it’s done well – and this was. It maintains a weird atmosphere for nearly three hours, an atmosphere and mood that I really liked, and even though it began to feel its length once Arthur Miller was introduced, it actually pulled itself together pretty quickly.

221. The White Reindeer (1952)* - MUBI

Spoiler

A lovely wee Christmas tale of a woman who turns into a white reindeer…

 

 

Then murders a bunch of folk. It’s pretty unnerving.

222. Clara Sola (2022)* - Cinema

Spoiler

This is set in rural Costa Rica and follows a woman with learning difficulties who lives with her mum and orphaned cousin. That kind of sums it all up thematically as you’ve got the mother who’s scared to let her daughter live her own life (with somewhat good reason), the woman who wants to be free and the younger one who’s beginning to rebel. They’re surrounded by nature which is a big part of it all.

Clara’s loneliness and oppression/suppression and the depiction of motherhood are done in decent ways, although I’ll admit I was left with more questions than answers come the end of it. It’s really slow/sleepy/boring, but that is occasionally interrupted by uncomfortable intensity.

I found Clara really compelling too. The dichotomy between her feeling out of place so wanting to grow and her disability not allowing her to, therefore family and friends not allowing her to, was interesting to me. Again, I had more questions than answers about it, but it was quite good being challenged like that.

Religion is v prevalent. I’m not sure why, maybe to do with that opp/suppression, maybe to do with characters wanting their lives to exist and mean something beyond this tiny wee insular town. Escaping beyond or through something is a common idea and image; there’s a motif of hand or hands reaching across into something else – it’s actually the first image of the film.

There was one other person in the screening which also made for a nice experience.

223. Double Indemnity (1944)* - Sky Arts

Spoiler

I was a bit uncertain at the start and found the dialogue a bit too much and Walter a bit of an off-putting character, but I was completely hooked by the time the plot really got going and it becomes an absolute joy. Tragic, thrilling and incredibly clever.

224. Aftersun (2022)* - Cinema

Spoiler

More than 20 years after Lynne Ramsay made her feature debut with Ratcatcher, Scotland has a new master filmmaker.

This was one that I’ve wanted to see since it came out a month ago, despite not knowing anything about it, but it eluded me a few times which can sometimes result in me being let down but I’m delighted that didn’t happen here. It’s the kind of film that makes me want to tell everyone about it – a debut with the quality of a seasoned pro. And all it’s about is a Scottish father and daughter on holiday in Turkey.

As much as there’s enjoyment to be had in spending time with that father and daughter, there’s this nagging feeling of something untoward bubbling underneath, a constant sense of dread that we’re building towards something terrible. On a surface level, that works because of the nature of holidays and, I’d imagine, split families. Holidays are temporary and fleeting which kind of makes them magical, but, for me, there’s often the knowledge that every class day you spend on them is one day closer to you going home. You go home to your ordinary life with only memories and mementos left over, however the separated family angle adds another layer of dread. This creates a sorrow in him as he tries to do the right things but life just means that he and his daughter will never have the relationship that he wants them to have. The lonely karaoke is heartbreaking and a necessary form of pathos.

You’ve also got the ticking time bomb of his depression, with incredibly uncomfortable scenes, as well as the ticking time bomb of his daughter’s coming of age. The time in which it’s set in their life – she’s 11 so not quite a proper teenage dickhead yet – is important as it feels like they’re both watching the holiday tapes back from different places, both deeply upset but thankful for the time they spent together. Playing into that, the camera almost becomes detached at certain points, certainly at a couple of personal moments, funnily enough like in Lynne Ramsay’s YWNRH or that phone scene in Taxi Driver. There’s one in particular which partially opens the film but then we come back round to it later, where Sophie is told to turn the camera off and the dad briefly opens up; we were previously watching the video feed on the hotel TV, but she turns it off and we’re left with his face obscured in a mirror and the dark reflection from said TV. It startled me a bit, both in the moment and retrospectively, as it made me realise how intimate the film had been before and, for that moment, that intimacy had been put on hold. There are a lot of clever camera tricks like that as well as just amazing imagery. The colour combos, shot choices, camera movements, film grain against the sun. Epic.

