Displaying items by tag: Peter Malone's Movie Reviews

STOLEN/  STOLD

Sweden, 2024, 105 minutes, Colour.

Elin Oskal, Martin Wahlstrom, Pavva Pittja, Lars- Ante Wasar.

Directed by Elle Marja Eira.

Audiences outside Scandinavia may not be familiar with the Sunny people, those traditionally living in the Arctic area of Norway, Sweden, Finland and Russia. For centuries, they have experienced prejudice, the kind of racism and xenophobia against indigenous people. They have their own language, customs, dress, celebrations and, especially, the tradition of the reindeer herding.

This film is based on a 2021 novel focusing on these issues in the contemporary setting. It is a story but it is also a hard hitting defence of an affirmation of the Sami people.

The central character is Elsa, initially seen as a young girl, played by Elin Oskai herself Sami and experiencing isolation during her school days. She brings conviction to her role. The scene is set with her father inviting her to choose a calf from the herd, cut it and mark it as her own, not owning it, but on loan as her responsibility. But, she sees one of the locals, hostile to the Sami slaughtering her calf. She remains hidden, a secret between Robert, the killer, and herself.

The main part of the action takes place when Elsa is a young adult, continuing to work with the reindeer but also teaching in the town. The drama highlights the antipathy between the Scandinavian population and the Sami, the killing of the deer, sabotage, fires, and hostility in action. And there is controversy about the development of mines, climate change, the role of the reindeer in such a context.

One of the great advantages of this film, and well worth seeing, is the extraordinary beautiful photography, its clarity, the vastness of the landscapes, skies, plains, majesty of the mountains, the snow, and so many sequences, rather mesmerising, of the huge herd of reindeer, their corralling, their roaming free, their thundering presence over the landscapes.

There are scenes of ordinary life but there is also a sense of depression amongst the Sami, Elsa’s great friend, Lasse, skilful herdsman, taking his own life, Elsa talking to the press incurring hostility but also disapproval from her own people, the young woman speaking out.

There is final drama, confrontation between Robert and Elsa, a speeding snowmobile chase, and some hope for the future.

For audiences interested in films about Sami people, there is the Finnish drama, based on actual events in the 1970s, Let The River Flow.

1. A Swedish film, a Sami Film, a Social Justice Drama?
2. Audience knowledge of the Sami people, their customs and language reindeer herding, xenophobia, persecution, social discrimination…? Across the north of Norway, Sweden, Finland, Russia?
3. The contemporary setting? Rehabilitation of the Sami People, the portrayal of their way of life, the tradition of the reindeer herding, the past, contemporary snowmobiles?
4. The contemporary Arctic towns, transport, shops, buildings and schools, police precincts? The musical score?
5. The beauty of the photography, the vast landscapes, the clarity, skies, plains, the vast reindeer herds, in motion?
6. Elsa and her story, a Sami girl, with her father, mother, growing up with her brother, the old grandmother? Dementia, getting lost, speaking out in the church, the family taking her to care? Elsa choosing the deer, the ritual of the cutting, not owning it but having it on loan, the ethos of herding the reindeer? Her enthusiasm, her skills of the work, with the other workers? Her seeing Robert and his slaughtering her reindeer? Hiding, the secrecy, this haunting her throughout her life, interactions with Robert? Leading to the ultimate confrontation?
7. The years passing, Elsa, becoming a teacher, in the classroom, continuing her skills with the herd, her relationship with her brother, his anger, being morose, their discussions together, her friendship with Lasse, his love of the herds, becoming morose, interactions with people, killing himself? The funeral?
8. Elsa, giving the interviews, denouncing the persecution of the Sami, attacking the prejudice, the raids on the deer, the covert market? The reaction of her friends, the Mayor, her father, that she should be quiet? Traditions about women in speaking out? Her continuing?
9. Her own life, her boyfriend, talking with her brother, the boy at school hostile?
10. Her brother, confrontation with the locals, the rifle, their overcoming him? His anger, depression, intending to hang himself?
11. The buildup to the confrontation between Elsa and Robert, his coming to the house, her ringing the police, the menace, leaving, the police interrogating him, his covering himself? Elsa deciding to get the evidence, going to his house, the storage with the deer, her taking the photos, being called, the pursuit, the snowmobile, her brother and his arriving, Robert in the ice, trying to save him, his drowning? Her interview with the police?
12. The media, the story of the expose, the police justifying themselves?
13. Mattias, his father, sending him to a psychologist?
14. An attempt at peace, trying to overcome the bigotry and persecution, the dignity and identity of the Sami people?

BEST. CHRISTMAS, EVER!

US, 2023, 82 minutes, Colour.

Heather Graham, Brandy Norwood, Jason Biggs, Matt Cedeno, Wyatt Hunt, Abby Villasmil, Madison Skye Validum.

Directed by Mary Lambert.

There are so many, many Christmas shows that are released every year, especially on streaming services.

Perhaps the cast will attract an audience, veteran Heather Graham (actually 50-51 at the time of filming which stretches credibility somewhat), and the popular Jason Biggs from the American Pie films. Brandy Norwood is a popular singing artist. And the direction is by veteran Mary Lambert, almost 50 years of film and television, making a mark in the 1980s with her version of Stephen King’s Pet Sematery (and filming a sequel).

But, having a look at the comments on the IMDb, it is a litany of derogatory mocking and condemnation. But…, This is a Christmas film.

