Finished The Bright Sword. I really liked it. A thoughtful version of the King Arthur story, which lives up to its dismissive billing as "woke Camelot", with plenty of wit and energy.

Next up:

"We didn't come here to fight with monsters. We're not equipped for it. We came here to find fossils!"

At its best, it reminded me of the films of King Hu.

It is a really striking film; beautifully composed and costumed. The camera moves with real grace, and then you get a shape-shifting demon monster fly about, or as a satanic bull.

I literally could not follow the plot, but I really enjoyed watching.

As low-budget British B-crime-movies go, I thought it was really entertaining.

The film has a deeply unlikely plot, but Comfort has an eye for reality and uses his locations enjoyably. A really solid British B-movie.

William Franklyn is such a dick at the man with amnesia, he forcefully grabs his wife three times in the opening scene because she has the temerity to ask where he's been for three weeks. He is deeply unlikeable and the film has no idea. Lance Comfort (writer / director) has other things on his mind

I had a great time with this under 80 minute runtime crime movie. It has an irrepresibly jaunty and out of place jazz soundtrack by Martin Slavin; a potential femme fatale called Mavis. Nanette Newman, Anthony Booth, and Nigel Green turn up with a variety of suspicions and suspicious behaviour.

That, I believe, is meant to be Jacqueline Jones. Who had a stellar 1961 playing characters of such variety as Mavis, Dolly, Rita, Frog Girl, and Blonde at the Airport.

I confess I just looked up the film to check that's not June Whitfield. I'd just seen a post about BBC 4 marking her centenary tonight, so it did seem possible that they might be showing something from the 60s in which you see her bra

Written and directed by Lance Comfort.

(What a name)

The characters in this might have to deal with a wendigo, but Cooper approaches it with the same seriousness as he does Springsteen's depression; an alcoholic country singer spiralling, working in a Pennsylvanian steel mill, a revision of the old west, and Edgar Allan Poe solving crime.

It is quite well-made, and doesn't stray too far from the appealing and downbeat Cooper aesthetic. It is very bleached of colour, everyone is miserable, and the general air flits deeply melancholy and pre-suicidal.

"Good morning, Carol!"

And the second episode is bleakly hilarious.