iiinova — where your digital self keeps evolving

Joshua Gulch @joshgulch.bsky.social · 28/09/2026

I ate well and enjoyed three square movies in week 39. A couple's racket led to a dog food supplier in 'Eating Raoul' (1982), a group of foodies enjoyed local cuisine while investigating a bird flu epidemic in 'Aruna & Her Palate' (2018), and food was a love language in 'The Taste of Things' (2023).

The poster for Eating Raoul. It's a comic illustration of a big mouth with red lipstick and big exaggerated teeth smiling while munching down on a person's leg, which is sticking out from between the teeth. This is set against a yellow background with the title in really large blue letters above and below the mouth.

The poster for Aruna & Lidahnya, or, Aruna & Her Palate, in English. Four people -- two men and two women -- stand behind a green checkered table, against a solid yellow background. Well, one of the woman is sitting at the table, smiling at the camera. The title is above in thin lined red letters following a gentle curve.

The poster for La passion de Didin Bouffant, or, The Taste of Things, in its English title. It's a photo of a man and a woman at a counter in a kitchen. The man is preparing a large piece of meat, with greenery spread around the counter. He looks to the right at the woman, who is leaning forward against the counter, smiling back at him. The title is below, in white serif letters.

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Joshua Gulch @joshgulch.bsky.social · 21/09/2026

I was too cool for school in week 38 and learned absolutely nothing, of which I am not proud to admit. I only watched 'Kes' (1969), where a young boy trained a hawk as an escape from the torment of his classmates, teachers, and family. Hopefully Yorkshire has some nice people in it now.

The poster for Kes. It's a stark white expanse. In the lower left, a small black and white photo of a young boy in a jacket, hands on his hips, looking morose. The title is in red lower case slab serif letters to the right, with am abstracted image of a kestrel hawk flying beside it, wings outstretched. A big block of black tagline fills the entire top half: "The beat him. They deprived him. They ridiculed him. The broke his heart. But they couldn't break his spirit."

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Joshua Gulch @joshgulch.bsky.social · 14/09/2026

Spent week 37 trapped in a days-long migraine and didn't feel like watching movies. Two tenants stuck in a crumbling and flooding apartment complex met through 'The Hole' (1998) between their rooms, and a group was trapped inside a police station during a gang war's 'Assault on Precinct 13' (1976).

The poster for Dòng, or, The Hole in English. The background is a dirty pale green wall with stains and grime. Inset is an image of a woman in a black dress, her back to us, standing in a doorway as a torrential downpour falls outside. The title is above, scrawled in handwritten black letters, with exaggerated shapes.

The poster for Assault on Precinct 13. The background is bright red. Inset is a black and white illustration of a window, seen from inside a building, as an angry man with a gun climbs through the broken frame. Behind him are many other angry men with guns rushing toward the window. The title is above in red stenciled letters.

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Joshua Gulch @joshgulch.bsky.social · 07/09/2026

I had no legs to stand on for week 36, only managing two fairly short films. 'Attack of the Giant Leeches' (1959) wrapped some fellas up in black Hefty bags to play its big monster worms. 'Blue My Mind' (2017) was a coming of age story about making friends and transforming into a horrifying mermaid.

The poster for Attack of the Giant Leeches, which only calls the film The Giant Leeches. Two enormous triangular shaped monsters with big circular mouths loom in the background while a group of men and women writhe on the ground in a cave beside a pool of water. The title is very big in the center in pale yellow creepy letters.

The poster for Blue My Mind. If features a photo of two teenage girls, one staring aggressively straight ahead into the camera, the other at her side looking askance. Wind blows their hair. In the background the sea can be made out, though blurry. The title is overhead, in a green sky, in white thin letters.

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Joshua Gulch @joshgulch.bsky.social · 04/09/2026

"There are no children or dogs here."

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Joshua Gulch @joshgulch.bsky.social · 31/08/2026

Hoofed it to the finish of week 35 with three movies. 'The House' (2022) had three stories, one about mice and beetles and one about cats, fixing a house. 'Teeth' (1924) was a dog adventure starring Duke the Dog and Tony the Horse. 'Bim, the Little Donkey' (1951) featured donkeys and kid friends.

The poster for The House. It depicts a staircase in three different worlds, the same staircase, with the poster split into three vertical panes. The left pane, tinted green, shows a mouse in a business suit, with two odd looking mice standing behind him in bathrobes. The middle pane, tinted blue, features two human parents standing at the top of the stairs, looking down on a child and infant on the landing below. The right pane, tinted gold, has two cats, one in a white beanie and the other in a pink dress, posing on the steps with a calico wearing a work shirt and shorts stands at the base holding some rolled up plans. The title is at the bottom in large white serif letters.

The poster for Teeth. The background is a painting of a western scene, with golden yellow skies, purplish wispy clouds, and a man on a horse galloping along, firing a pistol behind him, while a dog runs alongside. A large portrait of a black dog fills the right side, his mouth slightly open with tongue mildly panting. The title is in very large gray letters across the top, in the sky, with star Tom Mix's name above in red, while down at the very bottom is a promotion for Mix's upcoming film 'The Deadwood Coach.' That's a lost film that doesn't seem like it had any dogs in significant roles.

The poster for Bim, le petit âne, or, Bim, the Little Donkey, in English. It shows two West African children sitting in a boat, one decked out in fancy clothing with an open jacket and fez cap with the other wearing a torn shirt. A gray donkey stand between them, looking over their shoulders. Along the bottom are various depictions of the kids. In one, the fancy child tries to take the donkey from the poor child. Next, the fancy child holds a pair of large scissors menacingly. Last, the fancy child puts clothing on the donkey. The title is at the very top, in the sky above the kids' heads in the boat, in white letters.

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Joshua Gulch @joshgulch.bsky.social · 24/08/2026

For very mysterious and inscrutable reasons (I was tired and distracted) I only watched two films for week 34. An amnesia epidemic wiped peoples' memories of themselves in 'Apples' (2020), and a samurai with no name wandered into town and instigated a gang war in 'Yojimbo' (1961).

The poster for Mila, or, Apples, in English. The bottom half shows the top half of a man's head, cut off at the upper lip. The top of his head melds into an apple, with its peel spiral cut and lifting away from his scalp. If you're reading this and can't see the picture, it's not as gruesome as that may sound. The title is at the top written in Greek with dark red serif letters.

The poster for Yojimbo. It's illustrated. The central image is of an Asian man wearing a dark green robe and holding a sword out in front of him, a fierce expression across his face. Up in the top left panel is another man smirking while holding a pistol. Another panel in the upper right shows a group of people in the street, holding swords, threatening to fight. The title is scrawled in large handwritten Japanese text to the left in bright orange vertical lettering.

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Joshua Gulch @joshgulch.bsky.social · 17/08/2026

I watched 3 movies in week 33. A djinn granted three wishes along with stories about his 'Three Thousand Years of Longing' (2022). Three circus performers formed a crime ring in 'The Unholy Three' (1930). The Three Stooges helped defend a shipment of gold in the old west in 'Gold Raiders' (1951).

The poster for Three Thousand Years of Longing. Tilda Swinton stands in the center, towered over and embraces by Idris Elba, who is wearing a red robe with a big hood. Behind them is the sky with clouds. Around the edges are vignettes of all of the people the djinn describes in his stories, a wide collection of colorful and ostentatious persons. The title is in the center in simple white sans-serif text.

The poster for The Unholy 3. It's an illustration of three men, all wearing dark suits with fedoras and bowler hats. There's an average sized man, a tall strong man, and a little man being held under the arm of the strong man. They gaze menacingly toward the viewer against a dark blue background. The title is overhead in white letters with a red outline.

The poster for Gold Raiders. George O'Brien stands tall in the upper right, wearing a cowboy hat and pointing a revolved. The Three Stooges are superimposed much smaller in front of him, across his chest, both above a red diagonal swoosh across the center, on which the title is displayed in white block letters. At the very bottom, some smaller scenes of a man on a horse, two men quarreling, and a horse-drawn wagon.

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Joshua Gulch @joshgulch.bsky.social · 10/08/2026

In week 32 I watched, on my own, director/writer/designer/hair/star Aram Katcher's 'Right Hand of the Devil' (1963), director/writer/composer Hal Hartley's 'Amateur' (1994), director/writer/editor/star Orson Welles' 'Mr. Arkadin' (1955), and director/writer/star Julio Torres' 'Problemista' (2023).

