Displaying items by tag: Emily Mortimer

SPECTRAL

US, 2016, 107 minutes, Colour.

James Badge Dale, Emily Mortimer, Bruce Greenwood, Max Martini.

Directed Nic Mathieu.

There are quite a number of spectres in Spectral.

The setting is a blend of the present and the future, arms developments in the United States, experiments, but a civil war in Moldava, the past with the Russian connection, uprisings, devastation.

The film opens with the soldier on patrol, encountering a spectral appearance, white and ghostly, which overcomes him, killing him. The general, place by Bruce Greenwood, contacts Virginia and asks for advice, especially in expert, Clyne, played by James Badge Dale. He is a skilled inventor of defence systems, especially the camera. He is sent to Moldava, explanations from the general, immediately going out on the expedition with his camera, a team of soldiers, some very sceptical.

There are encounters with many spectres, especially seen through the camera, and with devastating effect on overcoming the troops. Accompanying the group is a political and arms adviser, played by Emily Mortimer. The group finds two children, some explanation that the spectres can be warded off by iron filings and other scientific aspects.

A buildup to a final confrontation with the spectres, devastating killings of the soldiers, an escape by helicopter – and the scientist then speculating, rationally, on the possibilities of what they could be, decides, with the help of some theories by Einstein, that the scientists have been speculating on condensation is, and experimenting with human beings, to develop the spectres as a fighting force.

The climax is going to the town, finding the science complex and moral decision about terminating it.

1. Title, expectations, science fiction, futuristic, supernatural themes, the ghosts?
2. The opening in Virginia, Clyne and his work, vision? The action taking place in Moldova, the Civil War, the ruined city, the military headquarters, venturing out into the streets, the buildings, ruins, the spectral experiences? The musical score?
3. The plausibility of the plot? Supernatural beings, or ghosts between life and death? The technology for cover-disguise? The revelation of the scientific advances, success, failures, consequences?
4. Audience response to the soldiers, the initial experience with Davis, seeing the spectre, overcome, his death? The sequence repeated throughout the film?
5. The general, his concern, contacting Virginia, the discussions with Clyne, his work, his advances? His going to Moldava, the explanations by the general? Fran and her presence, observing, her military perspective?
6. The decision to go out into the streets, setting up the camera, the tanks, the camera showing up the spectral vision, the consequences for the soldiers, the many deaths, the many creatures?
7. The finding of the children, their father, ceramics, the iron filings as protection? The finding of the soldier hiding under the tub? Joining the squad?
8. The squad, the commanders, the various personalities, suspicions, the experience of the spectres, their being overcome, the many deaths?
9. Contact, losing contact, the possibility for a helicopter, getting to the landing, exposing themselves to the spectres? The help from the children? The little boy going out, his death? Fran, her scepticism, change of heart, becoming involved?
10. Clyne, his character, dedication to his work, the camera, his rational arguments, setting up the camera as the searchlight, highlighting the spectres?
11. The buildup to the climax, the escape to the helicopter pad, the helicopter, the rescue? The headquarters gone, meeting with the general?
12. Clyne, the background of Einstein, theories of condensation, going to the plant, the huge process, the many spectres, experiments, on human beings, kept alive, the issue of pain? Clyne and his decision to terminate the experiment? Fran wanting the new knowledge?
13. The blend of fantasy and reality, military, military developments, science and rational explanations?

PADDINGTON IN PERU

UK, 2024, 106 minutes, Colour.

Hugh Bonneville, Emily Mortimer, Samuel Joslin, Madaleine Harris, Julie Walters, Olivia Coleman, Jim Broadbent, Hayley Atwell, Voices of: Ben Whishaw, Imelda Staunton. Cameos by Hugh Grant, Joel Fry, Robbie Gee, Sanjeev Baskhar, Ben Miller, Jessica Hynes.

Directed by Dougal Wilson.

Who cannot like Paddington! His stories are always bearable!

We have enjoyed the first two films very much. There was an element of surprise about them, the introduction to Paddington himself, the wonderful voice provided by Ben Whishaw, the members of the Brown family and their ability to welcome Paddington. And, there were various adventures and, who can forget, the villainous Hugh Grant?

It does mean that here we accept Paddington straightaway, the glimpse of his early years in Peru reaching out to pick a beautiful orange, falling into the River – and landing in London. Now, a letter from his Aunt Lucy (voiced by Imelda Staunton) encouraging him to come for a visit (and that humour is awkward episode getting his passport photographs).

