Displaying items by tag: Peter Malone's Movie Reviews

THE AMATEUR

US, 2025, 123 minutes, Colour.

Rami Malek, Rachel Brosnahan, Jon Bernthal, Holt McCallany, Julianne Nicholson, Caitriona Balfe, Michael Stuhlbarg, Laurence Fishburne.

Directed by James Hawes.

Based on a novel by Newsweek reporter, Robert Littel, The Amateur was first filmed in 1981 with John Savage and Christopher Plummer. It was the era of popular spy novels by Robert Ludlum in one wit suggested that this version of The Amateur is “Bourne Again”! Not exactly, action sequences yes, but the central character here, Charlie Heller, played by Oscar winner Rame Malek (Bohemian Rhapsody as Freddie Mercury) would not necessarily be the first choice for an action hero!

In fact, he plays a highly skilled IT expert, perhaps of the “nerd” variety, at home in his sealed office and IT centre, making contacts, tracking, identifying voices, but also discovering that some of the CIA authorities are conducting illegal black ops.

This is where a film version of CIA action in the 1980s has to give considerable way to a version in the 2020s. The developments of IT, social networking, mobile phones, instant connections, instant surveillance, storage of information.

But, Charlie Heller has a loving relationship with his wife, Sarah, Rachel Brosnahan, her going to a meeting in London and to his shock and horror, grief and obsession, discovering that she has been killed during a robbery, offering herself as a hostage for someone else, being shot.

Acceptance of this reality is not the first response of Charlie Heller. Rather, he becomes obsessed with revenge.

As action films go, Charlie Heller’s determination, going through some rigorous CIA action training, but not very good with the gun, is a driving force in this action. And, as a bonus, the audience is treated to a wide range of location action, London, Paris, Marseille, Istanbul, in Romania, the Baltic coast… And Charlie, not only identifying who the villains are, especially the one who pulled the trigger, but he is able to track them down, them, destroy them.

However, as with so many action films, there is the issue of the plausibility, and then the question of credibility. With the action moving fast, what about realism and practical details of food, rest, toilet breaks, money in the pocket, the functioning or not of IT equipment, travel and air tickets…? Audiences accepting omissions because of the action?

As always, there are some moral questions, complications. The role of the CIA, illegal and secret black ops in the name of patriotism, these agents being held to account, International criminal gangs, ruthless business and murders, and, with Charlie Heller himself, the obsession of revenge, motivations of vengeance, and his setting up killings parallel to the set-ups by the villains. And, with Rami Malek the amateur action hero grieving the death of his wife, rather than an all-conquering beefed-up agent, there is also some emotional challenging.

1. Action level of the 1980s? Updating to the 2020s? The transition to the world of IT and espionage?
2. The international settings, Washington DC, London, Paris, Marseille, Istanbul, Turkish coast, Romania, the Russian coast? And the world of the CIA? The musical score?
3. The realism of the plot? Plausibility? Credibility? Practical details of food, rest, toilet breaks, money, close change, travel and air tickets…? Audiences accepting omissions because of the action?
4. The introduction to Charlie and Sarah, at home, ease with each other, love, his work on the plane, not travelling, her going to London? The contacts, the phone calls? And the various flashbacks during the film?
5. Charlie, going to work, his car, the cards, security, his workplace, computers, programming, espionage, his link with the mysterious corresponded, ears, guessing where he lived? Istanbul? And the later contact, revelation of the truth, the man being dead, his wife continuing the communications, Charlie going to her, her collaboration, his eyes in pursuit of the criminals? That they have covered, the siege, the attack, her death?
6. The robbery in London, the dramatics, on the television news, the details, the Chiefs informing Charlie, his reaction? His being seen as something of a nerd, his help with The bear, summoned by the Chiefs, his hold over them, his information about the illegal ops? There confronting him? The meetings with Chief O’Brien? The later investigations, interrogation of Moore, the lunch with him, their deceiving her?
7. Charlie, obsessed, the motivation, his phone, Internet connections, wanting to be trained, work Henderson, the discussions, shooting practice, Charlie and his limitations? Later Henderson being used, following him in Paris, to Marseille, the confrontations, Istanbul, the fight, his being wounded? And is later reappearing?
8. Charlie and his ability to identify the criminals, the techniques, voices and matches, images? His decision to track them down?
9. Money issues, motivation, the travel to London, information, to Paris, identifying the woman, at the gym, the suffocation, the fight, her escape, it by the van? Charlie and the bus to Marseille?
10. Marseilles, tracking down people, business of Henderson, the bar, getting information?
11. The criminal, the pool, his money, the swimming, Charlie and the confrontation, the dynamics of the pool, the water, the pressure, the interrogation, the threats, the explosion and the deluge?
12. Charlie, in Istanbul, the contacts, the information about Romania, his travel, the setting up of the cargo, the confrontation with the criminal, the threat, the explosives?
13. Information about Russia, the travel to the coast, seeing the criminals, the boat, his being abducted, the interrogation, the criminal giving him the gun, his inability to shoot, the criminal indicating Charlie’s motivations and setting up deaths?
14. The delay, in Finnish waters, the arrests? Charlie vindicated?
15. Washington, Director O’Brien, the arrests of the Chiefs, their illegal ops?
16. Charlie, the car, Henderson reappearing, his going home, flying the plane? Achievement?