The poster for Right Hand of the Devil. The background is bright yellow. To the left is a woman in a bikini, her back to us, looking over her shoulder. At top right, a red tinted head with grotesque melting makeup. Toward the bottom, a series of four photos showing Aram Katcher in various disguises with wigs and bald caps and glasses. The title is in sinister looking red letters in the center.

The poster for Amateur. It's divided vertically into three columns. At left, a yellow column, with images of a young woman with a bob, a middle aged man with wild frizzy hair, and a middle aged man with a gun, peeking in from the edge. The next column is black, with the title running vertically in big white letters. The column on the right is the width of the other two, and shows Isabelle Huppert, wearing a black patent leather coat and pants, leaning her cheek against a power drill in her hand, set against a blue background.

The poster for Mr. Arkadin. It's illustrated, and a red-tinted Orson Welles in a thick beard wearing a captain's hat makes up most of it. Off to the side, a man and a woman stand with their arms on each other's shoulders, while green cash rains down over them, with a castle in the background. The title is at lower left in black letters with yellow borders.

The poster for Problemista. Julo Torres, a young man with a mop of dark hair and a prominent cowlick, stands looking bewildered in the center. Arcing over him are buildings of the New York skyline, along with the Statue of Liberty and the Roosevelt Island Tram, in stylized colors. The title is across the bottom area, in big serif letters with blue and purple crystal coloring.

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Joshua Gulch @joshgulch.bsky.social · 03/08/2026

Brought together a pair of movies for week 31. An estranged brother and sister reunited over life's miseries and family dramas in 'The Skeleton Twins' (2014). Meanwhile, sisters Hayley Mills and Hayley Mills met and plotted a way to reunite their divorced parents in 'The Parent Trap' (1961).

The poster for The Skeleton Twins. Against a light blue background, Bill Hader stands at left, wearing a dark teal cardigan and looking sullenly forward, while Kristen Wiig stands to his right, wearing a sweater with red vertical stripes, leaning her head against his shoulder. The title is to the top right in thin block serif text, close to a typewriter font, with a cartoon skull replacing the O in "Skeleton."

The poster for The Parent Trap. It has that Disney poster illustration style of the 50s through 70s, where it's clearly painted and cartoony but the detail in some spots looks like a colorized photo, but it's not. A bright pink border surrounds a white interior. In the center a man in a green jacked sits cross-legged, looking miserable, while ensnared in a web of lines leading in both directions to phones held by twin Hayley Mills, who smile mischievously. To the left, the disembodied head of Maureen O'Hara looks on aghast, and to the right a woman in green pajamas flees a tent. The title is in white block letters encases in a black rectangle below the man, with thin red lines within the letters.

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Joshua Gulch @joshgulch.bsky.social · 27/07/2026

For week 30's first films, I got a really late start and only watched two. Frank Capra made his directorial debut with a Harry Langdon comedy in 'The Strong Man' (1926), while Rick Moranis launched his theatrical film career with an expansion of his SCTV skits in 'Strange Brew' (1983).

The poster for The Strong Man. A pair of comically proportioned dumbbells, with large circles on either end of the grip, form an overlaid X shape, with photo stills from the movie within each of the four circles. Below, a cut-out of Harry Langdon, wearing a bowler hat, carrying a woman in his arms. The title is to the lower left in black serif letters.

The poster for Strange Brew. It's very busy. At the very top, a mustachioed Max von Sydow sneers while crossing guns across his chest, from which flags saying "Doug" and "Bob" emerge from the barrels. Spreading away from him are different bits and set pieces, like a castle, a brewery, an asylum, an orange GMC van, a man inflated like a balloon, a dog with a cape, and hockey players wearing full-body black and white armor, like knights in plastic sheathing. Rick Moranis and Dave Thomas make up the lower half, wearing flannel and beanie hats and holding bottles of beer, while making goofy expressions. The title is written in red cursive over a bottle opener laid across the lower center.

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Joshua Gulch @joshgulch.bsky.social · 20/07/2026

My challenge in week 29 was to not make a list and to wing it. I watched a difficult trip in a rocketship in 'Destination Moon' (1950), a group of pioneers lost on the Oregon Trail in 'Meek's Cutoff' (2010), and Sam Neill hid sheep from the authorities in 'Rams' (2020). I had to get him in there.

The poster for Destination Moon. It has a pulp comic cover illustration of a sleek silver rocketship with fins near its base and flames spewing from the engine, shooting upward over landmasses dotted with city lights. The title is below in big red capital letters against a yellow background.

The poster for Meek's Cutoff. It features a highly detailed illustration, it looks like pencils and watercolors, of Michelle Williams pointing a rifle ahead of her with a "very much over it" look on her face. She's highlighted in light rose colored shades while the background is a stark sepia field. The title is overlaid in big grey letters.

The poster for Rams. It's a photo of the actors. On the left an older man, Michael Caton, with a scraggly beard and old ballcap with a disheveled expression. To the right is Sam Neil, also an older man but with a tidier beard, wearing a wide brimmed hat and a nice sweater, and he's smiling with a friendly expression. In front of them and below is a big, wooly, silly looking sheep with large curved horns trimmed short on either sides of his head. The title is in large white letters in the space between the thiree.

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Joshua Gulch @joshgulch.bsky.social · 13/07/2026

There's no place busier than the Big Apple so in week 28 I got busy and only watched two movies. 'Naked City' (1948) was about a murder in New York and findin' the mug who did it. In 'Variety' (1983), a woman ticket vender watched the interesting clientele of a Times Square dirty movie theater.

The poster for Naked City. The title is very big in block letters with hard 3D sides, with a yellow-to-red gradient. In the background to the right is an illustration of the New York skyline. To the left are a collection of characters from the movie, kind of piled up. The rest of the poster is off-white.

The poster for Variety. It's a black poster with the center occupied by a ticket window, behind which a blond woman in a leather jacket sits, reading a nudie magazine, looking up, annoyed. A sign that reads "Admission $2.00" hangs above the window. A marquee is positioned overhead, with the title in red neon letters within a green neon tube border with neon blue flourishes.

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Joshua Gulch @joshgulch.bsky.social · 06/07/2026

My best laid plans to fit in a several short movies came up shorter than their running times in week 27. Social classes collided on holiday in 'The Garden of Eden' (1928), actors reenacted a long unsolved death in 'The Last Warning' (1928), and Dennis Hopper met a mermaid in 'Night Tide' (1961).

The poster for The Garden of Eden. An illustration of Corinne Griffith, a blonde woman wearing fur around her shoulders, with both hands clasped under her chin, looks askew over her shoulder at something out of frame. The background is flat orange, and the title is up in the top left in black letters.

The poster for The Last Warning. It's a photo collage showing a group of six characters from the film, most of them looking nervous while one man in the center seems confident. To the left an old man reaches out from the cabinet of a tall grandfather clock. The entire image is sepia toned, except for the title, which is splashed large across the center in green letters.

The poster for Night Tide. The background is deep blue. An illustration of a woman stands with her back to us, wearing a black cloak that flutters in a breeze, as she reaches an arm out. In a vignette below, a man and woman stand on a beach beside a tall cliff, looking up at a crescent moon. The title is in the upper right in ghosty wobbly yellow letters.

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Joshua Gulch @joshgulch.bsky.social · 29/06/2026

Got some of that nepobaby action for week 26. Michael Redgrave was a serious prof in 'The Browning Version' (1951), Ethel Barrymore and Lloyd Bridges played roles in a young man's downfall in 'Moonrise' (1949), and Charlotte Gainsbourg bore witness to a full-on RGB meltdown in 'Lux Æterna' (2019).

The poster for The Browning Version. Against a white background, a black-and-white illustration of a dour looking bespectacled man gazes down on a woman in the kissy kissy embrace of another man. The red bar at the right proclaims, "How could he look on and say nothing ... it was his wife!" Which is so much more lurid than the movie really is. Wild that that's how they marketed the film. Anyway, the title is below, in big red block letters, with "BROWNING" having a yellow outline inside the letters.

The poster for Moonrise. It's very moody and swamp noir. A man rests his cheek against a woman's bosom, as she holds him close, looking out protectively. Behind them, scenes of a man with a gun and a dog. There's also an old woman and an image of the book this movie was based on. The title is below in black serif letters with a green highlight.

