We're still doing, when we're at home and not away doing other things, the Saturday pizza-and-movie nights we instigated as a desperate effort to stay sane during the dark days of the early COVID-19 lockdowns in spring and summer 2020. You can do your own maths here: six-and-a bit years times 52 weeks minus a few weeks when (more frequently outside of lockdown periods obviously) we were away doing exciting holidaying or something equals quite a lot of movies to get through. We have certainly repeated ourselves a few times as well, but I imagine there'd still be somewhere between a hundred and two hundred movies.
A lot of other things have happened during those six years, of course, the most obvious one being that the kids are now fourteen, eleven and nine respectively, compared with eight, five and three when we started. So Nia and Alys are now old enough to want to watch things like The Hunger Games, something that they wouldn't have wanted to do (and nor would they have been allowed to) during 2020.
Anyway, the loosely-related point of that lengthy preamble is: a couple of weeks ago we (or rather the kids; I don't get a say in this, my goodness no) decided to watch The Adam Project, a time-travel science-fiction thing that looked at least mostly kid-friendly. I will confess to being slightly resistant to the acting charms of Ryan Reynolds with his ultra-21st-century ironic knowingness and fourth-wall-breaking, but it was fine, all the usual annoyances about time-travel movies notwithstanding - the impossible looping causality paradoxes, the awkwardness of meeting your future self and discovering you'd turned into some cartoonish supervillain, accidentally becoming your own grandfather, as well as some, erm, other, more gnarly stuff.
Anyway, I noticed a couple of interesting uses of classic rock tunes during the course of the movie: firstly Led Zeppelin's Good Times Bad Times, the canonical track one, side one, album one as mentioned here (also featuring a movie link), and secondly Boston's Long Time, usually played with its lengthy intro Foreplay attached. As an aside, I've never been entirely sure whether the title of that section is a pun given that it features a long and extended bout of organ-twiddling. Anyway, you'll have noticed that both songs feature the word "time" in their titles; I would imagine that this is not a coincidence. Just to ruin (or at least partly undermine) that theory, the film also featured Pete Townshend's 1980 solo hit Let My Love Open The Door over the closing credits.
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