DR STRANGELOVE: NATIONAL THEATRE LIVE

UK, 2025, 130 minutes, Colour.

Steve Coogan, Giles Terera, John Hopkins, Oliver Alvin-Wilson, Penny Ashmore, Ben Deery, Richard Dempsey.

Directed by Sean Foley.

Stanley Kubrick’s comic masterpiece, Dr Strangelove: or, How I Stopped Worrying and Learntedto Love the Bomb, was released at the end of January 1964. It was in production during the nuclear crisis, the missiles of October, the 13 days, Kennedy and Kruschev, and Cuba, October 1962. It was more than relevant. It was a satire to disturb the American consciousness, to disturb world audiences. It was based on a novel by satirist, Terry Southern. And the screenplay was cowritten by Kubrick himself with Peter George.

The film had a significant cast, most notably Peter Sellers in three roles, with Sterling Hayden, George C.Scott and a young James Earl Jones in the cast. Many of its sequences are part of cinema memory.

British writer and director, Armand Iannucci, well known for his satires including The Thick of It, and the Death of Stalin, has adapted Kubrick’s screenplay for the stage. It stays very close to the film in characters and dialogue and the situations, indicating how a satire for the 1960s can have a similar relevance in a changed world situation, especially the Trump US and world of 2025.

While Peter Sellers played three roles, the British officer Lionel Mandrake, the American President, Merkin Muffley, and the mad scientist, Dr Strangelove, with a Nazi past, and an uncontrollable arm often compelling him to try a Nazi salute, Audiences will be pleased to know that this is enjoyably included here. (One of the other features of the film was the cowboy pilot, TJ Kong, played by Slim Pickens, ending the film by riding the bomb hurtling towards earth with a rodeo yippee, and Vera Lynn’s song, We’ll Meet Again – and these are included in this production.)

The star of this performance is Steve Coogan, reprising very effectively the three Peter Sellers roles but also adding a fourth role, that of the cowboy pilot, Kong. And he does this within two hours of performance time. And, fascinating to see how the production handles Coogan in the  four roles, sometimes a stand-in actor for him as president with back to the audience, or having mandrake on the other end of a phone, or having Dr Strangelove appear in a video contact with the War Room -and the amazing speed for him to change costumes and wigs.

The staging of the they is expert, the audience watching the change of scenery, General Jack Ripper’s command post, generals gathered with the President in the War Room but, especially, the three pilots in the cockpit of the plane with filmed background of snowy mountain peaks, their flying steadily towards nuclear apocalypse.

But, it is the satirical dialogue, sometimes very witty, sometimes touches of slapstick, all kinds of misunderstandings, caricatures of American military, the touch of sendup of the British officer and his accent and vocabulary, the portrait of the mad general preoccupied with fluoride and bodily essences and the destruction of America, the gung ho anti-Communist military official, the Russian ambassador…

At first, watching the National Theatre Live version of the stage play, it seems artificial. But, gradually, through the skill of the performances and the wit of the dialogue, we are gradually drawn into the black comedy – but, always realising that through the exaggerations, there is more than a glimpse of truth, always a reality check.

DOG MAN

US, 2025, 89 minutes, Colour.

Voices of: Pete Davidson, Lil Rel Howery, Isla Fisher, Billy Boyd, Peter Hastings, Lucas Hopkins Calderon, Ricky Gervais, Stephen Root.

Directed by Peter Hastings.

Since 2016, there have been at least 13, books about Dog Man, written by Dav Pilkey, who also wrote the Captain Underpants series (one of which was filmed).

This is an animation film, with quite a high-powered voice cast, directed by Peter Hastings who also provides the sounds for Dog Man, which is very much geared to a younger audience. With the strange story of Dog Man and his origins, as we watch the film, we will be wondering who is the target audience. A quick enquiry on Google offers some informative help: The series features a half-dog, half-human police officer who fights crime and saves the day in the city. Written in a graphic novel format with comic-style illustrations and speech bubbles, these books are popular with children aged 6-9.

So, there is the answer. Perhaps too much action for the under 6s, perhaps not enough sophistication for the 10s and overs – and, probably a warning that parents and grandparents, unless they are kindly and an demanding, probably will not enjoy the antics so much.

As indicated, the premise seems quite improbable, the officer and his pet dog, Greg, are severely hurt in an accident, the man surviving only by having the transplant of Greg’s head onto his body! He is expected to go into action against the villainous cat, Petey, who wants to eliminate all do-gooders, has his own laboratory and assistant to create menacing machines, but also a little clone cat, Little Petey.