What makes it different is that for the children generation, it raises a question of whether Santa Claus is real. And, for the adult generation, there has to be a willing suspension of disbelief that the perfect family exists and that a perfect happy Christmas family story is possible. (In the film, yes, in real life, highly doubtful.)

Brandy Norwood’s Jackie sends out a magazine Christmas card every year with photos of the achievement of the family. Her friend from college days, Charlotte, Heather Graham, resents these cards. Jackie has the perfect marriage, the most precociously intelligent daughter, already a Harvard student with expertise knowledge of finance (though conducting her research as to the existence of Santa Claus). It looks as though Jackie can do everything, en aviation company at a profit, construct a hot air balloon… And her husband, Valentino, Matt Part Cedeno, seems perfect in every way.

By contrast, Charlotte has not achieved her ambitions, has a sense of disappointment, does love her husband, and her two children, one of whom is always accompanied by a cartoon -looking toy, a monkey who gives him advice. Some  of the advice the monkey gives is that the son insert Jackie’s address into the GPS – and, a surprise arrival, plenty of jealous activity on Charlotte’s part, Ron being nice, happy memories of his past dating and playing music with Jackie. And the children get on very well.

All kinds of ups and downs, but to checking on Santa, all kinds of accidents, all kinds of reconciliations, a touch of sadness with the death of Jackie and Valentino’s son, but a Christmas pageant, the hot air balloon is the star of Bethlehem, and, all things, Charlotte dressed as Santa riding in his sleigh, including the Gospel story, but a transition to popular singing with Mary and the angels swinging along to the melody.

The last screenplay by writer-director, Charles Shyer, Baby Boom, Father of the Bride.

It is all very cheerful – but, apparently too impossible and too cheerful for many of the bloggers.

 ALL WE IMAGINE AS LIGHT

India, 2024, 118 minutes, Colour.

Kani Kusruti, Divya Prabha, Chhaya Kadam, Hridhi Haroon, Azees Nedumangad, Anand Sami.

Directed by Payal Kapadia.

Towards the end of this moving film, a character speaks about working days on end in a dark factory and the exhilaration of coming out into the light. Light then is symbolic of the realities of our lives but our hopes are that somehow or other we live through and imagine will be light.

This is an Indian film which won the Grand Prix at Cannes as well as many other awards and nominations. And it has production contributions from European countries.

The audience is immediately swept into the realities of the city of Mumbai, a very long opening tracking shot along a street in the city, observing the people, the shops, the conditions as the camera passes by, then a long tracking shot along a railway line, the crowds, the stations, the train rides – and some voice-over about people who have had hard experiences in the city.

Then, during a train ride, a very long take of a very striking woman traveller. She is Prabha, a middle-aged nurse, arranged marriage, husband long in Germany, little contact. She is good at her work, a doctor friendly with her, writing her a poem. She shares accommodation with Anu, much younger, bright and breezy, brash, secretly seeing a Muslim young man. The other women at the hospital is older, Parvati, widow of 20 years, squatting in a building now being taken over for development and her being sued.

The early part of the film offers an opportunity for the audience to see and appreciate each of the women.

The second part of the film has the three women going to Pavarti’s home town, to help her settle back. There are two developments, a revelation about Anu and her relationship with the young man, his following her to the town, the rendezvous in an almost mystic cave. Prabha, observes, upset, wanting to return to Mumbai. The other development is a blend of the real and the surreal/mystical, a drowning man, caught in the net, rescued and revived by Prabha. However, in dialogue with the man, she imagines him as her husband, questioning him, trying to understand – and it is he who makes the quote about the darkness and light.

These events seem to offer the three women some possibilities for peace in their own lives, hope for the future.

The writer-director, Payal Kapadia, was born in Mumbai and brings a deeply empathetic talent to this story of the three women.

1. The title, the statement of the drowned man about not seeing in the dark, the hope of seeing in the light?
2. The writer-director born in Mumbai, the female perspective on Indian society, on the place and role of women?
3. The Mumbai setting, the opening sequences, the long tracking of the Mumbai streets, markets, people, activities, the tracking of the train, the railway stations, scenes along the lines? The overview panoramas of the city, poor areas, working areas, the skyscrapers and the contemporary buildings? The train rides and the crowding? Crowds at the station?
4. The contrast with the drive to the coast, the town, the cafe, the caves and sculptures, on the beach, the resuscitation, the doctor’s home? The finale and the cafe and the happy prospects?
5. The introduction with the comments by the man who wanted to leave, and fear, the woman who was pregnant? The social issues?
6. Prabha on the train, the long take, her striking presence, her emerging as a key character, her long work as a nurse, her skills and empathy, the old woman and her medication, mental state and apparitions of her husband? The story of her marriage, her husband gone to Germany, out of touch with him? Then the amazing arrival of the rice cooker, her reaction, she is one it under the sink, later pulling it out and embracing it? Her friendship with Parvati? Parvati and her age, living in the old building, the developers, suing her, persecuting her, Prabha and her wanting to help, going to the lawyer, the difficult case?
7. Anu, her age, working in the office, giving the young mother the contraceptives? Bright and breezy, contemporary, not inhibited? Her friendship with Shiaz, his being Muslim, the meetings, in love, her coming home and boarding with Prabha? Not telling her the truth? The cat, the pregnancy, the going to the vet?
8. The doctor, finding Hindi difficult, attracted to Prabha, his writing the poem, giving it to her, her taking it, reading it in the night, his telling her about leaving, wanting a response from her, her not being able to, telling him she was married?
9. Anu, the phone calls from her mother, the arranged marriage, sending her the photos of the candidates, mocking them with Shiaz? The outings, the clothes, shopping? Arriving home late, the rain, rather looking the fuel?
10. Parvati, her age, character, her dead husband, squatting, the persecution, Prabha and her friendship and support, joking together, offering advice? The decision to return home?
11. Driving Parvati to the coast, the short visit, the cafe and the cheerful server, listening to the music?
12. Anu, saying she was tired, the rendezvous with Shiaz, in the cave, the carvings, his poem and reciting it, the sexual encounter? The aftermath? Prabha and her following, knowing the truth? Her wanting to return to Mumbai? Pavarty urging her to stay?
13. On the beach, the drowned man, the crowd, Prabha hurrying, able to resuscitate him, their taking him to the house?
14. Prabha and her imagination, as if the drowned man was husband, reviving him, talking with him, memories of the past, the hopes, her affection, the change, his work in Germany, the factory, the dark? The effect of this experience on her?
15. Anu, Shiaz emerging, the truth, and the final scene of the four sitting, sitting in the light?