The poster for Lux Æterna. It's a really colorful illustration that would send someone on acid on a real journey. An illustration of a woman stands against a cross, her arm tied above her head. Flames rise from below. In the background is a vibrant kaleidoscopic starburst of a rainbow of colors spreading outward. The title is at the bottom, in Romanesque serif letters, with a rainbow gradient across their width.

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Joshua Gulch @joshgulch.bsky.social · 22/06/2026

For week 25 I watched movies that are surely no more than five years old. A miracle or a misconception happen In 'Lourdes' (2009), a marriage goes to shambles as a wife goes to sea in search of a 'L'iceberg' (2005), and a dog goes missing when money is stretched thin in 'Wendy and Lucy' (2008).

The poster for Lourdes. In the lower right corner is a blonde woman wearing a red bucket hat, cut cleanly in half by the ege of the poster. Behind her are rows upon rows of lit candles, surely devestating to a family budget. The background is black and the title is along the top in thin gold letters.

The poster for L'iceberg, or, simply, The Iceberg. It's a simplistic and colorful illustration of a red-headed woman and a dark-haired man standing on a crude sailboat out in the ocean, with an iceberg looming in the distance. An inset shows the real characters in a weird pose, with the man on his stomach atop a crate, mimicking swimming, whole the woman stands over, holding a basin of water in front of his face. The title is overhead in thin jaunty white letters.

The title for Wendy and Lucy. It's entirely a photo of a short-haired brunette woman wearing a blue hoodie and dark brown cut-off shorts, leading an orange dog using a stick it's gleefully grasping in its mouth. They're walking through a field of dried grass with tall trees standing in the background. The title is around the center in thin bluish-green letters.

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Joshua Gulch @joshgulch.bsky.social · 15/06/2026

I could have used help getting moving on week 24, but I did watch 'Two Days, One Night' (2014) where a woman tried to get coworkers to help save her job, 'Enola Holmes 2' (2022) saw Enola help a girl find her sister, and in 'Plaza Catedral' (2021) a woman reluctantly helped a street boy in trouble.

The poster for Deux jours, un nuit, or, Two Days, One Night, in English. It's fully a medium shot of Marion Cotillard, wearing a pink tank top with a purse slung over her shoulder, in mid stride, gazing off to the right with an exasperated expression her face. The title is laid over top in big white serif letters, all lower caps.

The poster for Enola Holmes 2. It's a very busy collage of pretty much every character in the film, with Enola front and center in a blue coat with a front flap that buttons on both sides of the chest. Sherlock and her mum stand behind, with secondary characters clustered around, and a large group of working women at the very bottom. The title is in different lettering types, like cut and pasted from newspapers.

The poster for Plaza Catedral. It's very minimalist, with a stark white background. Two black-and-white heads with high contrast shadows peek in from the top and bottom, a Latina woman from the top looking down and a Black teenage boy at the bottom looking up. The title and credits are in between in smallish serif text.

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Joshua Gulch @joshgulch.bsky.social · 08/06/2026

Watched four fab movies for week 23. 'That Thing You Do!' (1996) took place among Beatlemania, 'The Point' (1971) was starringo Ringo Starr, 'How to Get Ahead in Advertising' (1989) came from George's HandMade Films, and in 'Walk Hard' (2007) Dewey Cox dropped LSD with the Beatles (from Liverpool).

The poster for That Thing You Do! Six characters, including Tom Hanks are grouped together within a narrow green bar running lengthwise across the white background of the poster. Above them are several silhouettes of figures in wild dance moves. The title appears in lowercase white letters set in four different colored boxes, one for each word. Exclamation point included.

The poster for The Point. It's a very busy layout filled with animated characters. In front, a white colored boy (not Caucasian, just stylized all white) saunters with his blue dog alongside. He wears a tall orange hat that looks like a traffic cone. Surrounding him are a variety of wild characters, including a tall angry purple guy and his smaller purple son, a big green tree fella, gaggles of salmon colored women, a weirdo with three faces around his head, and an old king in a blue frock. The title is at the top in big red letters with black shadowing, the T in THE being an arrow pointing up.

The poster for How to Get Ahead in Advertising. A giant TV set erupts from a grassy field, splitting the ground open around it. Richard E. Grant is trapped within the screen, his hands against the glass, shouting. A figure in a trench coat (also Grant) stands on top of the TV, arms spread wide. Beams of light stream up from behind through the blue sky. The title towers overhead in Ben-Hur style chiseled rock lettering.

The poster for Walk Hard: The Dewey Cox Story. John C. Reilly makes up the entire frame in a head-to-ribs medium shot. He's shirtless, wearing a black beaded necklace, has a dome of messy hair atop his head, and a quizzical expression on his face. The image is sepia toned. The title is below his nips, in red letters with a guitar separating the WALK from the HARD, with the subtitle below in black.

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Joshua Gulch @joshgulch.bsky.social · 01/06/2026

Week 22 went by the book with 'All That Money Can Buy' (1941) from a story by Stephen Vincent Benét, 'Three Days of the Condor' (1975) from a novel by James Grady, 'Elektra, My Love' (1974) from a play by László Gyurkó via Greek myths, and 'Behind the Door' (1919) from a story by Gouverneur Morris.

The poster for All That Money Can Buy. In the background across the top, Simone Simon smiles devilishly, cast in red. Below, to the bottom right, a man and a woman, bathed in golden yellow, glance nervously upward. The title is splayed across Simone's face in big yellow letters.

The poster for Three Days of the Condor. A man and a woman kiss, overlayed on top of a U.S. coin. Behind the con are three men in black coats and hats, carrying large guns. At the bottom is a stylized set of condor eyes with the eyebrows doubling as the wingspan for a condor from above. The title is laid over top of this bird element.

The poster for Szerelmem, Elektra, or, Elektra, My Love, in English. The key element is abstract artwork of a match, the flame forming a rainbow of colors. Alternatively, it could be a flag, given how the shape flutters away. The background is a fade from blue on top to yellow at the bottom, with the title in small but bold grey letters at the very bottom.

The poster for Behind the Door. The background is red, with a mostly white illustration of a sea and a wooden boat, with a man holding onto the gunwale as he struggles in the water, along the bottom. At the top left, within a circle, a man with sloppy hair and an angry expression. a white box is to the right with a blurb about the movie, while the title is at the very top in nondescript black serif letters.

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Joshua Gulch @joshgulch.bsky.social · 25/05/2026

Week 21 was toxic to my movie watching, but I did see a monster created from humanity's pollution get whooped by a monster created from humanity's atomic hubris in 'Godzilla vs. Hedorah' (1971) and a husband plot to dispose of his wife to marry his teenage cousin in 'Divorce Italian Style' (1961).

The poster for Gojira tai Hedora, or, Godzilla vs. Hedorah, in English. Against a background of smoke and smog lit red by flames, Godzilla saunters in from the left, blowing his atomic breath though it's a bit weak and wispy. Towering in the background is Hedorah, a blobby heap of sludge with big red eyes that are shooting red laser beams at the Big G. At the bottom, small clusters of people reacting and Hedorah's head peaking up from the surface of the ocean. The title is splayed across the poster in red Japanese text.

The poster for Divorzio all'italiana, or, Divorce Italian Style, in English. Marcello Mastroianni fills the top of the poster, looking particularly smarmy, with greased hair and a gross mustache, just playing a sleazy creep. He gazes down, where there's a scene playing out in red tint, with Mastroianni bursting into a bedroom and firing a gun at a man in the bed, who lurches from his injury, while a woman shrieks beside him. The title is above, beside Marcello, in jaunty green letters.

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Joshua Gulch @joshgulch.bsky.social · 18/05/2026

Saw some kids havin' problems in week 20. Two boys wrangled with crippling adult expectations in 'Monster' (2023), two girls fell into a deteriorating mental spiral in 'Angela' (1995), and a dance troupe experienced a mysterious fainting sickness in 'The Fits' (2015).

The poster for Kaibutsu, or, Monster, in English. The background is red. At the top is an image of two Asian boys, one taller than the other, disheveled and caked with mud, looking back at the camera over their shoulders. Lower down are three individual images of an older woman, a younger woman, and a man. The title is written across the space between the photo sets in white Japanese text.

The poster for Angela. The background is black. At right, the image of a young girl. The lighting is blown out, turning half of her face bright, and she is tinted in red. At the bottom left, a man wearing sunglasses and a woman with short blonde hair lean against one another, both similarly blown out and red. The title is in the lower right, in gold capital letters. The final A in Angela is a different shade, emphasizing the ANGEL part of her name.