So, a villain, a little cat seeking affection, dog man in action, hounded by the chief of police, and all kinds of chases and mayhem. However, rather a surprise, a cantankerous fish starts to exercise power and menace over all of them (voiced by Ricky Gervais, in villainous English) which leads them to an alliance of Petey  and Dog Man.

So, there we are, possibly for excitable 6 to 9s, probably not so much for the rest of us.

DAFNE

Italy, 2019, 93 minutes, Colour.

Carolina Raspanti, Antonio Piovanelli, Angela Magni.

Directed by Federico Bondi.

Dafne is a small Italian feature film, dedicated to his mother by the director. The title character is a young woman, Down Syndrome, living in the Italian town, with her mother and father, very lively in her manner, not many filters when expressing her opinions, enjoying life.

Then her mother dies suddenly, it has an effect on her, and draws her mother closely to her father. Her father is an older man, often tired, unwell. Dafne and her father have a good relationship even though there is often some sparring.

The action in the later part of the film is Dafne’s decision to visit the tomb of her mother, travelling there on foot, forcing her father to go out, walk and exercise. They encounter relations, torque and bond, visit the tomb, get a lift from sympathetic guards – and the film ends with the closeness of Dafne with her father.

This link indicates 25 films with Down Syndrome characters. https://www.imdb.com/list/ls062258431/

1. The title, Dafne and her story, family, relationship to mother, the mother’s death, her father, age and illness, her life, her job, her friends, Down Syndrome?
2. The setting, the town, the home, the streets and shops, the countryside, the cemetery? The musical score?
3. Audience response to Dafne as a person, empathy with her Down Syndrome?
4. Dafne as a character, her age, straightforward in speech, very few filters? The scenes with her mother, the suddenness of her mother’s death, grief, with her father, the funeral?
5. Dafne with her father, his age, in the house, tired, the to and fro of conversation?
6. Dafne and her friends, at the dance, exuberant dancing, her remarks, her friendship with Viola? Discussions with the boy about the stars? The work at the shop? Her bluntness, comments?
7. Interactions with her father, up and down, his smoking, phoning for the doctor’s appointment, tired, his memories of his wife and the stories, the decision about the place of burial?
8. Dafne wanting to go to her mother’s grave, that they should walk, to get her father out, walking, exercise? The travel, with the aunt and uncle, the car? Her buying the doll, throwing it out the window? The walk, sitting at the grave? The shelter, the rain? The encounter with the guards, friendship, their offering a lift, the happy travelling?
9. Dafne and her father, the bonding, and the film ending?

LOVE OF AN ICON : THE LEGEND OF CROCODILE DUNDEE

Australia, 2025, 88 minutes, Colour.

Directed by Victoria Baldock, Delvene Delaney.

Yes, it is almost 40 years since the release of Crocodile Dundee, the suddenness of its enormous popularity in Australia, then around the world, part of our national consciousness. With the death of its producer, John Cornell, his wife of 46 years, Delvene Delaney, started to look at the various boxes he had kept, discovering old reels, photos, souvenirs, negatives leading to be restored. And, with her collaborator, Victoria Baldock, she has shared them with cinema audiences, helping many to relive that enjoyable past, inviting younger audiences into the world of Crocodile Dundee.

There are three very interesting sections in the film. In the first 30 minutes, we go back to the 1960s and 1970s, focusing on that harbour bridge worker, comic interlude provider on television, Paul Hogan, and then his show. And, happily, Paul Hogan is interviewed right throughout this film. We are back in that era of Australian comedy, the introduction of Hoges’ rather dopey sidekick, Strop (Cornell himself), their collaboration with bright new young star, Delvene Delaney, and working with television director,, Peter Faiman. Plenty of clips, plenty of interviews, especially with the television CEOs of the period. And, throughout the film, a long interview with Peter Faiman.

After getting to know Hoges again, the second part of the film focuses on the making of the film itself, a first film for Paul Hogan and John Cornell, and for Peter Faiman. There are interviews with their top cinematographer, Russell Boyd, the composer, Peter Best, their memories of the making of the film. There are interviews from archives with star, John Meillon, as well as with David Gulpilil and sequences with the indigenous cast. And, 40 years on, a long interview with co-star, Linda Kozlowski, happily reminiscing.

We are in the Northern Territory, the vast desert, the small town, the  indigenous community and dance, the large prop crocodile, and close-ups of a lot of the filming. Then we are in New York, the noisy contrast to the silence of the NT, again scenes of the filming. And, what we will probably be eagerly waiting for, the filming of the sequence, “now that’s a knife” and the fact that the take in the film was initially overlooked and had to be rescued from the garbage bin!

The third part of the film starts with its premiere in Australia, the immediate successful response, everybody enjoying it, the huge box office, television interviews, the retrospect. Of interest is the release of the film in the United States, interviews with executives from Paramount and their memories of other studios rejections, their acceptance, seeing John Cornell and Paul Hogan is nice blokes, working with them – and the extraordinary US box office, second only to Top Gun in 1986, Golden Globe winner for Paul Hogan, Oscar nomination for the screenplay.