FERRY 2

Belgium, 2024, 93 minutes, Colour.

Frank Lammers, Aiko Beemsterboer, Tobias Kersloot.

Directed by Wannes Destoop.

Very was a very popular television series on Belgian television, the portrait of the criminal, drug dealer, building up his Empire, losing it.

With the success of the series, a feature film, Ferry, was a prequel, the portrait of the criminal and his background.

Ferry 2 serves as something of a sequel, the aftermath of the collapse of ferries Empire, his retreating to Spain, living a quiet life in a caravan, playing Santa at a children’s centre…

For Ferry fans, it is an opportunity to see Frank Lammers once again in the role that he created for the series. But, many of the fans were dismissive of this film.

The film gives a visual summary of the career of the criminal, Ferry, then create a situation where his grandniece, whose father he had killed, comes with her boyfriend asking for money to create ecstasy tablets. A lot of family background, Ferry losing his temper, going with the grandniece back to Belgium, confronting a psychotic drug dealer, confronting the alleged friend who betrayed him to the police, complications in stealing the ingredients for the ecstasy drugs, setting up a lab, pressures from the psychotic gangster, his taking out a contract on them all…

Needless to say, a lot of complex action, Ferry hiring the assassin at a higher rate, further betrayals, an elaborate showdown.

This film can stand alone given the visuals of the prehistory of Ferry, but it is more a film for completers for fans of Ferry.

CARRY-ON

US, 2024, 190 minutes, Colour.

Taron Egerton, Jason Bateman, Sofia Carson, Danielle Deadwyler, Theo Rossi, Tonatiu, Logan Marshall-Green, Dean Norris, 'SinquaWalls, Curtiss Cook, Gill Peres-Abraham.

Directed by Jaume Collett-Serra.

Most audiences would be thinking of Carry-on luggage on planes. However, some British critics raised the objection that “Carry on” was sacrosanct with the series of broad comedies from the 1970s on with Sid James and the Carry on cast…!

This is an action story is set on Christmas Eve, reminding audiences that one of the most popular Christmas films was, in fact, Bruce Willis in .  Die Hard. This is very much in the Die Hard vein.

There is a violent opening, Russian drug dealers, confrontations and killings, and an abduction. Expectations are set. And, with Jaume Collett Serra as the director, with quite a number of action films during his career, especially with Liam Neeson (Non-stop, Run all Night, The Commuter), there are quite some complications and confrontations.

Then the focus is on the main character, Ethan, Taron Egerton (The King’s Man, also playing Elton John in Rocketman), working on security at LAX with his pregnant girlfriend, Nora (Sofia Carson) as an executive job. This gives the basis for the human element during all the dangers at the airport.

The film spends some time showing the workings of security and the staff at Los Angeles vast airport. Then Ethan finds himself pushing for a promotion, given a different desk which, it emerges, upsets the careful plan of the arch criminal, called The Traveller (heard at first, then seen as Jason Bateman calmly and relentlessly and implacably sinister). The aim is to get a bag with nerve gas through security without examination.

The film maintains its tension throughout, the focus on Ethan, the pressures, the threats to kill Nora, his racing through the airport many times, using his wits, the face-to-face with The Traveller, the passenger with the case…

In fact, the film builds up tension with the arrival of the LA police, Homeland security, suspension of security action, flights delayed, the locating of the case, the threat that the nerve gas could pervade the whole airport.

We hope that the scenario would be impossible in real life, but! In the meantime, for those who have celebrated Christmas too often with Die Hard, here is its successor.