The poster for The Fits. A young Black girl faces the camera, filling the poster. She has pigtails over both shoulders, and is wearing a grey zip-up sweatshirt. The background shows swooshes of blue light, which also swoosh across her forehead, giving an impression of dizziness. The title is below in minimal white letters consisting of outlines with parts of the lines missing.

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Joshua Gulch @joshgulch.bsky.social · 11/05/2026

Hey nerfherders, I saw four films in week 19. George Lucas directed 'American Graffiti' (1973), the bomb run in 'The Dam Busters' (1955) inspired the trench run, Peter Cushing & Christopher Lee were in 'The Hound of the Baskervilles' (1959), and Alec Guinness starred in 'The Horse's Mouth' (1958).

The poster for American Graffifi. Against a white poster, a busy collage fills the center with caricatures of characters and places in the film, including a '50s diner, a band, and a various cars. The title is across the top, in orange cursive neon sign lettering.

The poster for The Dam Busters. A realistic illustration fills the top 2/3, with a pilot wearing a leather helmet and air mask over his face sits at the throttle of an aircraft. Visible through the window as his side is a dam exploding, with water pouring through the hole, and a bomber aircraft flying overhead. The title is at the bottom in giant red slab serif letters with a black 3D shadow.

The poster for The Hound of the Baskervilles. An illustration of big scary dog's head fills nearly the whole poster, snarling menacingly, its eyes glowing yellow. The background is yellow glow against teal, and there are a pair of human faces in the lower left. The title is below the dog, in big red letters with blood drips running down.

The poster for The Horse's Mouth. It's all yellow, with a simple drawing of a man at right, a fellow with heavy stubble, a mess of light hair poking out from a bowler hat, and a squinty side-eye squirrely expression on his face A hand holding a paintbrush rises awkwardly in front of him. The title is below in red letters with silly exaggerated pointy serifs.

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Joshua Gulch @joshgulch.bsky.social · 04/05/2026

I wanted to watch more for week 18's Korean theme but this turned into a really off week. I did get to peek in on the life of a filmmaker renting upstairs apartments in 'Walk Up' (2022) and I watched a woman turn her hurt and anger into a personal vendetta against God in 'Secret Sunshine' (2007).

The poster for Tap, or, Walk Up, in its English title. A man in a black shirt stands in the foreground, staring upwards, with his hands in his pockets. Behind him, a tall while building with balconies towers in the background. A handful of people stand around on the street with him, alongside a car. The image is in black and white set against a two-tone brown background. The title is in blocky Korean letters across the center.

The poster for Miryang, or, Secret Sunshine, in its English title. A woman wearing a white top and grey skirt crouches alongside the concrete wall of a building, her arms outstretched resting atop her knees, as she stares off into the distance. The wall is white on top with splotchy light blue below. The title is scribbled across the upper right in handwritten Korean.

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Joshua Gulch @joshgulch.bsky.social · 27/04/2026

I didn't touch a single blade of grass in week 17, but I did watch moss appreciators in 'Here' (2023), attacks on electrical towers in 'Woman at War' (2018), trying to live off-grid in the forest in 'Leave No Trace' (2018), and meeting among the trees on rainy days in 'The Garden of Words' (2013).

The poster for Here. It's a photo of a man and a woman crouching on their haunches in a green forest, with a moss-covered log between them. The woman holds her hands out, cupping moss, toward the man. The title is below in lower case white letters, with the "r" turned backwards.

The poster for Woman at War. It's a far away shot of a massive electrical pylon, a huge lattice tower with long arms holding overhead power lines, filling the entire frame from top to bottom. Down at the lower right, is a very small woman pointing a bow and arrow up towards the tower. A small drone hovers off to the right and a mountain rises in the far distance. The title is at right in white handwritten lettering.

The poster for Leave No Trace. A lush green forest fills the entire sheet, with beams of sunlight streaming between some of the trees, whose trunks tower upward through the poster's vertical space. In the bottom right corner are a young woman and an older man walking through the underbrush. The title is at the lower left in white serif letters.

The poster for Kotonoha no Niwa, or, The Garden of Words in English. The film is animated and the poster features a very detailed illustrated image of a young man and a woman seated on benches below a wooden pavilion surrounded by thick foliage of garden in a public park, with most of the frame taken up with green leaves and grasses. Rain falls all around. The title is in white Japanese lettering along the right edge.

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Joshua Gulch @joshgulch.bsky.social · 20/04/2026

Good things come in threes so I did four just to be safe. A town broke down in 'Heart of Glass' (1976), body doubles abounded in 'They Cloned Tyrone' (2023), life became a living nightmare in 'Open Your Eyes' (1997), and childrens' rivalries held big stakes in 'Little Annie Rooney' (1925).

The poster for Herz aus Glas, or, Heart of Glass, in English. Towering cliff walls on either side allow for a narrow V shape between them, with a pair of bridges high up crossing the gap. At the bottom, a mostly silhouetted image of a man sitting on a rock, holding his head in his hand in weary fatigue about the way of the world. The title is at the bottom in large very pale blue letters.

The poster for They Cloned Tyrone. A series of floating heads of three Black characters form a spiral from upper left to bottom right. A man with a pompadour and well groomed facial hair, a woman with an afto and blue lipstick, and a man with more unruly hair and beard. The latter man's face repeats along the rest of the arc, with one of the heads looking at us in fear. They are against a yellow background with the title to the left in black heavy serif letters.

The poster for Abre los ojos, or, Open Your Eyes, in English. A green tinted image of a young man's face occupies most of the frame, his eyes closed, a relaxed appearance of sleep. Superimposed over him are another pair of eyes, open and staring out. The title is below in large white letters with red accents in a typeface resembling an old typewriter.

The poster for Little Annie Rooney. An illustration of Mary Pickford, playing a tweenager, wearing a green dress with her signature golden curls, sitting in an open window, half in, half out, with a red brick wall surrounding. She has a mischievous look on her face. The title is in white letters set in a black splash below, with lettering that looks like a child wrote it.

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Joshua Gulch @joshgulch.bsky.social · 13/04/2026

Wish I'd given more time to thinning my watchlist in week 15, but enjoyed the three I did. 'The Annihilation of Fish' (1999) came up for so many challenges and kept slipping through. 'Sons of Steel' (1989) was a wild dystopian sci-fi musical. 'Supermarket Woman' (1996) was a delightful pick-me-up.

The poster for The Annihilation of Fish. James Earl Jones and Lynne Redgrave stand against a pale blue background, with Redgrave in a rose-colored dress leaning back against Jones, who holds a flower. The title is above and behind them, in large teal handwritten letters.

The poster for Sons of Steel. A shirtless sliver man with pecs that look like a pinecone stands before a grey and yellow streaked background, holding a rocket launcher behind his shoulder. The title slices through the center, in sharp, metallic heavy-metal style lettering, the two S's hooked together with a bolt similar in shape to a heartline cutting the poster in two.

The poster for Sūpā no onna, or, Supermarket Woman, in English. It's rendered in a simplified illustration style, with cartoonish shapes. A woman with a short bob faces the viewer, smiling broadly while wearing a red coat with a colorful checkered scarf, cradling a grocery basket on her arm. Behind her are the rows and shelves of the store, with other women looking at the merchandise, their faces much more cartoony than the central woman's. The title is across the very top in blocky white letters in Japanese type, enclosed within a box.

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Joshua Gulch @joshgulch.bsky.social · 06/04/2026

I was a wallflower in week 14, sitting off to the side, only joining in on the last dance. I did watch drag shows on stage and in the outback in 'The Adventures of Priscilla, Queen of the Desert' (1994), and Ann Margaret tearing up the stage with the Three Stooges in 'Time Out for Rhythm' (1941).

The poster for The Adventures of Priscilla, Queen of the Desert. It features an image of a big silver bus with name Priscilla on the location plate, while a man stands on its roof with a very large and very long silver steamer trailing in the wind behind him. There are also three figures in outlandish drag attire below, standing alongside the title which is in extremely narrow lined lettering.

The poster for Time Out for Rhythm. To the left, an illustration of a showgirl with black hair with a bright orange headdress. She's wearing a lime green dress with a wide pink skirt flying out as she kicks her legs up. Behind her are abstract representations of theatres. To her right is a tall orange box with the litany of names appearing in the film and at the bottom is the title, in bold white letters arranged in a wave motion.