Thanks to Delvene Delaney and engaging commentary throughout for the opportunity for memories, nostalgia, laughter, this portrait of the larrikin Australian which is now deeply embedded in our consciousness. For those who lived through the 70s, happy television memories. For those who lived through the 80s, the immediate experience of Crocodile Dundee. For younger audiences an invitation to appreciate the development of the Australian film industry, as well as seeing how Australian films have contributed to our self-awareness, Australian distinctiveness.

A WORKING MAN

US, 2025, 116 minutes, Colour.

Jason Statham, Jason Fleming, Maximillian Osinski, Michael Peña, David Harbour, Arianna Rivas.

Directed by David Ayer.

25 years, ever since Lock, Stock and Two Smoking Barrels, former British champion diver, Jason Statham, has starred in, and mostly top-lined, a continuous range of action films. And that includes the Fast and Furious franchise from number 6  onwards. Nearing 60, he is still one of the favourite actors for this kind of show, always British, not attempting an American accent.

He worked with director, David Ayer, in The Beekeeper (and a sequel is promised). They obviously click.

We see Statham’s character, Levon Cade, working for a Hispanic construction company in Chicago, on building sites. As a warmup, a group of thugs menace one of the workers – and come off the worse for wear after an encounter with Levon, much the worse for wear. But, we already knew what he was capable of.

He explains that he spent many years in Special Ops for the British, that it had its effect on him, tactics, violence and deaths, his absences, the death of his wife, not being able to see his young daughter, his wife’s resentful father now looking after her and trying to limit custody and access. But, it turns out to be the company owner’s daughter who will be in trouble, strong-minded, working in her father’s office, martial arts training (just as well for the final rescue) but suddenly abducted from a club.

If you are going to see A Working Man for the fights, you will not be disappointed (even if, probably, Statham himself is not doing all of them). But, this is rather complicated plot and we need to keep our wits about us. There are bikie gangs dealing drugs. There is a brotherhood of Russian migrants, well-to-do, sinister with their contacts and controls – but also some rebels in the next generation causing all kinds of trouble, living the high life, arrogant, and, somehow or other in their destiny, not fated to live longer lives after the initially smug encounters with Levon Cade.

Chicago settings, clubs, mansions, all kinds of popular ingredients, the hero who is rather impervious to feelings when villains and gangsters confront him, vigilante executions – but, always the soft spot for the daughter he rescues and nice sequences with his own daughter.

A Jason Statham show.

1. The popularity of Jason Statham action films? Working with director, David Ayer?
2. Statham, his screen presence, age, physique, British accent? At times laconic, at times talking? Strength, determination, fighting ability?
3. The title, Cade and his construction work, his background with the British, Special Ops, training, techniques, violence, detachment and involvement, ruthless, seemingly unemotional?
4. The company in Chicago, the boss and his family in the office, the threat to the worker on site, Cade confronting, defeating them and routing them? Anticipation of what is to come?
5. The boss’s daughter, strong-minded, work, study, martial arts training? Celebrating at the club? The abduction, being held, the woman guarding, her taunts?
6. Cade, the commission from the father, his commitment? His personal background, the suicide of his wife, his action, overseas, the depression, the daughter, love for her, his father-in-law and his hostility, custody and access, the outing with his daughter?
7. The complexities of the gangs and drug trading in Chicago? Cade and his getting information, tracking people down, going to the club, the African-American former soldier, leader, his henchmen? Cade involving him, drug deals?
8. The Russians, following the arrogant son of the leader, seeing him abuse his wife, getting the house, the confrontation, interrogating him over the pool, his death? Reactions of his father, the brotherhood of Russian gangsters in Chicago, the profligate son and his drugtaking, self-confidence, involved in the abduction? Cade confronting, their deaths? The manic members of the group, machine guns…? The quiet controllers in their offices, on their phones? The father, wanting revenge, crying out, told to be loyal to the group, no personal involvement?
9. The businessman, trafficking, choosing victims, his associates and their ruthlessness, self-confidence, his aquarium and fish hobby, their failures? The hold over the daughter?
10. Cade, following through, the leads, the confrontations, the shootings and deaths? The confrontation of the entrepreneur and his associates, their deaths?
11. Finding the daughter, her using her ingenuity, effecting the escape? Restoring her to her family? And coming back to his daughter and his future?
12. The portrait of a military man, skills, ruthlessness, issues of conscience, vigilantes, emotions?

WITHIN SAND

Saudi Arabia, 2022, 116 minutes, Colour.

Ra'ed Slsammari, Adwa Fahad, Obaid Alwadaani.

Directed by Moe Alitawi.

This is a drama from Saudi Arabia, the writer-director’s first feature film after some shorts. He grew up when cinema was not flourishing in Saudi Arabia and he studied in London.