1. Christmas crime and potential disaster movie? Action, characters, tension?
2. Los Angeles setting, LAX, outside, arrivals and parking, the interiors of the terminals, the offices? The van, communications with The Traveller? The musical score?
3. The introduction, the Russians, the money, the nerve gas, the killings, the reports? The abduction of the hostage, being held in the van?
4. Ethan and Nora, together, age, relationship, the stories of the backgrounds, police Academy, application and rejection, lying, about his father? Father’s career? Life together, travel to the airport, respective jobs? Nora and her challenger about the police Academy?
5. Ethan, character, hurrying, late, the head and his comments, preparations for Christmas Eve, Ethan asking for a promotion, friendship with Jason, Jason offering the change? The rest of the staff, Eddie, his music, his jobs? The security desks and monitors, the line of travellers, security, the baggage, the collage of personal criticisms and crankiness passengers?
6. The setup, The Traveller, first hearing his voice, the woman and the tray, the earpiece? The situation, The Watcher and everything under surveillance, the connections? Jason as the target, his home watched, the threats to his family? The transition to Nora, getting all the information about her? The Traveller using it?
7. The situation, airport security, Christmas Eve crowds, the threats? Audiences identifying with Ethan, listening, conversations, challenges, the threats to Nora, the phone and the message, cancelled and its later being checked? Unease, the information about the Traveller? The bag, the red tag, the mystery of the contents, its being let through?
8. The cat and mouse with The Traveller, personalities, his calm, control, eventually being seen, meeting with Ethan, their discussions, the threats?
9. Elena, police, the murders and investigation, the burning of the building, the recording, getting some information, deciphering the nerve gas name, googling? Her contacting the agent, his working with her, the revelation of his being a phony, the driving, the crash? Elena, the contact with Homeland, getting to the airport, taking control, the airport manager of the shutdown? List of 50 suspects?
10. Ethan, running through the airport, the lunch with Nora, tension, his hurting her, reconciliation? His changing the name on the list? His finding the case, the instructions for disabling the nerve gas?
11. The interviews, the threat to the chief, the passenger killing him? The deaths, his passing the ticket and message to Lionel, Lionel’s death? Jason, believing Ethan was wanting a promotion, the change of the drink, collapse?
12. The buildup to the tension in the airport, Elena and her control, the encounter with Ethan, his pushing her? With the passenger, the passenger and the earpiece, the fight, his death? Ethan and the swapping of the bags?
13. The passenger, controlled by The Traveller, care for his husband, killing the supervisor, collaboration, The Traveller urging him to kill Ethan, his death?
14. The change of plan, the different flight, Ethan with Nora, the plan, whether the plane should go or not, his getting to the plane, the baggage area, dismantling the nerve gas, The Traveller and his phone, going down, the fight, Ethan and his shrewdness, the final confrontation, the nerve gas in the freezer, The Traveller and his death?
15. The background of the politics, the politician and her move, companies and wanting contracts, a scenario of the nerve gas, her being killed by the Russians, no matter how many deaths – and the threat for the deaths in the airport itself?
16. Nora, the pregnancy, talk about the baby, later, happy baby, going to Tahiti, Jason and his family?

MUFASA: THE LION KING

US, 2024, 120 minutes, Colour.

Voices of: Aaron Pierre, Kelvin Harrison Jr, Blue Ivy Carter, John Kani, Mads Mikkelsen, Seth Rogen, Billy Eichner, Thandiwe Newton, Lenny James, Anika Noni Rose, Keith David, Donald Glover, Beyonce.

Directed by Barry Jenkins.

In the 1990s, the Disney studios produced a succession of striking animation films, 1989 in The Little Mermaid, then Beauty and the Beast, Aladdin. 1994 introduced The Lion King who has stayed popular and in our consciousness ever since, leading to a Broadway musical, some sequels, of live action re-making 2019. And, now, the prequel in the early life of more far so and his becoming the Lion King.

Technically, Mufasa is significant in its re-creation of the range of animals, the pride of Lions, the hostile White Lions, Rafiki the storyteller and the meerkat, Timon, and the warthog, Pumbaa and a whole range of African plains animals from elephants to giraffes. There is plenty to delight audiences who enjoy seeing these animals.

But, the significant aspect is that they speak, the manipulation of their mouths to make this sound authentic, and a range of voice cast led by Aaron Pierre and Kelvin Harrison Jr as Mufasae and his friend Taki who, we know, will become his brother then his enemy, Scar. There are also other well-known voices, especially Mads Mikkelson as the hostile King of the White Lions, contrasting with John Kani as the the storyteller (reprising his role from the 2019 film) and, unexpectedly, lots of chatter and cheeky references, even to the musical, with Seth Rogen voicing Pumbaa and Billy Eichner, Timon.

In the present, so to speak, Simba’s daughter, Kiara (voiced Beyonce’s daughter, Blue Ivy Carter), is anxious as her father leaves for a meeting. The wise Rafiki is prevailed upon to tell the story of Mufasa, his childhood, his relationship with Scar, his becoming the Lion King. And Rafiki has the chorus commentators. At key moments during the film, the narrative returns to the present and some episodes with Kiara and the storytellers.

At the beginning of Rafiki’s tale, Mufasa and his parents are isolated, drought, dangers, and the pursuing dangerous White Lions, hoping for a peaceful further valley and their making their way towards it. But, tragedies, Mufasa is lost, encountering other lions but considered an outsider, a stray. However, he makes a good impression – but, at the expense of his father’s love for his son, Taki, who has rescued Mufasa from crocodiles.

On the one hand, there are many playful sequences and family affectionate moments to delight. On the other hand, there are many fearsome moments with the pursuit of the White Lions, Taki and his betrayal of Mufasa, his sinister behaviour and an ultimate confrontation.

We are anticipating the happy ending when Mufasa will be recognised by all the animals as the leader, he being modest and self-deprecating, but responding to the acclaim and ascending to the sloping cliff to take his iconic stance.