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Joshua Gulch @joshgulch.bsky.social · 30/03/2026

Everything old was new again in week 13. 'Dirty Rotten Scoundrels' (1988) was a remake of 'Bedtime Story' (1964), 'Godzilla Minus One' (2023) rebooted a series that began in 1954, and 'The Birdcage' (1996) was an American remake of 'La Cage aux Folles' (1978).

The poster for Dirty Rotten Scoundrels. Steve Martin, in a black suit, and Michael Caine, in a white suit, stand side by side holding martinis out to us. Behind them are rows of umbrellas and the Mediterranean along the French Riviera. The title is in the blue sky above them, in red serif capital letters.

The poster for Gojira Mainasu Wan, or, Godzilla Minus One in English. Against a stark white background, a symbol, roughly forming the letter G while also abstractly being in the shape of Godzilla, with his head and body on the right and his long tail sweeping back to form the curve. Within the symbol, an actual image of Godzilla, looking menacing. Scrawled below is -1.0, with some small Japanese text beside.

The poster for The Birdcage. Nathan Lane and Robin Williams stand to the left, with Gene Hackman and Dianne Weist to the right, Lane and Williams looking comfortable while Hackman and Weist look uptight. They stand on a sidewalk in front of a metal stage door. Over their heads is a light up marquee, with the names in red block letters, while on top of the marquee is the film's title, in light-up letters studded with bulbs.

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Joshua Gulch @joshgulch.bsky.social · 23/03/2026

In week 12 I remembered to watch some movies in remembrance. Terence Stamp got his revenge, alongside Nicky Katt, in 'The Limey' (1999), while Catherine O'Hara played the harp in 'A Mighty Wind' (2003). Robert Redford did the meme in 'Jeremiah Johnson' (1972), with Matt Clark, who died last week.

The poster for The Limey. Set within a white poster, a red-tinted photo of Terence Stamp lighting up, a trail of smoke streaming behind him, with an airplane in the sky. The image is cut into four vertical strips, with the title in tall red letters below the third strip.

The poster for A Mighty Wind. All of the members of the three bands from the film, so fourteen people in all, pose against an off-white background. Three members, including Parker Posey, stand on a ladder in the center, while Catherine O'Hara is off to the far right, sitting on a stool, holding a small, boxy autoharp. The title is below, in comically staggered capital letters, each one a different pastel color.

The poster for Jeremiah Johnson. The poster is nearly blank, though tinted a light yellow. In the center, a dark black and white image of Robert Redford, with a beard and a hat, holding animal traps in both hands, a trail of footsteps in the snow trailing behind him. The title is in the top left corner, fairly small, in dark blue letters.

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Joshua Gulch @joshgulch.bsky.social · 16/03/2026

Didn't watch the Oscars though I did watch four nominees: earwormy tunes and butts kicked in 'KPop Demon Hunters,' a body horror Cinderella with 'The Ugly Stepsister,' menstruation and chickens in 'Jane Austen's Period Drama,' and twin Michael B. Jordans facing an army of bloodsuckers in 'Sinners.'

The poster for Kpop Demon Hunters. It's a CG animated film with bright neon colors. The poster features three women on a stage, striking action poses with blade-based weapons. Behind them is a large poster with their faces and the banner HUNTRIX. In front of the stage is a group of demons, with the title laid over top in silvery letters with bladed edges.

The poster for Den stygge stesøsteren, or, The Ugly Stepsister in English. A young women's face fills the background, her blue eyes staring forward with determination. She wears a gold brace over her nose with three pink ribbons tying it around her head. A decorative Art Noveau border surrounds the edges with a butcher knife in the details. A woman's foot enters from the upper right with a yellow ribbon around the ankle and wearing a dress shoe, partially obscuring the woman's face. The title is below in pink letters, the first letter of each word in fancy script lettering.

The poster for Jane Austen's Period Drama. It's done up like the cover of a book from the mid 19th century. A white silhouette of a woman with a ribbon tied around her midriff occupies the center, with delicate vine like decorations surround her on a mint green background. The red silhouette of a man, much smaller, is placed suggestively over the location of her nether regions, looking like a blood smear. The title, in red letters, is just above the center.

The poster for Sinners. Michael B. Jordan fills most of the frame, standing, looking down to the left, a handgun in his hand down by his side. Behind him is the large orange disc of the sun with dark human silhouettes far off in the background. The title is overlaid in large yellow letters with tattered edges.

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Joshua Gulch @joshgulch.bsky.social · 09/03/2026

Week 10 got out of my hands and I only managed a pair of films this time. 'After Hours' (1985) had a poster accurately depicting Griffin Dunne being twisted around as the night ticked on. 'Swiss Miss' (1938) featured the piece from the poster of Stan and Ollie trying to move a piano up a mountain.

The poster for After Hours. It has an illustration of Griffin Dunne's head, pinched between a pair of women's fingers with bright red nails. His head is connected to a pocket watch, forming the winding knob at the top, and his neck has been twisted around several times. The hands on the clock show that it is 2:02 and 51 seconds. The title is below in cursive red neon tube letters.

The poster for Swiss Miss. It has a cartoony illustration showing Stan Laurel and Oliver Hardy holding a piano between them while standing on the slope of a snow covered mountain. Stan's bowler hat is sitting atop the piano while Ollie's is on his head. Both wear lederhosen. A white and black St. Bernard dog stands nearby with a cask hanging from its neck. The title is arcing below and down to the right in silly red capital letters.

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Joshua Gulch @joshgulch.bsky.social · 02/03/2026

Spent LAST week with a trio of films. Bumbling rugby players tangled with the undead in 'The Last Samoan Zombie' (2023), USS Nimitz was thrown back in time to 1941 in 'The Final Countdown' (1980), and the post-apocalypse survival dome began failing in 'O-bi, O-ba: The End of Civilization' (1985).

The poster for The Last Samoan Zombie. Four male rugby players wearing bright red jerseys and black shorts stand in front of a dark forest. One is reading a book, one is holding his bat. The title is at the top in very big red letters with a partial opacity.

The poster for The Final Countdown. The top 2/3 is a painting. USS Nimitz, a large modern aircraft carrier, is depicted in a dramatic low view from starboard with her bow looming overhead. A bright spiral appears behind the ship, with crackles of lightning coming down around her. Below, another depiction of Nimitz, from a higher position off the starboard bow, this time looking down at the flight deck. An F-14 launches from the catapult while much older World War II propeller driven aircraft fly overhead. The title is below, in the lower 1/3, in red block letters with a 3D effect.

The poster for O-bi, o-ba: Koniec cywilizacji, or, O-bi, O-ba: The End of Civilization in English. It's a drawing of a human skull filling the entire poster, with blood red eyeballs in its dark sockets and a red lipstick kiss across its teeth. Blood sprays from the eyes while the background has a wine red mottled appearance. The title is down in the lower right corner in white slab serif letters.

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Joshua Gulch @joshgulch.bsky.social · 23/02/2026

Only managed two movies in week 8, which at least made it movieS plural. Two lonely Finnish sad sacks found each other against all odds in 'Fallen Leaves' (2023), while Jeff Goldblum and pals saw their small independent newspaper get bought out in 'Between the Lines' (1977).

The poster for Kuillet Lehdet, or Fallen Leaves in English. The scene is a movie theater with dark red seats. A blonde woman wearing a teal coat sits staring ahead at the screen. Beside her, a man in a black jacket looks over at her. A dog is seated in the row behind them. The title is overhead, in the dark, in tall white letters.

The poster for Between the Lines. It's a loose painted style, featuring all of the characters gathered around a building with a vertical sign that says MAINLINE. Jeff Goldblum stands prominently below, centered, arms outstretched, wearing a bright red jacket. The title is below in comical black letters with varying line widths.

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Joshua Gulch @joshgulch.bsky.social · 16/02/2026

Watched a couple (or is it a poly?) movies for week 7. Adopting a cat determined the course of 'The Future' (2011), two dancers lost their ability to 'Rumba' (2008), a gangster took two naïve lovers under his wing in 'The Pay-Off' (1930), and cheating was suspected in 'Lady Windermere's Fan' (1925).

The poster for Rumba. The background is light green. A man, wearing a sky blue shirt and fire red pants, is in a dance pose with a redheaded woman who is wearing a lemon red dress. A radio sits on the ground off to the left and a fire extinguisher hangs on the wall to the right. The title is overhead in large yellow letters with a red shadow, the right-most leg of the M is breaking off.