The sun and colour yellow are present throughout in ways that are sometimes clever and sometimes incredibly subtle and satisfying ways. There’s that idea of feeling in the moment and what will happen when the moment ends and, while I’ll need to think about it more, I do think the title Aftersun is about the deeper meaning of why your post-holiday blues happen. The power of memories, the reciprocation of parental love, anxiety about if you did enough, not knowing what to do with finite time. All that provoked by a colour. And all that wrapped up in a story of two Scots on holiday in Turkey.

It's the kind of film that is so proficiently made that just an image or the pacing of a scene tells you how things are gonna play out. There’s melancholy and joy throughout which honestly left me overwhelmed by the end.

225. The Unbelievable Truth (1988)* - MUBI

Spoiler

At its best, it’s a very funny indie oddball black comedy, but it did become far less interesting whenever it tried to be serious. That’s a shame as it genuinely is really, really funny and I’d quite like to remember that about it, but the second half does get bogged down is boring drama.

226. Nocebo (2022)* - Cinema

Spoiler

Actually quite enjoyable for the most part. A bit schlocky and very much felt to me like it was made for the stage (can’t say that Eva Green’s performance helped in that respect) but there are some good horror sections – I’m less interested in mystic horror so zoned out when that became prominent for a bit – which are blended with a knowledge of its silliness to make it a bit more outlandish. If you see it, I wouldn’t go in expecting something ultra-serious and that’ll make the weird performances and clunky dialogue a bit more palatable.

I suppose where that becomes problematic is the fact that it’s dealing with some quite serious subject matters: mental health, racism/xenophobia, exploitation. Its satire is actually quite good at points, one line in particular was hilarious to me in retrospect, but is a wee bit all over the place.

227. Corpse Bride (2005) - ITV2

Spoiler

This does everything well: I liked a lot of the animation, the script’s structure is tight, the voice acting is pretty good, its take on life and death is decent, I laughed a few times. It’s just a really competent film that I can imagine Tim Burton just rocking up for a couple of weeks and making this to pay for a holiday or something and then never thinking about it again.

[accies1874]

4 hours ago, BFTD said:

 

Nocebo (cinema) - after a bout of illness, fashion designer Eva Green employs a new Filipino housekeeper who appears to show a supernatural ability to ease her malady.

f**k knows why this was in the cinema, as I believe it's been streaming on Shudder since last year.

This was OK - not really a horror film, but more psychological thriller with horror elements. There are a few problems with it, which mainly boil down to the script massively telegraphing where it's going almost from the start, and you'll have guessed the big reveal way before the halfway point. However, it's competently made other than that, and was a pleasant watch, although I'd suggest it really doesn't need to be seen on the big screen, and you'd lose nothing from seeing it on your TV.

I didn't know it's been out for so long. Still going on my 2022 list though. 

On 13/12/2022 at 15:33, Detournement said:

 

Decision To Leave (2022)

A Korean cop gets involved with a Chinese woman whose husband's death he is investigating. Amazing acting, design and cinematography but the plot fell a bit short but maybe there might be a few things I didn't pick up properly. It's inspired by Vertigo but the lead actor doesn't have the same creepy vibe as Jimmy Stewart in Vertigo who was a stone cold pervert whereas the main character here probably just needs a holiday. It's strange to say that every scene seemed brilliant but it added up to less than the sum of it's parts.

 

It's definitely worth watching again as there's a lot going on, but I agree that the all-round experience just didn't do it for me. 

[Arch Stanton]

The Banshees of Inisherin (2022)

Now I've loved all of Martin McDonagh's previous films (although Three Billboards was deeply flawed) but I just can't get the hype over this.

I like slow films, I don't need explosions, car crashes or ridiculous loud music and this has none of those but f**k me, other than a fiddle player inexplicably cutting off all his fingers and a totally over-the-too act of retaliation, fuck all happens.

We're never told why Gleeson's character went off Farrell's which is its biggest failing.

[oldbitterandgrumpy]

53 minutes ago, Arch Stanton said:

The Banshees of Inisherin (2022)

Now I've loved all of Martin McDonagh's previous films (although Three Billboards was deeply flawed) but I just can't get the hype over this.

I like slow films, I don't need explosions, car crashes or ridiculous loud music and this has none of those but f**k me, other than a fiddle player inexplicably cutting off all his fingers and a totally over-the-too act of retaliation, f**k all happens.

We're never told why Gleeson's character went off Farrell's which is its biggest failing.