1. The long popularity of The Lion King, animation film, Broadway musical, sequels, the 2019 live action, this prequel?
2. The range of voices, African-American voices?
3. The musical score, the range of songs, Lin Manuel Miranda, lyrics?
4. The style of the film, special effects work, the range of animals, action, voices and the credibility of their mouth movement and speaking? Layout and backgrounds?
5. The setting, Simba, audience knowledge of the future, Rafiki and his telling the story, the gathering of the animals, the Circle of Life, Timon and Pumbaa, the original film, comedy, the wisecracks, the references to the film and musical, the comic chorus? Kiara, apprehensive, wanting to hear the story of Mufasa? The flashbacks and the continued returning to the storytelling and the comments?
6. The situation, Mufasa and his parents, difficulties, the terrain, the dry, the outside alliance and her persecutions, the vision of the future beyond the sunrise, the tragedy, Mufasa and his being lost, in the river, the crocodiles, his being pulled out to safety by Taki?
7. Mufasa as lost, not astray, Taki’s father rejecting him, the mother compassionate, the bonding of the two young lions, their adventures together, hopes and joy? (And the audience knowing that Taki would become Scar?)
8. The pursuing lions, the fights between the young lions, the death of the white lion, the anger, his father, the blame on Mufasa, Taki and is avoiding responsibility? The consequences, the pursuit, Mufasa fighting the white lion, Taki, his fears, betrayal, leaving the marks for the white lions to pursue?
9. Taki and his father, the race, Mufasa winning, the challenge to Taki, his father’s disapproval, sending him away?
10. The themes of friendship, fear, betrayal, self-protection, the friend becoming a victim?
11. The range of adventures, the falling over the cliff, surviving, underwater, the rescue? The continued travels, the rain, the floods?
12. The other animals, the giraffes, the comments, the fears of the pursuing lions, the well being of Mufasa and Taki, their mother?
13. The arrival of the white lions, the confrontation, the revelation of the truth, Taki and his scar, the fights, Mufasa winning?
14. The acceptance of all the animals, his modesty, the qualities of a king, the acceptance, scar and his exile? And Mufasa are going to the cliff, the visual emblem always of The Lion King?

KRAVEN THE HUNTER

US, 2024, 127 minutes, Colour.

Aaron Taylor-Johnson, Russell Crowe, Arianna DeBose, Fred Hechinger, Alessandro Nivola, Christopher Abbott, Levi Miller, Billy Barratt.

Directed by J.C.Chandor.

Kraven the Hunter was created by veteran Marvel Comics expert, Stan Lee. As the title suggests, he is a Hunter, literally of animals as well as of human beings, a foe of Spiderman.

The Spiderman series was made in collaboration with Marvel Studios by Sony. The Sony Marvel action films have been far less successful than the others, beers, Venom, Madame Webb and, now Kraven. In fact, Sony executives have commented that the press “crucified” Madame Webb as well as Kraven making them financial flops, both in 2024.

And, this is a pity with Kraven because it is actually an action show more than a superpowers show, even though Kraven himself has received the capacity for extraordinary climbs and leaps.

Perhaps the central character is not too sympathetic – although Morbius and Venom are not the most attractive superpower heroes.

The film opens strikingly, a convoy of prisoners in the Russian snow and isolation, a harsh Gulag, and Kraven, a sturdy presence and performance by Aaron Taylor-Johnson, suddenly appearing, killing several gangsters in the prison, escaping in a plane. And then this screenplay goes back to an origins story, 16 years earlier.

There are two young Russian boys in the New York elite school, visited by their father, a big Russian drug dealer played with quite some heft and heaviness by Russell Crowe. He makes demands on his sons, especially the older, Sergei (played here by Australian Levi Miller). On safari in Ghana, the young man is mauled by a lion, allegedly legendary, eventually killed by his father keeping it is a trophy. But, Sergei is saved by a mysterious African young woman, Calypso, with tarot cards and a special potion.

Sergei then becomes Kraven, isolating himself, living in Russia, a Hunter, able to be hired to pursue criminals. But, every year, he comes to New York to visit his brother, now a musician and lounge singer, in New York and some contact with his father.

Then various complications ensue, the abduction of the younger brother, the emergence of an arch-criminal, rivalling the father, Rhino (Alessandro Nivola who also has had some strange injections and, unless tempered, his skin becomes like that of a rhinoceros). He also hires a killer, The Foreigner (Christopher Abbott) who can mesmerise his opponents through gazing at them and overpowering them.

What follows is action adventure, the kind that Liam Neeson and other actors used to get involved in, scenes in Turkey, Russia, a rescue for the younger brother, double Cross, Calypso (Ariana DeBose) to the rescue… And a final confrontation with the father. And the importance for Kraven to establish his own moral code.

Which means then that the scenario is ready for an action adventure with Kraven and a confrontation with Spiderman.