The poster for The Pay-Off. It consists nearly entirely of huge letters saying PAY-OFF, filling form side to side, curving down in the center, with dark shadows giving them a 3D look. The word THE is above, in black against the bright orange background. Fit into the small area below, pushed to the left and right edges, are a few illustrations in black of noirish things, like a man and woman looking shocked and a hoodlum skulking around in the dark.

The poster for Lady Windermere's Fan. The whole thing has a sepia tone tinting. Against a wine red background, a fancy yellow ladies fan is splayed open, with the title arcing across its face in red serif letters. The portraits of four of the cast members appear in circles overlaying and below the fan.

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Joshua Gulch @joshgulch.bsky.social · 09/02/2026

In the 6th challenge I covered the last century in the span of a week. 100 years ago Clara Bow was boy bonkers in 'Mantrap' (1926), 75 years ago a nightclub dancer saved a baby in 'Victims of Sin' (1951), 50 years ago the mob put out a hit in 'Mikey and Nicky' (1976)... 1/2

The poster for Mantrap. At the top left, a watercolor painted portrait of a flapper with short black bob, who I think is supposed to be Clara Bow despite not looking like her and having completely the wrong hair. Anyway, she wears an orange scarf that reaches down like tendrils, entangling two men in its clutches. In the bottom right, the same flapper stands on a beach wearing a short red dress, looking at a man in a tank top standing beside a canoe. The title is in white letters with red center lines, angled across the poster in a lime green bar.

The poster for Víctimas del Pecado, or, Victims of Sin in English. It's made up of a collage of painted portraits. Top left, two mustachioed men stare menacingly at each other, bathed in blue. Bottom left, a young child holds a bundle of newspapers, looking dead inside, against a red glow. Bottom right, a blonde woman wearing a ruffled dress poses with a hand on her head and a hand on her hip. In the center, the same blond woman glances off to the left, eyeing the situation with concern. The title is in yellow letters to the center left.

The poster for Mikey and Nicky. It's a white poster with the image of a photograph of two men on a bus, Peter Falk on the left and John Cassavetes on the right. Falk is looking at Cassavetes, who is pointing at something. The photo is torn in half. A hand holding a handgun rises from the bottom, the tear through the photograph lining up with the gun to look like smoke rising from the barrel. The title is across the top of the photo as names above each man's head. The entire top of the poster is made up of quotes from critics praising the film.

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Joshua Gulch @joshgulch.bsky.social · 02/02/2026

Made time for myself in week 5 with five films. Middle-aged teenager Jimmy was failed in 'I Accuse My Parents' (1944). A playwright struggled against distractions in 'The Neighbor's Wife and Mine' (1931). A young man fled Mexico after witnessing a gang killing in 'I'm No Longer Here' (2019). 1/2

The poster for I Accuse My Parents. It's illustrated in a '40s pulp style. A courtroom is shown, with two parents and their so-not-a-teenager son standing in front of a judge's bench, the judge pointing accusingly at the parents. At the bottom, the same "teenager" leans in to kiss a blonde woman. The title is in red text on a yellow rectangle that juts in from the lower right.

The poster for Madamu to nyōbō, or, The Neighbor's Wife and Mine. A black and white photo takes up most of it, of a thin mustachioed man on the floor, on his stomach, with a small child sitting on his back. His wife, wearing traditional Japanese woman's attire, sits nearby looking at them. He has a comically frustrated look on his face. The title is below, in red Japanese lettering.

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Joshua Gulch @joshgulch.bsky.social · 26/01/2026

Despite the 4th theme, I had a pretty good week. Watched 'Mountain Onion' (2022), a coming-of-age with a blue poster and a blue pickup motorbike. Then Buster Keaton as an inept fireman in 'Blue Blazes' (1936). Closed out with the giant blue people inhabiting 'Fantastic Planet' (1973).

The poster for Gornyi Luk, or, Mountain Onion in English. The background is predominantly a light blue sky with some green fields way down at the bottom. A child, around 11 or 12, stands at the bottom, seen shoulders up. He has a grimace on his face, and his hair consists only of bangs. The rest is completely shaved. Just a tuft of bangs in the front. The title is above him in pale yellow Cyrillic, with three other characters standing around the letters.

A stand-in graphic for Blue Blazes, consisting of a collage of two screenshots, with the film's title card screen at top and an image of a fire chief, seen from behind, staring at Buster Keaton, in fire gear with a "4" on his helmet, looking sheepishly back at the chief. Both images are black and white. The title in the top screenshot is in zany letters where each letter has one side with a thick stroke and the other is thin. I'm sure there was a poster at some point but it apparently hasn't made its way onto the internet. There's also a loose cartoon illustration of Buster on a ladder spraying flames below with a hose.

The poster for La Planète sauvage, or, Fantastic Planet in English. Against an all-black background, a large blue humanoid figure leans in from the left. She has bright red circular eyes, a bald head, and small fins where her ears should be. She's looking at a tiny human boy kneeling in her giant hand, a look of amusement on her face. Her shirt is sleeveless and, uh, exposes the twin moons of her fantastic planet. The title is at the top in bright yellow letters which have a thin white line inside each character.

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Joshua Gulch @joshgulch.bsky.social · 19/01/2026

As one of 3 siblings it makes sense I was only able to do 3 films for week 3. Started off with 'My Brother's Wedding' (1983) with bickering brothers, then went on a 'Walkabout' (1971) with brother and sister in the desert, and ended with 'I Was Born, But..." (1932) where brothers control a kid gang.

A poster for My Brother's Wedding, which I believe may be from a later rerelease. Inset within a square frame in the center is a close-up black-and-white photo of a Black man with a mustache leaning in to speak to a Black woman, who is looking away from him, not really caring about what he has to say. The title is above in a blue serif font.

The poster for Walkabout. Against a yellow background is a washed out black-and-white painting of a young Black man, shirtless and carrying a spear, boomerang, and dead lizard, looking up at a young white boy and girl, walking toward him wearing rich people clothing. In the background, a Volkswagen Beetle spews dark smoke into the air. The title is below in dark red Cooper Black.

A poster for Otona no miru ehon - Umarete wa mita keredo, or, I Was Born, But... in its English title. It is a rerelease poster from much later, and I couldn't find anything contemporary. A black-and-white photo of three Asian children make up the poster. The outer two wear similar grooved sweaters and ballcaps, while the child in the middle wears a black overcoat and hat that makes him look like a gangster Cardinal, especially with a slingshot hanging around his neck as a holy vestment of destruction. They all look displeased, the child on the left resting his head on his arms, the one in the middle staring menacingly off to the left, and the kid at right making a grotesque frown. The title hovers above them in red Japanese text, with a small translated title below in dark gray. There's also an info box with showtimes on October 10 and 18.

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Joshua Gulch @joshgulch.bsky.social · 12/01/2026

Three excellent films for week 2, and they'd better have been excellent or this whole week would be a lie. 'Living in Oblivion' (1995) holds a 3.9 on Letterboxd, with 'All That Jazz" (1979) rightfully earning a 4.3, and 'Scarlet Street' (1945) taking a 4.0. God dang do I miss Roy Scheider.

The poster for Living in Oblivion. It features Steve Buscemi, with a messy shoulder length mop of hair, standing over the camera, feet planted on either side, looking overwhelmed, with a black-and-white checkered tile tunnel disappearing into oblivion behind him. The title is in big yellow letters in the right-of-center.

The poster for All That Jazz. It consists entirely of the title spelled out in white lightbulbs of a theatre marquee, adapted from the Avant Garde typeface, against a black background. We're looking up at the title from a low angle on its left.

The poster for Scarlet Street. It's in a pulpy noir illustration style. A brunette woman in a red dress leans against a street light, looking at a man in a tan suit and porkpie hat. The background behind them fades from blue to black. In the upper right, the face of Edward G. Robinson, tinted green, looking forlornly toward the right. Left of Robinson, is a yellow card with the title in handwritten cursive, circled in red, with the actors' names above and below.