Went to see it the day it came out. We were really looking forward to it. Went right over my head. Had to read the reviews to see what it was actually about. The reviews kind of made sense, but I would have preferred if the actual film had made more sense at the time. Maybe I’m just too thick to appreciate ponderous arty films.

[Bully Wee Villa]

Anyone who really thinks Citizen Kane is better than The Godfather is a massive wrong un.

[Detournement]

3 hours ago, Bully Wee Villa said:

Anyone who really thinks Citizen Kane is better than The Godfather is a massive wrong un.

I'd rather watch The Godfather but this is the best scene in either movie.

 

[Detournement]

Quote

I’m not actually sure if the majority of the film is captured in that way – it usually but not always has the same aspect ratio, but ventures into different colour schemes and looks – but I can’t put my finger on why it shifted between them.

@accies 1874

They used various photos of her from different stages of her life as the basis for the visual style of those scenes. Dominik explains it here.

 https://www.bfi.org.uk/sight-and-sound/interviews/im-not-interested-reality-im-interested-images-andrew-dominik-blonde

As much as I find it entertaining when brainless babies attack films it does make you wonder about what kind of impact Young Adult Fiction discourse shifting to film discourse will have on what gets produced in years to come. I thought Blonde was brilliant but no one really stuck up for it because it's not worth it at all. At least when it was just religious conservatives attacking films they understood that they just didn't like films or art very much. Now you have an entire generation of people who think it's normal to demand that art is produced exactly to their taste . It's a shame for Ana De Armas that she put so much into it and it got torn to pieces by a mob who largely didn't even watch it.

 

 

[MSU]

9 hours ago, Arch Stanton said:

The Banshees of Inisherin (2022)

Now I've loved all of Martin McDonagh's previous films (although Three Billboards was deeply flawed) but I just can't get the hype over this.

I like slow films, I don't need explosions, car crashes or ridiculous loud music and this has none of those but f**k me, other than a fiddle player inexplicably cutting off all his fingers and a totally over-the-too act of retaliation, f**k all happens.

We're never told why Gleeson's character went off Farrell's which is its biggest failing.

We were told.

Spoiler

Gleeson's character was deeply depressed, realized his own mortality, stuck on that stupid wee island with stupid wee people and didn't want to spend any of the time he had left talking nonsense with an eejit.

I loved it. It's my favourite movie of 2022, followed by Petit Maman (which is a 2021 movie but wasn't released over here until 2022), and then Everything Everywhere All at Once.

[Miguel Sanchez]

Mulholland Drive

Any of you brainboxes care to explain this?

[Arch Stanton]

13 minutes ago, Miguel Sanchez said:

Mulholland Drive

Any of you brainboxes care to explain this?

It's all a drug fuelled dream.

Lynch says "pay attention...there are clues in the cold open"...to paraphrase.

Watts character fantasises about winning the dance off and the last thing you see before the car crash is a POV shot of a head hitting a pillow.

 

Edited December 16, 2022 by Arch Stanton

[jimmy boo]

10 hours ago, Arch Stanton said:

The Banshees of Inisherin (2022)

Now I've loved all of Martin McDonagh's previous films (although Three Billboards was deeply flawed) but I just can't get the hype over this.

I like slow films, I don't need explosions, car crashes or ridiculous loud music and this has none of those but f**k me, other than a fiddle player inexplicably cutting off all his fingers and a totally over-the-too act of retaliation, f**k all happens.

We're never told why Gleeson's character went off Farrell's which is its biggest failing.

Watched this tonight and not quite what I expected having watched the trailers....but I still enjoyed it as I loved them in their previous stuff. 

Loved Three Billboards too.

[D Angelo Barksdale]

Watched Banshees tonight too. Enjoyed it, a solid 8/10.

[coprolite]

Everything everywhere all at once (2022)

Bored housewife, carer and bad businesswoman fights evil across multiple universes. 

Absolutely mental and very entertaining. Really not about the multiverse at all, and all the better for it.

9/10

All Quiet on the Western Front (2022)

Naive youngsters sign up to be heroes in 2018 Germany, but war turns out to be unpleasant.

Quite liked the look and feel of this and thought it brought the horror home well. Not much in the way of story and relentlessly grim, which I guess was the point but didn’t help it work as a film. 

6/10

500 Days of Summer (2009)

Offbeat Romcom.

Watched this after seeing comments about it on here. Two quality lead performances, lots of proper laughs, eclectic style and top soundtrack. 
 