1. Kraven and his place in marvel comics, as a hunter in himself, and the conflicts with Spiderman? This film is an origin story for Kraven?
2. The Marvel tradition, the hero, origin, superpowers, confrontations with the villains, personal relationships, testing, exercise of power responsibility, the temptation of the dark side?
3. The range of settings, link Russian countryside, Eastern Europe and the forests, Kraven space, the privileged school in the United States, the sequences in London, homes, the club, the monastery in Turkey? The musical score?
4. The introduction to Kraven, the prisoners, the bus, his challenge, in the prison, sharing the cell, three days, the fights and his abilities, confrontation with the authorities, the gang Lord, the deaths, the abilities of his escape, the flight?
5. 16 years earlier? The back story of Kraven and his brother, the elegant school in New York, their careers of the school, their future? The visit of their father, the demanding man? The story of their mother, Russia, the property, the decline, death? The father, domineering, his business deals, drugs?
6. The father and his expectations of his sons, Ghana, the hunt, testing his sons, the legendary lion, stalking, the attack, Sergei and the vicious mauling, the rescue? Healing? But the father killing the lion, having it a trophy in his home?
7. Calypso, a young girl, her grandmother, the tarot cards, the potions, the quest for her? Her seeing Sergei, attending him, his recovery?
8. Sergei, his retreating to Russia, alone, his home, his discovering his powers, superpowers, his skill as a hunter, his career, employed, hunting down criminals? The return to the Russian prison and his killing the criminals and his escape by plane?
9. The exercise of his powers, climbing, leaving…?
10. Kraven the Hunter, vigilante, returning to New York, his relationship with his brother, his brother in the club, pianist, singing, the visits from their father?
11. Dimitri, different, singing, his being abducted, the plan for the rescue?
12. The issue of the ransom, the father refusing to pay, Sergei going to see Calypso, her work as a lawyer, her contacts, getting information, willing to help Sergei?
13. The character of Rhino, seeing him as young and diffident on the hunt in Ghana? The experience, his being transformed, his skin like the rhinoceros? His power? His henchmen, his plans? The rivalry with Sergei’s father? The contact with The Foreigner?
14. The Foreigner in action, strong, his of hypnosis, the eyes? Swift movement, his attack? The money, wanting to lure Kraven, the information, Calypso given the false information? Dimitri imprisoned?
15. The action to Turkey, the taking of Kraven, the dominance of The Foreigner, the buildup to the confrontation?
16. Kraven, Calypso, the escape, the confrontation with his father, his father and the betrayal, the bear and the attack?
17. Rhino, the confrontation, his being destroyed?
18. The next encounter with Dimitri, his change of attitude, becoming more like his father, setting up a confrontation with his brother?
19. Kraven, getting the vest, the fur, from his father, ready for the future – and the conflict with Spiderman?

THE SURVIVOR

US, 2021, 129 minutes, Colour.

Ben Foster, Billy Magnussen, Vicki Krieps, Peter Sarsgaard, Danny DeVito, John Leguizamo, Dar Zuzovsky, Paul Bates.

Directed by Barry Levinson.

The Survivor is well worth seeing.

This is the story of a Holocaust survivor, Harry Haft. While the film opens in 1963, Haft obviously a survivor and having prospered in some ways in the United States, the main action of the film takes place in 1949. And, within this framework, many flashbacks, filmed in black and white, the concentration camp. Audiences who appreciate the films which go back into the concentration camps, will find this most telling.

The film has been directed by veteran Barry Levinson, Oscar winner for Rain Man, writer of many films and then very successful as a director. And he is working with a complex screenplay effectively written by Sydney born Justine Jule Gilmer, whose early work was for Australian television, McClouds Daughters, Packed to the Rafters. The Survivor is her first film screenplay and he has written another screenplay about Irena Sandler, the Polish Catholic who rescued so many Jews from the ghetto

This is also a sports film. Harry Haft was separated from his girlfriend when she was taken to the camps, he surviving, chosen by an SS commander, played by Billy Magnusson, to find bouts for the entertainment of the Nazis, betting, and this is a great entrepreneurial success. These flashbacks also give the opportunity for audiences to see the harshness of life in the camp, the fights, and the final explanation by the commander about his attitudes towards the war and Nazi philosophy as well as a final confrontation between the two.

In 1949, Haft continues some boxing training and wants to fight against rocky Marciano despite his often lack of success in the ring. Very strong supporting cast for the training includes John Leguizamo as well as Danny DeVito, working for Marciano, but Jewish sympathies and taking time off to prepare Haft so that his defeat would be so devastating.

And there is the human story, Haft determined to find his lost girlfriend, encountering a young woman who works in a company searching out identities. They go out together, her supporting him, often exasperated with him, eventually marrying him.

Which means that this is a very strong film in terms of the Holocaust and Jewish tradition. But it is also a strong film in terms of the American sports world. And, in 1963, there is a very sad ending but one of affirmation for Harry Haft. The film is based on a book written by his son.