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Joshua Gulch @joshgulch.bsky.social · 05/01/2026

New year, new week. For week 1's firsts, I watched a bunch from the watchlist. Began with Chantal Akerman's feature debut 'Je tu il elle' (1974), Sofia Coppola's debut short 'Lick the Star' (1998), and 'The Monster' (1925), which is regarded as the prototype for the Old Dark House genre... 1/2

The poster for Je tu il elle, or, I You He She, in English. It is mainly a dark blue field with the title all in lowercase but very big letters filling the majority of the upper 2/3, with orange-tinted photos of a woman within the letters. White slab serif cast names are below.

The poster for Lick the Star. It's a photo-montage of black and white images of teenage girls. The upper image has four girls laying on the ground with their heads in the center of a star shape, two wearing sunglasses and one with her arm over her eyes. A photo of a dark haired gothy girl with dark lipstick laying her head on her arm on a desk is below. The title is scribbled in all caps across the center, like in a notebook, with a little star dotting the i.

The poster for The Monster. The upper half is a painting of a man and a woman standing on either sides of a dresser with a large mirror. They see their reflections in the mirror as well as the reflection of a large shirtless muscled man looking at them. They are surprised. He is menacing. The bottom half is a white field over which the title is splayed in big orange letters.

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Joshua Gulch @joshgulch.bsky.social · 29/12/2025

Wrapped up 52 weeks of movie challenges with the help of 'Fargo' (1996), which I watch every X-mas Eve so thanks to the 5 who watched it, 'Beyond the Infinite Two Minutes' (2020) from 5 others, finally caught 'Rodan' (1959) and 'Wicked Little Letters' (2023), both watched by 1 other apiece in 2025.

The poster for Fargo. It's designed to look like a knit tapestry. A body wearing a red coat and blue jeans lies face down in the white snow that makes up the backdrop, a grey car flipped onto its roof off in the distance. The poster is bordered by a cute diamond pattern with police stars in each of the four corners. The title is in red cursive letters near the top.

The poster for Dorosute no hate de bokura, or, Beyond the Infinite Two Minutes in its English title. It features an Asian man with a mustache, wearing a green apron. He is holding a monitor which displays the same man looking at another monitor, which displays the same image, and the same image, and the same image, into infinity. The background of the poster is a series of orange and green squares, set within one another, alternating downwards into infinity as well. A white sleeved arm wearing a white glove with a wrist mounted bit of tech reaches in from the upper left while a while legged leg with a black shoe steps out from the lower right. The title is at the bottom in orange Japanese text with the word "droste," as in the Dutch cocoa powder, in white Roman letters.

The poster for Radon, or Rodan, with its English spelling. It's the typical overly busy photo-montage that Toho's posters of this era went for. Rodan, a pterodactyl monster, soars overhead, above a volcanic crater. Two men stand behind a rock peeking out at upper left. Further down, cobbled together images of an Asian woman screaming, a giant larval monster, and a man in a yellow jumpsuit reacting to the creature by poking it with a stick while a house explodes to their left. Along the left edge in big red Japanese letters aligned vertically is the name Radon, with a yellow box along side with additional text reading "Dorosute no hate de bokura," or, "Giant Monster of the Sky."

The poster for Wicked Little Letters. Against a blue background are two rows of people. An older white man with a scowling with a mustache and a bowler hat, a younger Indian woman in a police uniform, and a young Black man smiling with a mustache (and no hat). Below them and larger are two white women, standing back to back. On the left is Olivia Colman, wearing a green jacket and beige hat, looking nervously, and on the right is Jessie Buckley, wearing a white blouse and looking over her shoulder at Olivia and smirking. The bottom of the poster is a white field, shaped like an envelope, with a triangular cut into which the upper character portion is filling. The title is in this envelope area in pink capital letters.

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Joshua Gulch @joshgulch.bsky.social · 22/12/2025

Week 51 let me knock off a few watchlist items. 'Asphalt' (1929) had a madcap flapper, 'Party Girl' (1995) added another Parker Posey from the 1990s challenge, 'The Crime is Mine' (2023) was a fun li'l murder comedy, and 'Between Two Worlds' (2021) offered commentary on class and labor disparities.

The poster for Asphalt. It features an illustration of a flapper with a characteristic bob cut, wearing s slinky red dress, forcing herself upon a police officer wearing a uniform and tall cap, while he attempts to wrestle her off him, a grimace crossing his face as he loses control of the situation. The title is splashed across the top in big red capital letters.

The poster for Party Girl. It features a photo of Parker Posey, wearing a red sweater with blue, yellow, and green stripes on the wrists and waist, sitting on top of a pile of books. She's wearing nylon stockings and is holding an overturned martini glass in her hand. In the background is a silhouette of a city against the poster's white background. The title is in the top right in very '90s styled Memphis like font, with crazy lettering, each letter a different color, and a jagged underline with some random little circles. The Y in PARTY is stylized as a martini glass.

The poster for Mon Crime, or, The Crime is Mine in its English title. The artwork is in a retro 1930s pulp style. Two women, a blonde and a brunette, are at the top, with blonde on the left with a smoking gun in her hand. Below their heads, and smaller, are a collection of characters from the film, each one a little big outlandish. The two women are framed with a pink circle behind them, while a pink cityscape crosses the background. The title is at the bottom in a similarly pulp comic style, the word Mon in script and the word Crime in golden lettering with a 3D look.

The poster for Ouistreham, or, Between Two Worlds in its English title. It's a photo image of Juliette Binoche, wearing a black jacket and scarf, sitting on a bollard on a pier, a body of water off to the left and a cruise ship off in the distance. She's surrounded by five other women of varying ages who work aboard the ship. The title is in tall white letters against the blue sky overhead.

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Joshua Gulch @joshgulch.bsky.social · 19/12/2025

The #1 movie from when you were 10 years old is how your 2026 will go. Yeah, that checks out.

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Joshua Gulch @joshgulch.bsky.social · 15/12/2025

Revisited a year's worth of shortlists for week 50 and caught up on five I'd missed. Began with 'Killer of Sheep' (1978) from week 44, 'The Little Girl Who Sold the Sun' (1999) from weeks 24 and 38, and 'Asako I & II' (2018) from weeks 27, 37, 41, and 45, so that one was long overdue... 1/2

The rerelease poster for Killer of Sheep, since I couldn't find evidence it had a poster back in 1978. It features five young Black children walking in front of a bright white wall, the shadow of one of the kids cast back up on it in a sort of dancing shape. The photo is in black and white and the only color is the title above them in dark saturated blue lettering.

The poster for La petite vendeuse de soleil, or, The Little Girl Who Sold the Sun. It features a crude, abstract illustration of a Black girl, sitting on the ground, looking up at us. She has a walking crutch leaning on her leg and a newspaper titled "Le Soleil" on her lap. She is set against a bright yellow background, with the title in the top left corner in black handwritten lettering.

The poster for Netemo Sametemo, or, Asako I & II in its English title. The upper 1/3 shows an Asian woman and man, with a slight sepia tint. The man lays on his side, asleep in bed, while the woman looks down at him, her head resting against his shoulder. The bottom 1/3 is made up of various shots from the film of the characters interacting. Splashed across the center of the poster is the title, in yellow, loosely handwritten, Japanese text.

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Joshua Gulch @joshgulch.bsky.social · 08/12/2025

Popped in to visit four films in Movietown. Terence Stamp (RIP) got the whole family horned up in Teorema ('68). A count brought messy drama to The Haunted Castle ('21). Durante invited everyone to his place for a Hollywood Party ('34). Shatner came to town to start a race war in The Intruder ('61).

The poster for Teorema, or, Theorem in English. A photo of Terence Stamp's head looks seductively outward, the photo washed out toward the next, blending into a white background. In the upper right corner, obscuring his eye, is a photo of a man and woman in tight embrace, makin' whoopie. The title is below Stamp's head, arranged as TEO vertically, then bending with REMA following horizontally from there.

The poster for Schloß Vogelöd, or, The Haunted Castle in its English title. An expressionist charcoal drawing of a spooky woman makes up the poster, wearing elbow length black gloves, one hand to her slender chin, her dark eyeshadowed eyes glancing away, her black hair flared up like some kind of pointy hat. A dark figure with bulging eyes is to the right, stalking behind her. The title is up in the left corner, out of the way. None of this appears in the film and gives a completely different idea about what to expect.

The poster for Hollywood Party. It's in a painted illustration style. Four chorus girls in puffy pink hats line the top, hands under their chins. Laurel and Hardy appear to the left, Stan's head above Ollie's, while Polly Moran smiles to the right. Mickey Mouse alights in the center, arms up, in a happy dance. The title arcs below the chorus girls in big red letters dotted with stars.