Felt a bit flabby in places and the denouement didn’t ring true with the Zooey Deschanel character through the rest of the film.

Most of the rest of it felt very true though.

8/10

 

Licorice Pizza

Character piece/ love story about two headstrong youngsters. Lots of will they won’t they.

Two really intriguing characters who both seem to grow as they are unpacked. Real sense of place and time.  The way that the characters actions relate to their motivations felt right, with a realistic amount of randomness and bad judgement thrown in, which was unusual for a film.

Could have done without the whole Bradley Cooper chapter which felt like it was from another film. Slightly episodic.

7/10

 

[Florentine_Pogen]

19 hours ago, Arch Stanton said:

The Banshees of Inisherin (2022)

Now I've loved all of Martin McDonagh's previous films (although Three Billboards was deeply flawed) but I just can't get the hype over this.

I like slow films, I don't need explosions, car crashes or ridiculous loud music and this has none of those but f**k me, other than a fiddle player inexplicably cutting off all his fingers and a totally over-the-too act of retaliation, f**k all happens.

We're never told why Gleeson's character went off Farrell's which is its biggest failing.

We discovered this on Firestick last night and watched with no expectations whatsoever. I thoroughly enjoyed it, thought the slow pacing was admirably suited to the lifestyle of the characters and Mrs. FP was actually in tears at one point. (No spoilers from me, fillumfans......) The lead actors were all excellent and an added bonus for me was recognising one of the regulars in the bar as also being the actor who played the alcoholic MC in the Father Ted episode 'A Song for Europe'......the episode that featured the magnificent song 'My Lovely Horse'.

Would recommend.

7/10

 

[Detournement]

10 hours ago, Miguel Sanchez said:

Mulholland Drive

Any of you brainboxes care to explain this?

The film is reversed so you get the dream/fantasy first and the real story afterwards.

So Diane gets a hitman to kill Camilla then fantasizes about being Betty and meeting Rita. Then she goes mad and kills herself. 

All the way through the film there are lots of clues that Diane/Betty was abused as a child by her father. One of the weirdest is Justin Theroux's character Adam ends up homeless because his wife is having sex with a pool guy called Gene. Genepool sex. And Gene is played by Miley Cyrus's Da. 

 

 

 

[Scotty Tunbridge]

Dances with Smurf’s 2:- if you liked the first one you’ll probably enjoy this since it’s basically the same movie but longer.

[accies1874]

18 hours ago, Detournement said:

@accies 1874

They used various photos of her from different stages of her life as the basis for the visual style of those scenes. Dominik explains it here.

 https://www.bfi.org.uk/sight-and-sound/interviews/im-not-interested-reality-im-interested-images-andrew-dominik-blonde

As much as I find it entertaining when brainless babies attack films it does make you wonder about what kind of impact Young Adult Fiction discourse shifting to film discourse will have on what gets produced in years to come. I thought Blonde was brilliant but no one really stuck up for it because it's not worth it at all. At least when it was just religious conservatives attacking films they understood that they just didn't like films or art very much. Now you have an entire generation of people who think it's normal to demand that art is produced exactly to their taste . It's a shame for Ana De Armas that she put so much into it and it got torn to pieces by a mob who largely didn't even watch it.

 

 

I didn't expect that to literally ask then answer the question. I probably should've looked it up before writing. 

I also completely agree about the stupidity of people having opinions on films that they're only aware of the discourse about. That's harmed things like Blonde, but Marvel have it sussed that all they need to do is create news stories within their releases and that'll keep them ticking over. At least someone's winning!

[Miguel Sanchez]

4 hours ago, Detournement said:

The film is reversed so you get the dream/fantasy first and the real story afterwards.

So Diane gets a hitman to kill Camilla then fantasizes about being Betty and meeting Rita. Then she goes mad and kills herself. 

All the way through the film there are lots of clues that Diane/Betty was abused as a child by her father. One of the weirdest is Justin Theroux's character Adam ends up homeless because his wife is having sex with a pool guy called Gene. Genepool sex. And Gene is played by Miley Cyrus's Da. 

 

 

 

I got the "it's in reverse" part.  I liked the soundtrack. I could probably watch it another ten times with an encyclopaedia about it and still not get it.

This, Blue Velvet and Dune were on Film 4 last week. Blue Velvet isn't on All 4, the other two are. Cowards.