The film was shot in the Saudi desert, some extraordinary vistas right throughout the film, extraordinary rock shapes, the vastness of the desert itself, a sand storm.

The focus is on a group of travellers, merchants, on their way home, a young men, confident of himself, tobacco merchant, deciding to take a shorter route, not telling the leader. Which means that the most of the film focuses on him and his journey through the desert, a survivor in the desert, initially robbed, his horse taken, his managing, digging for water, threatened by a Wolf who later becomes a companion and friend. He has various nightmares, vividly lost in the desert, trapped in the canyons. He also has a dream of the sea, sitting and luxuriating in the water.

The film also shows the women at the encampment, the young man’s wife pregnant, eager for his return before the birth.

Eventually a search party is sent out for him and they meet, and a dramatic moment as his friend thinking the wolf is menacing, shoots it. The young man covers it with a garment. And, on return home, tells his wife that their new son is to be called Wolf.

The most audiences, the setting is quite unfamiliar – beautiful and intriguing.

1. The title, the desert? The group within the desert, the individual surviving the desert?
2. The Saudi Arabian film, the director, the cast, the crew?
3. The location photography, the beauty and ruggedness of the desert, the terror, day and night, rock formations, the sand, close-ups and distance? Humans in the desert? The wolf? The musical score and atmosphere?
4. The opening, travelling the desert, the group, trade, tobacco, perfume…? The entourage, the leader? The plan, the artillery, the discussions, conflict? The leader and his influence, his control over Snam, Snam defying him?
5. Snam, his age, tobacco and trade, discussions, his reliance on Awad? His defiance, rash, the alternate route, wanting to return to his pregnant wife?
6. The camp with the women, their work, the pregnant wife, the cradle, her mother-in-law? Women and the tribes in the desert?
7. Snam and his story of survival, the horse, food and water, possessions, clothes in the desert? The rabbit, going to shoot? The robbers, the two brutal robbers, the confrontation with guns, knives, the attack, the leader arriving, a touch of compassion, letting him go? Snam’s later encounter with the big thief, the confrontation and fight?
8. The journey through the desert, his self-confidence, affected by the encounter with the thieves, his map and gauging directions, food and water, digging the hole, the sandstorm,? His dreams, – and the prologue to the film, watching himself with a child, digging? The pursuit through the rocks, dead ends? And the dream of the sea, sitting in the water, luxuriating in the water? The impact of the dreams?
9. The wolf, menacing, the confrontation, following, his giving it food, the companion, following, sleep, the fire, the dead camels, Snam relying on him for company?
10. Awad, his role in the group, interrogation by the leader, the return home, wife and her grief, not telling Snam’s mother? The request to go to search for Snam?
11. In the desert, meeting, the Wolf, Awad thinking it a threat, shooting it, Snam’s grief, covering it with the cloak, and calling his son Wolf?
12. The return, the embrace? The return to his wife, his son? The effect of the experience on him?

REVELATIONS/ Gyesirok

Korea, 2025, 122 minutes, Colour.

Ryu Jun-Choi, Shin Hyeon-bin, Shin Min-jae.

Directed by Yeon Sant-ho.

Revelations is an intriguing Korean film.

While the core of the action is a focus on a criminal, abducting a young women, there are two main strands in his pursuit.

The first focus is religious, acknowledging the presence of Christianity in Korea, many churches, evangelical, Scripture-based, gatherings and song. The community, the small local church, is led by an enthusiastic and devout pastor, devoted to and relying on Scripture, very earnest, and, in fact, welcoming the criminal who has followed one of his prey into the church. The pastor wants to save him. Meanwhile, there are complications in his life, the behaviour of his wife, her ambitions, the possibility of his leading a far bigger church and community in the city.

The second focus is that of a policewoman, whose sister was harmed by the criminal and killed herself. There are flashbacks to the court case, a focus on a psychologist and her blaming him – although later going to him for help in her investigation.

What makes this film different is the character portrait of the pastor, his growing religious obsessions, seeing signs, convinced of his own insights, making errors, eventually taking issues into his own hands, on a path to self-destruction.

On the other hand, the policewoman is helped to face her  demons, to confront the pastor, to confront the criminal, uses her wits and talents, with the help of the psychologist, to face her obsessions and begin a new life.

While the criminal case and the investigation are well handled, the distinctive feature of the film is the portrait of an earnestly religious person, convictions, scriptural based, personal obsessions and delusions.