1. Based on a true story? A book by Harry Haft’s son?
2. The title, the concentration camps, Harry’s motive for survival, the United States, the boxing world picture and survival, surviving in the US?
3. The time frame, the opening in 1963, the range of flashbacks and their insertion, Poland and the concentration camps in black and white, 1949 and the boxing world in colour, 1963? The musical score, the Jewish melodies, hymns and chants?
4. The performance by Ben Foster, such loss of weight for the concentration camp scenes, putting on weight for the later 1940s and the 1960s episodes? The intensity of the performance, audience interest, like and dislike, sympathetic and unsympathetic?
5. The framework of the 1960s, audience knowing that there was some kind of happy development?
6. Harry, Polish Jew, with Leah, idyllic, her throwing stones, the arrest, her disappearance, Harry and his quest to find her, with the agency in New York, with Miriam, his angers and intensity, memories, yearning?
7. Harry in New York, his best friend, the boxing world, the gyms, his fights, friends, trainers? His defeats? The intensity of the boxing sequences? His wanting to fight Rocky Marciano, to get his name mentioned in the press, that Leah might see it (and the irony from the 1960s when she says she did see the write-ups but did not make contact)? The approaches, the discussions, the scepticism, finally getting the bout?
8. Harry and his training, the trainers and their personalities, working with him, the techniques, the importance of the dancing movements and his abilities? His visit to Marciano’s camp, the meeting with Charlie Goldman, Polish Jewish background, the warnings, ousting him, but having the camp with him, doing the training, that he should lose better and with more dignity that he might have? The importance of the fight, the result?
9. Harry, his moods, falling out with his friend?
10. The issue of the journalist, wanting his story, his friend wanting to keep quiet? The journalist and his questioning, Harry and his moods, the flashbacks, the story and the publication? The journalist watching the fights? And his promising to get information on Leah?
11. The importance of the flashbacks, the black-and-white photography, Harry and Leah her arrest? In the camp, amongst the many, the cumulative effect of the flashbacks and the narrative of his life in the camp, his friend and saving him? The parades, the hunger, the hard work, Harry and his attack? Schneider seeing him?
12. The significant events for Harry, Schneider patronising him, training him, the fights, to entertain the SS, the betting? The first fight, Harry and his reluctance, the appeal of the opponent for him to die with dignity, beaten, shot? The body taken away? The sequences of bodies, wagons, into the holes?
13. The consequences for Harry, Schneider and his character, smart and smooth, exploitative, yet some soft touches, the conversations, the training, the various bouts, his success, having to prove himself? The long sequence of the 30 rounds, the exhaustion, Harry and his reputation? The Jewish prisoners watching, the band playing, Harry and his being disliked, making his way through the crowd, for the celebration of Yom Kippur?
14. The insertion of the flashbacks of various stages in the story of the 1940s, the buildup to Harry, the possibility for escape, the confrontation with Schneider, his death?
15. Miriam, at the office, his insulting the head despite all the work, Miriam talking with him, going out with him, the boxing, his harshness, her being insulted, his pursuing her? Over the years, the marriage, her giving up her job, her character, her life with him?
16. The 1960s, the family, the shop, his work, the fruit? The children? His harshness on his son, thinking the son soft, wanting to train him, not telling him the story about his life?
17. The Germans, reappearing, the information about Leah? The family on holidays, at the beach? Miriam anxious? Harry, going off, the encounter with Leah, her life, her health, the discussions, his son watching? 20 years of Harry’s wanting to know her whereabouts, and finally meeting to say goodbye? And explaining his story to his son?
18. Harry living longer, his wife even longer, his children, and his son writing the story?

WICKED, PART I

US, 2024, 160 minutes, Colour.

Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum, Jonathan Bailey, Ethan Slater, Marisa Bode, Peter Dinklage, Andy Nyman, Bowlen Yang, Bronwyn James.

Directed by Jon M. Chu.

Everyone knows the story of The Wizard of Oz. And, over 85 years, so many audiences have enjoyed the film version with Judy Garland. And there were other’s books about Oz by the author Frank L. Baum (and some film versions like Return to Oz). However, in the 1990s, the author, Gregory Maguire created an alternate interpretation of the Wicked Witch of the West and the good fairy, Glinda.

With enthusiasm, Stephen Schwartz (Godspell, captivity and schools for several Disney movies) was creative in bringing Wicked to the stage where it has been performed widely for over 20 years. Which means then that there is an eager audience for this film version of the musical. And the eagerness is being rewarded, so to speak, by having the first part of the musical, Wicked Part I (and running for 2 hours 40 minutes) reaching the screen but with audiences having to wait for another 12 months for the rest of the musical, Wicked Part 2.

Most of the enthusiastic audiences who have made this first part a box office bonanza, will know the story, know the characters, have a point of view on them, know the songs, anticipate the choreography.

But, this reviewer did not have these advantages, not the book, not the musical, just a general anticipation of finding out something about the Wicked Witch of the West now called Elphaba. And, for this reviewer, the performance by Cynthia Erivo as Elphaba is most striking, always interesting, the background of her unexpected birth, her green colour, her powers, her place in her family, the attention given to her younger sister, taking her to the school of magic but impressing one of the teachers and being invited to stay.

One of the disadvantages for the reviewer is knowing only about singer Ariana Grande rather than having seen her perform. It is a bit of a shock to see that she looks something of a rather slight presence, but fully determined, and in the performance of the first part of the film dramatising her supreme self-confidence, doubts not even possible, symbolised by the swish of her hair.

It is an understatement to say that the film is colourful, elaborate sets, action in motion, a range of students of the school, critical of alphabet, fawning on Galinda, and Jonathan Bailey as Flyero, the dashing hero, with an effect on each of the young women.

There is a lot of talk of the Wizard himself, especially by the arch-Wizard teacher in the school, Madame Morrible (an imperious Michelle Yeoh). But, finally we see the Wizard himself, played by Jeff Goldblum. And the question of whether he is just like the familiar Wizard in the film or is he up to something else…?

Fans will know what the ending is as they spend the year waiting for Part 2 – whereas, this reviewer and any others who have not seen the musical in the theatre, will have a year of wondering…