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Joshua Gulch @joshgulch.bsky.social · 01/12/2025

Got around a bit in week 48 with a little vehicular viewing. A Ukrainian couple got wrapped up in a plane crash in 'Klondike' (2022), underground train workers needed therapy in 'Kontroll' (2003), and a town had an unhealthy relationship with automobiles in 'The Cars That Ate Paris' (1974)... 1/2

The poster for Klondaik, or Klondike with its English spelling. The view is looking out from a damaged house, a bit of ragged wall visible at the top, of a woman with a large pregnant stomach sitting on a damaged couch in her barren yard, surrounded by debris. Way off in the background, a plume of black smoke rises from the horizon. The title is across the center in a yellow Cyrillic font.

The poster for Kontroll. The upper half is dark while the bottom half shows a bank of four escalators rising up toward light, the view of the top blocked by an archway. A man and a woman, the latter wearing fairy wings, stand at the base of the escalators, mostly silhouetted, looking toward us. The title is above them, in the dark area, in a rectangle with torn ends shaped like a subway ticket, with the title in heavy red type.

The poster for The Cars That Ate Paris. It's almost entirely black with the very top of the black becoming a silhouette of a house and some telephone poles against a salmon colored sky. Lower down is a large black and white photo of a Volkswagen bug covered with dozens of long metal spikes. The title, in large red letters, stands above it, taking up three lines of text.

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Joshua Gulch @joshgulch.bsky.social · 24/11/2025

4 from 2024 for week 47. Saoirse Ronan got her life back together in 'The Outrun' (2024), a cute cat learned the power of friendship in 'Flow' (2024), two manga artists united their creative sparks in 'Look Back' (2024), and poverty bred gruesome desperation in 'The Girl with the Needle' (2024).

The poster for Straume, or, Flow, its English title. It features a dark grey cartoon cat, floating underwater, staring at us. Behind it are rings of colorful fish and the brightly lit surface above. The cat seems suspended in space, weightless. The blues of the water offset the darkness of the cat's fur. The title is below, in handwritten white letters.

The poster for Rukku Bakku, or, Look Back, its English title. Two animated girls fill the page, one with short hair and a yellow shirt laying on the floor, propping her head up on her hand and smiling while the other girl lays on her stomach beside, with shaggier hair and an orange shirt, pencil in hand drawing a manga page. The title is at the bottom in white Japanese text, hand drawn like on a manga page.

The poster for Pigen med nålen, or, The Girl with the Needle in English. A black and white photo of a young woman fills the poster, wearing a seamstress uniform and hat, looking up from a crowd of other women, her eyes dark from stress and hardship, a world weary expression on her face. The photo fades to black below the halfway point. A smaller image of an older woman holding a baby swaddled in a blanket, a grim expression on her face, is below, along with the title in handwritten script.

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Joshua Gulch @joshgulch.bsky.social · 17/11/2025

For week 46 I watched as many movies as there have been Charles. In 'Pool of London' (1951), sailors on leave got into girls and trouble. Jessie Matthews conned her way into the London theatres in 'Evergreen' (1934). Ended with a pair of actors needing to escape London in 'Withnail and I' (1987).

The poster for Pool of London. Against a blue background, the title, in all caps yellow letters angles with perspective, its left side smaller than its right. Very dynamic. Below, artwork of a man in a red shirt grimacing as he heaves himself over a wall, with dockyard cranes standing against a pink sky in the distance.

A DVD case for Evergreen, since I couldn't find a legitimate contemporary poster. Jessie Matthews's face fills the left hand side, looking toward us, in a black and white photo. To the right of her face, an illustration of a man and woman dancing. Below, the title, in green text, angles upwards toward the right. The E in the title is swooshy while the rest is a basic sans-serif font.

The poster for Withnail and I. A dartboard makes up most of the frame against a yellowed background. Three darts with Union Jacks on their ends pierce a piece of paper to the board, on which is a line art cartoon of a man laid out on a sofa on his stomach with another man leaning against the wall behind him. Their hair is rendered as wild lines shooting from their scalps. off to the side of the board is a telegram, stuck to the wall with another dart, with a tagline. Below the board is the title, scrawled on the wall in red manic handwriting.

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Joshua Gulch @joshgulch.bsky.social · 10/11/2025

Of all the movies I've seen, allow me to name the four most recent. 'Amanda' (2022) about Amanda making a friend, 'Lilya 4-ever' (2002) about Lilya trying to survive creeps, 'Tony Takitani' (2004) about Tony's shopaholic wife, and 'Silvia Prieto' about Silvia Prieto finding another Silvia Prieto.

The poster for Amanda. It's a full sheet image of a top-down view of a woman laying on a blue pool float. She's wearing a floral dress and cats eye sunglasses, her arms folded behind her head as she stares upward. She's positioned with her head pointing to the bottom of the poster. Below her head and the edge of the float is blue pool water and the title, which is rendered in a pudgy script font, with white letters, each one outlined in a different color.

The poster for Lilja 4-ever, or Lilya 4-ever with its non-Scandinavian spelling. The poster is entirely a grainy close-up of a teenage girl's face. Her eyes stare ahead, empty, a fringe of blonde bangs peeking in from the top. She looks defeated. The title is in white Helvetica across the width of the frame below her mouth.

The poster for Tony Takitani. It's divided into three horizontal frames. The top one features a middle-aged Asian man in a grey vest and tie, staring out a window to the right, the frame having a cool grey color tone. The bottom one features a younger Asian woman with shortish hair, wearing a black turtleneck sweater whose neck is weirdly thick but that's beside the point. She stares ahead with a concerned expression and the color tone is a warm yellow tint. In the white frame across the center, separating the two, the title is spelled out in gold Japanese text, the characters made up of ornate floral designs forming the lines.

The poster for Silvia Prieto. Against a white background stands four images of a cheap ceramic figurine of a woman with shoulder-length black hair, wearing a white dress, holding a bouquet of flowers in her left hand and a pink hat in her right. It's a terrible looking figure, the kind of kitsch you can't imagine anyone actually wanting in their home, with its blobby form, easy to cast shapes, and simple paint job. The title is beneath, the letters formed from black dots, like it's ASCII art.

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Joshua Gulch @joshgulch.bsky.social · 03/11/2025

Unmasked four new-to-me films in week 44, watching a spooky masked man targeting models in 'Blood and Black Lace' (1964), a gas mask clad bank heist with 'The League of Gentlemen' (1960), a time traveler with a mask in 'Timecrimes' (2007), and mask-wearing travelers in 'Lost in New York' (1989).

The poster for Sei donne per l'assassino, or, its English release title of Blood and Black Lace. It's a painted illustration, with a masked face at top left, wearing a hat covering his forehead. This mask is more taught than in the film, giving the face beneath a desiccated appearance. In front of the face, filling the center of the poster, is a pile of four women sprawled on the floor wearing slinky dresses. In the background, or upper right, is a mesh mannequin against a red lit doorway, which makes it look like a body in flames. The title is below, in Italian, and in spooky yellow letters with blood drip bottom edges.

The poster for The League of Gentleman. It's minimalist, with a white background. There's an illustration of a gas mask in the center, with shining in the eye openings that resembles big eyes looking to the right. The gas mask has a bowler hat on top, an umbrella leaning in from the left, and a red machine gun below the breathing tube. At the very bottom is a series of six black-and-white headshots of the cast. The title is in between the gas mask and the headshots, in black, jaunty lettering.

The poster for Los cronocrímenes, or, Timecrimes. A mostly black-and-white photo makes up the poster, of a man in a long black coat, his head bound entirely in bandages with eye and nose holes, holding a pair of scissors in his hand, as he stands in the woods, trees and fog in the background. His head bandages and the pointy tip of the scissors are colored bright pink. The title crosses diagonally near the bottom in hand-scrawled letters, white on a black band, with "crono" called out in pink.

$A poster for Perdues dans New York, or, Lost in New York. I don't know if this is an original poster or something for a later release. It features two women standing side by side wearing white emotionless masks over their faces. The eye holes don't allow much to be seen behind them, making the eyes look dark and empty. The woman on the left has tussled dark hair while the woman on the right had straighter lighter hair. They both wear black shirts. Behind them are faint buildings of Manhattan, mostly their window lights picked out in a haze. The entire poster has a blue tint. The title is at the very top in white letters, fractured like glass.$

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