1. The religious terms of the title, the solving of the crime?
2. The Korean setting, the city, the church, homes, police precincts, crime scenes, hospital, the abandoned factory? The musical score?
3. Police thriller, detection? Religious film, the focus on the Pastor, his vocation, his religious perspective? The small church, the community, biblical texts, hymn singing, enthusiasm? Grief, the memorial for the dead?
4. The pastor, his age, experience, his marriage, the private detective, the evidence of his wife’s infidelity? The effect on him? Driving with her, the notice about the new church to be built, her comment about his being suitable as pastor, his visit to the main official, the discussions about who should be pastor, the main official and his son, the encounter with the son and his reluctance to be pastor? The later revelation about his adultery and his being sent away on mission?
5. The street scene, the young girl, being followed, Kwon and his look, following, through the streets, her going to the church, the singing, her later leaving, the accident in the shop, the encounter with the detective?
6. Kwon, going into the church, the pastor detaining him, the conversation, his reluctance, his name, the form, photo, the phone call, Kwon leaving? The later news of the abduction of the young girl?
7. The film’s exploration of the religious attitudes of the pastor, his faith, believing in signs, his prayer, his enthusiasm, evangelisation, making connections, piety, religious ambitions, the impact of his wife, the truth about Kwon, criminal past, ankle bracelet? The psychiatrist and his naming of the pastor’s issue, too many religious connections and convictions?
8. The detective, the past story, the court case for Kwon, the abduction, his getting off , the psychiatrist and his testimony, her sister’s suicide, a presence to her, ghostly wanting vengeance, her blaming herself? Her relationship with her father? His concern? Her being part of the detective squad, being welcomed? Her young partner?
9. The pastor and is apprehensions about Kwon, the phone call from his wife, forgetting to pick up his son? Seeing Kwon, the suspicions, following him, stopping, his son not in the car, the confrontation, the fight, Kwon falling, the pastor dragging his body, over the cliff?
10. The effect on the pastor, his religious justification to himself, religious, righteous? Yet haunted? the phone call to say that the son was safe?
11. The detective, her concern about Kwon, the mountainside, no body? The pastor coming with the abducted girl’s mother? His question about there being a body? The growing suspicions of the detective?
12. The pastor, conscience, going to the main official, the official and his grief about his son? Offering the lead of the new church to the pastor? The pastor wanting to confess?
13. The confrontation with his wife, making her confess out loud, taking her to the centre, the information about Kwon and his struggling, upstairs, the pastor taking him, in the car, to the factory, binding him? Threatening him, asking about the whereabouts of the girl, Kwon and his manipulation, saying that he could not find out where she was if he was dead?
14. The impact on the pastor, his going home, more frantic? Seeing religious signs in the sky and the atmosphere?
15. The detective, going to the psychiatrist, the psychiatry of the pastor, the file on Kwon, discussions about the one eyed monster, his art, his story, her awareness, her father’s phone call, the building, the window?
16. Kwon’s file, the photos, the art, the story of his beatings, his scarred body, scarred psyche?
17. Communicating information, driving through the city, arriving at the factory, finding Kwon, the interactions, his taunts, the arrival of the pastor, his time the detective up, confronting, becoming more obsessed? The detective getting free, Kwon helping her with the weapon, his falling from the window, her trying to hold on, his collapse?
18. The psychiatrist, the discussions, the awareness of the house, the rescue of the girl?
19. The pastor, his obsessions, in jail, not believing that the girl was still alive, the visit of the detective? His future? Her salvation?

CAUGHT/ Atrapados

Argentina, 2025, 6X 50 minutes, Colour.

Soledad Villamil, Alberto Ammann, Juan Minujin, Matias Recalt.

Directed by Miguel Cohan, Herman Goldfrid.

While Harlan Coben had a very successful career with his books from the 1990s, he signed a contract with Netflix for adaptations of his novels as television series. With the series, they are not set in the United States. Rather, some are set in England, some in France, Spain, several in Poland, and this one in Argentina.

What seems something of a straightforward plot in the first episode, the development is quite complex, a number of strands, and a final, perhaps to many, unexpected solution.

In many of the series, the focus is a central character, a strong woman. As is the case here. A widow, teenage son, journalist working for a magazine, getting a tip about a sexual predator and the possibility of a unmasking him. The accused seems to be a good man, running a centre for youth (and, unexpectedly, having a sexual encounter with the journalist in the first episode – which she acknowledges and becomes part of the investigation). He goes to a rendezvous with one of the abused young women and is arrested.

Most of the series is the continued investigation, the gathering of evidence, information, meeting contacts, some involvement of her son, her alienating him because of her continued devotion to her work.

One of the challenges of the screenplay is that there are many flashbacks, many of them not indicated at all, the audience having to come to realise that they are flashbacks, for example a flashback to the death of the journalist’s husband in a hit run and later confrontations with the driver.

As the plot develops, the journalist has some doubts about the guilt of the accused, pursuing leads, leading to a different world, a world of finance and money dealing as well as sexual exploitation.

And, of course, mounting suspicions and a final revelation which we may or may not have been expected in terms of what the audience has seen concerning the character of the accused and his contacts.

A welcome addition to the Harlan Coben series.