But there is a bit of background about Mr Brown, somewhat British stick-in-the Mode, challenged at work about risks. In the brainwave! Why don’t they all go with Paddington to Peru, including the kindly Mrs Bird (Julie Walters). Hugh Bonneville is once again Mr Brown but, this time, Emily Mortimer is Mrs Brown.

Once they will arrive in Peru, now met by Reverend Mother at the local home for retired bears! Suddenly, and exuberantly, we have Sister Act meets The Sound of Music. But, bad news, aunt Lucy has disappeared and Paddington is determined to find her. And, Olivia Coleman, in recent years showing a variety of talent (Wonka,  Little Wicked Letters), is here as the exuberant Reverend Mother.

With the action adventure that follows, more than a touch of Indiana Jones here, the action is geared more to the young audience, the touch of caricature with the boat captain (Antonio Banderas), farcical and slapstick situations high dangers and minutes, especially as Paddington and the family get lost in the Andes jungle, double dealings and some sinister flashbacks…

But, there are some secrets to be revealed, and a variation on the search for El Dorado and that fabled gold. This, everybody benefits from the adventure, and Mr Brown becomes extraordinarily daring. And Paddington has to make a decision, finding his tribe there in Peru, and whether he will go back home with the Browns.

Adult audiences, especially, please don’t rush for the exit when the credits begin to appear because there is a very enjoyable special guest interlude during the credits. And, as always, possibilities for more.

1. The popularity of Paddington, the films? And in himself, from Peru, landing in London, the Brown family, part of the family, his adventures, memories of Aunt Lucy in Peru, the possibility of his returning to visit Peru and Aunt Lucy? The effectiveness of Ben Wishaw’s voice?
2. Expectations from the previous film and their popularity and acclaim? The intentions of the filmmakers here, a film for younger audiences, style, treatment, humour, adventures, the touch of the absurd for enjoyment? The impact for older audiences, the adult characters, the adventure, the mayhem? And the postscript with Hugh Grant?
3. The scenes of Paddington’s origins, little bear, the oranges, on the branch, falling, to England, with the family? The memories of Aunt Lucy? The correspondence with her? His receiving the letter from her, inviting him to Peru, his eagerness?
4. The Brown family, the children growing older, University entrance, computer games and inventions, not wanting to play Scrabble with the mother, Mr Brown, the firm, Risk-taking, the American executive, her demands, the challenge to him? His very proper reticent British way of style of life?
5. The suggestion to go to Peru, the reaction of the family, Mr Brown and the decision to take a risk? Mrs Bird and her presence, decision to go? The farewell in the street with all the British film and television celebrities’ cameos? The flight, landing, Peru?
6. The visuals of Peru, the mountains, the river, waterfalls, locations in Peru and Colombia? The settlement? The boat
7. the convent, Reverend Mother, her cheery attitude, the staging of the musical, Sister Act meets The Sound of Music? The family settling in? The disappearance of Aunt Lucy, the nuns? The retired bears and their lifestyle, bingo…? Reverend Mother and her explanations, her eagerness for them to go searching, but her remaining at home?
8. The expedition, Paddington and his eagerness, the family, hiring the boat, the captain and his daughter, his manner and mannerisms? On the voyage, the comedy, the dangers, the rapids?
9. The background of El Dorado, the captain and his ancestors and their appearing behind him, his relationship with his daughter, the search for gold, Paddington and his arm band, the translation and interpretation? The captain disappearing and his search?
10. The family on the boat, the dangers, capsizing, stranded? Through the jungle? Mr Brown and his being more daring? Paddington’s memories of the Inca image, his arrival at the tower, the rock? The family arriving?
11. The Machu Picchu kind of location, the confrontation with the captain, pursuing more Paddington, the fights, the bolder, the dangers…? The reappearance of the daughter, her helping the family?
12. Mrs Bird, back at the convent, curious, suspicious, finding the radio room, the confrontation, the truth about Reverend Mother? The plane, flying, the crash landing, the confrontation, Reverend Mother from the El Dorado-seeking family, the flashbacks to their disasters? The confrontation with the captain? Her being overcome?
13. Finding Aunt Lucy, going beyond the barrier, finding El Dorado, the gold being the oranges, the scenes of collecting, squeezing, Paddington and his predilection for marmalade?
14. Paddington finding his tribe, his being welcomed, his speech, the family ready for him to stay, his decision to return with them, finding his tribe but going home with his family?
15. Happy ending – and the epilogue with Phoenix Buchanan and Hugh Grant’s style? Future prospects?