1. The popularity of Harlan Coben novels? The Netflix series of adaptations? From the US? Transferred to Argentina? Characters, situations, crime, twists, solutions?
2. The Argentinian setting, the city of Baraloche, location, the water, the mountains, the city itself, homes, magazine officers, the camp for the youth? The musical score?
3. The focus on journalists and investigations, personalities, intensity, persevering, clues, cameras, intrusive or not, following leads? The dangers of setups, for the accusations, consequences? Collaboration with the police or not, journalists and freedom, police and regulations?
4. The focus on teenagers, at school, social media, exploitation, sex sites, performance, contacts, manipulation, grooming, consequences?
5. The linear progress of the plot, the insertion of many flashbacks, sometimes not immediately clear that the scenes were flashbacks? The shuffling of time? Audiences adjusting to the final solution, the setting up of the plot, motivations, the encounters, big business, Martina, tips and the setting up of the investigation, the target to destroy Leo, the financial gains?
6. Ema as the central character, the flashback to her past, her husband, the bond, cycling, hit run, the later confrontations with the driver, the final issues of forgiveness or not, her relationship with her son, teenage, tensions, intensity with her work, neglecting him, the scenes of clash, the party, his friendship with Fer, the boat, breaking in, his anger with his mother, moving out, the arrival of the financier, the threats? The final reconciliation?
7. Ema, at work, her close collaborator and their friendship, her issuing orders, the friend and her investigations, the presence together, their boss, his sometimes hesitation, demands for copy, involvement?
8. The Centre for the young, Leo as manager, the activities, Ema and her interrogation, the suddenness of the attraction, the sexual encounter, Leo being involved and accusations, Ema making public the sexual encounter? Leo as a personality, his son, his artwork, the separation from his wife, her running the restaurant, the scenes with his son? The story of the message from Martina, going to the rendezvous, the photographers, the accusations, his being arrested? His protests? His home, the hidden evidence of sexual molestation? Reactions, the story with Facundo and his wife, the attacks on their daughter, the bonds from the past, Facundo confronting him, shooting him, his falling into the river?
9. Leo, on the run, his visiting Marcos, childhood friends, the flashback to their intrusion into the house, the financier, his mother, the maid, the breaking of the chandelier, the cuts to her face, the continued service, wary, looking after the mother, but collaborating with Ema? Marcos and his going to Buenos Aires, subsequent career, taking the blame for Leo, the difficulties in Buenos Aires, his return home, working with the financier? The issue of the land, owning it all, Leo holding out on the deal, trying to discuss with Marcos? Marcos at home, with the children, his wife, the interviews?
10. Martina’s story, her parents at home, her playing the violin, practice, the audition, success? Social media, her friends, online, sexual performance, the website? The phone calls, the scenes of going to Buenos Aires, the financier’s plane, with Marcos, the financier, the sexual encounter and Martina upset, Marcos urged to look after her, the bonding?
11. The final episode, audience sympathy towards Marcos, friendship with Leo, happy family life, helping Leo with the food, the flashbacks to the flight to Buenos Aires, more information about his business, the gradual revelation of his manipulating the situation, with Martina, the anonymous letter to Ema, planting the information?
12. Ema, discovering the truth, Martina, her room, the information, her parents? The search for her body, finding it?
13. Ema and the confrontation with Marcos, the fight in the water, Ema with the stone, wounding him, filming him, his desperation, phone call to his wife, driving into the logging truck, his death?
14. The consequences for Ema, her reflecting on the investigation, being set up, the repercussions for herself, memories of her husband, unable to forgive that driver, giving the information to her son, the possibilities of his forgiving?
15. The discussion with Facundo, his prison sentence, promoted to attempted murder, no body, and the possibility for Leo to survive? And the final sequence, Leo, on the horse, his future…?

MICKEY 17

US, 2025, 137 minutes, Colour.

Robert Pattinson, Stephen Yeun, Mark Ruffalo, Tony Collette, Naomi Ackie, Patsy Ferran, Holliday Grainger, Daniel Henshell, Thomas Turgoose.

Directed by Bong Joon Ho.

There were high expectations for Mickey 17. Korean director, Bong Joon Ho, has had a prominent career since the 1990s, range of genre films including The Host, Mother, Snowpiercer and his Oscars, including best film, for Parasite. Here he is taken on an American story, and has treated it both seriously and satirically.

It is 2054, much of a muchness like the present in some ways, Mickey and his friend Tivo trying to raise money from a loan shark to start a business, failure, and the violent aggression of the loan shark. But, in this future, there is space exploration and the setting up of planets. There is also a great deal of scientific experimentation – including processes to create multiples of human beings, living, dying, and then being printed out again, identified with successive numbers. The morality of this process is being questioned.

Enter one of those evangelical church leaders, Kenneth Marshall, played with satiric zest and prominent teeth by Mark Ruffalo – aided and abetted by his smiling but domineering wife, played by Toni Collette. Marshall disapproves of the process but agrees that in some ways it could be useful, that the government should set up an expedition on a new planet, four a half years travel there, and set up a process for multiples, but only one at a time. And, with the succession of multiples, they are also described as “expendables”.

But we are also introduced to Mickey 17, Robert Pattinson enjoying his role. On the new planet, out scouting, he falls down a hole, is menaced by some strange creatures, wondering whether they are animals or aliens, not rescued by his colleague, but, saved, in fact by the creatures. Which gives him the opportunity to give a resume of his original life as Mickey Barnes, and the visual succession of all the numbers between one and 17. But, when he is presumed lost killed, Mickey 18 is printed out, Pattinson again, quite a different personality, tough, determined, rebellious…

And there is a range of characters on the planet, the scientists generally kowtowing to Marshall, young Dorothy being an exception and stepping in to help Mickey 17.  Marshall has his sycophantic assistant, a yes-man, pandering to all Marshal’s exorcist whims, especially in organised religious television programs for the subservience staff on the planet. His wife is always there, but is experimenting with making sauces! In the meantime, there is an officer, Nasha (Naomie Acker) who is in a relationship with Mickey 17.

We can all this go? The capturing of one of the creatures and killing it, and holding a baby to ransom over a furnace. The two Mickeys confronting each other, Nasha and her coping with each of them, Tivo now involved in drug dealing and threats from the loan shark on earth.

There is a solution but, as with most of the film, not always predictable, always some surprises, some satire, some parody – especially with Kenneth Marshall and his final vanity in confronting the aliens.

The original book, by William Ashton, was published in 2022 and the film began production during the Biden era. But, released in the early days of the Trump era, many audiences will be making links! One reviewer noted that Bong Joon Ho was taking the Mickey out of the United States. Yes!

1. Science fiction? Science fantasy? Political fantasy? Space exploration and development? Humanity issues? Moral issues? Philosophical issues?
2. The career of the director, films in Korea, range, science fiction, Oscars for Parasite?
3. The credibility of the plot, situation on Earth, 2054, ordinary life, Mickey and Vito and their plans, finance, the loan shark, the threats? But the political developments, scientific experimentation, production of multiple persons, moral issues, political? The intervention of Kenneth Marshall, support of his wife? His speech, the panel listening, agreement, setting up the centre on the planet? Moral issues, only one multiple?
4. The visuals of the planet, wintry, the spring season, the centre, interiors, rooms, laboratories, meeting room, television programming? The musical score? Songs?
5. The prologue, Mickey, the confrontation with the creatures, falling down, Vito and his taunts, no help? Setting up an atmosphere?
6. Mickey, Robert Pattinson’s performance, as 17 and 18, his background on Earth, volunteering, is recounting the various stages of his life, further printing after deaths, the range of deaths, the range of personalities, situations, experimentation and testing? His relationship with Nash and her support? Mickey 17, in the snow, the story of his acceptance by the creatures, communication with them, the rescue? And discovering that Mickey 18 had been produced?
7. Mickey 18, the different personality, strong minded, confrontational? Encountering 17, their interactions, the episode with Nash, the drugs, sexual encounters? The building up of tension? Especially towards Kenneth Marshall? The agent and her discovery of 17, the attraction, the confrontations with Nasha?
8. Kenneth Marshall, the religious background, the church, his moral stances, vanity and position, relationship with his wife, her advice, domineering? His ambitions, the plan, the multiples, overcoming his moral scruples? His ambitions for success? His manner, his teeth, speech, presiding at meetings, his assistant as flattering him all the time, his interactions with the lab managers, their subservience to him? His wife, her manner, the cooking, the sources?
9. The confrontation with the aliens, the taking of the baby, the shooting, one creature destroyed? The massing of the aliens, the leader? 17 and his ability to communicate? The work on the translation device? Dorothy, her work, personality, helping the Mickey’s?
10. Marshall, his plan, discovering the two, the explosive device to destroy each of them? The flatterers, television, his going out, the speech before destroying them, his continued vanity? His wife waiting at the studio watching?
11. The Mickey’s, the previous clashes, the fights, 17 to fall down into the furnace, saved? With Nasha? Her confrontation with Marshall? Strong-minded?
12. The contact with the aliens, 17 and his communication, Marshall discovering this, the upset? The aliens and then manoeuvres, massing to conceal the leader, then dispersing, the confusion? The condition of the return of the baby threatened over the furnace? Nasha having to hold the baby’s rope in her mouth?
13. The plan is to fire, Marshall unable to give his speech, the explosions, his death? The aliens, the return of the baby? Possibilities for peace?
14. Six months later, Spring, the assembly, Mickey 18 sacrificing himself for the explosion, 17 and his presence, Nasha and her speech, the flashback and his memories during her speech, then his pressing of the detonator to destroy the multiples machine?
15. The banning of multiples? The machine, Marshall’s wife, her reproducing her husband? She being a multiple?
16. The tone of the film, comic and serious, satiric, some parodies, especially Marshall in the Trump era, but issues of science, humanity, ethics, philosophy?