1. The popularity of wicked in the theatre? For 20 years? The transition to the screen? The traditions of The Wizard of Oz, Return to Oz, The Wiz…? The opening tribute to The Wizard of Oz, to Frank L Baum, mansions, the glimpse of Dorothy and the Yellow Brick Road, the munchkins, the death of the wicked witch? The appearance of Glinda?
2. The importance of the sets and decor, denominations, the Governor and his home, the school, Oz? The activities, Oz and the Wizard?
3. The range of songs, popular, the lyrics, characters, themes, their insertion into the ongoing drama, illuminating the characters?
4. The child asking Glinda about the wicked witch? Her narrative and perspective?
5. The Governor, his wife, the salesman, the affair, the birth of the baby, green, the younger sister, the reaction of their father?
6. The two sisters, Elphaba, illegitimate, green, her relationship with her sister, the nice younger sister? The relationship with their father?
7. The University of Shiz? For magic? Her father and her sister, the travels, meeting the students, the initial impression? Madame Morrible and her watching, her father and her reaction, the display? The offer of a place, Elphaba wanting to meet the Wiz, to be rid of her greenness?
8. The introduction to Galinda, manner, beauty, self-centred, her style, squabbling? Arrogance, the swish of her hair?
9. The range of the students, friendly, hostile?
10. Dr Dillamond, and an animal, teaching? His explanation of the threat to the animal teachers? The issue of the cub freeing the cub in the forest?
11. Flyero, young, handsome, rebel, the importance of his song and dance, the attraction of the two young women? His place and influence at the University?
12. Bok, his place in the school, the attraction to Nessarose? The buildup to the dance, the hat, the black hat for Elphaba, her unwillingness to go, her finally going, the consequences?
13. The train trip to Oz, the sightseeing?
14. The audience with the Wizard, the presence of Madame Morrible, the reading of the magic document, the monkey guards and their wings, spying? The revelation that the Wizard was a fraud, wanting power, the collaboration of Madame Morrible?
15. Galinda, some steps in self-awareness, some selflessness, the relationship with Elphaba, simplifying her name? Making peace?
16. Elphaba, the refusal to collaborate, levitation, and the disaster, the students fleeing, Flyero, the consequences for Elphaba? And her finally on the broom, defying gravity?
17. And for audiences, the year long wait for the sequel, Wicked: For Good?

JUSTICE/ NAPAD

Poland, 2024, 113 minutes, Colour.

Olaf Lubaszenko, Jedrzej Hycnar, Wiktoria Gorodecka.

Directed by Michal Gazda.

Napad/Justice is a Polish police investigation film – but, with a difference.

While there are plenty of crime and investigation films from Poland, this one has a particular difference in the personality of the investigator. In fact, he is investigator from the past, from the Communist pass, using the strong-arm tactics and techniques of the period. He is now called in to investigate a contemporary crime.

He is partnered with a young woman, contemporary Poland, able to learn from him as well as to report on him to her supervisors.

While the crime and investigation are interesting in themselves, the important perspective is the personality of the old investigator, his having to adapt to methods of the present, pensionable with his reliance on the harsh methods of the past, challenged as to whether they are appropriate in the present.

Enjoyable for audiences who do like crime investigations – and those investigations with some differences.

1. The title? Crime? Investigation? Modes of investigation? Human rights? Justice?
2. Setting, the Polish city, the crime, the bank and the interiors, homes and apartments, farms, workplaces, the police precinct and offices, hotels and lodgings? Atmosphere? The musical score?
3. The structure of the film and its effect: the robbery and killings, the commissioning of the investigator, the 14 days, signalling of the days, the flashbacks and elaboration of the action? The cumulative effect? Following the steps of the investigation, and the visualising continually of the action of the past?
4. The crime, the bank, the masked men, the robbery, the tellers and the return, terrorised, identifying, the murders? The security man, the confrontation, his death and dragging his body?
5. The authorities, the background situation of banks emerges, reputations? The minister, his precarious position, his Commissioner, approaching the retired official, Gadacz? The authorities using him? His former position, in the Communist regime, the 1970s and 1980s, his reputation, surveillance, violent tactics? Yet his skill? Giving him 14 days?
6. Gadacz and his personality, consciousness of his past, the background story of his family, work and the death of his mother, wife separation, not seeing his family? Memories of the past, the link with the Minister? His statement that he could see behind people’s masks? His method of investigation, shrewd, testing the hunches, confrontations, violence, planting photos and letters, gauging reactions?
7. Ola, her background, her skills in work, partnering Gadacz, to report on him? Her observing his methods, sharing in the work, in the office, in the field, observing, in Gadacz up in her house, their discussions, her final confession, her receiving the award, and the final discussion with Gadacz?
8. Suspicions of the killers, the security guards, swapping timetables, the military swearing-in ceremony, alibis, Kacper as leader, the other two men, friends from the past, influence over the others? The participation, the gradual revelation, the flashbacks and seeing them in action? Bartek, quiet, with his mother, the aftermath, in the video store, Gadacz paying the boy to give him the photos, his collapse, in the bank, hospital, at home, phoning the authorities, to come in and confess, upset on the tram, confronted by Kacper, their talk, Kacper strangling him, hanging him?
9. Marek, stronger, his work, his father, the final confrontation with Kacper, the knife and the rifle, the fight, his death? Kacper and the police, saying it was self defence?
10. Casper, his motivations, his mother and the suicide, Gadacz visiting the grave, outside the cemetery? The sister, adoption, Kacper and his obsession? Marek taunting him about his sister and her separate life? Gadacz and his visiting the authorities, getting the information, the interrogations, his violent methods, the others observing?
11. The military issue, Gadacz going to the camp, the authorities, the frightened soldier, losing his rifle, losing the rounds?
12. The final interrogation, Kacper and his escape, the pursuit, his taking the taxi, – knowing where he went, confronting him with his sister, Kacper going out, the confrontation, the shooting?
13. The authorities, the banks, satisfaction at the end?
14. The critique of the Communist days and investigations? Get the effectiveness? The audience liking and not liking Gadacz? Identifying with all Ola? Observing the details of the investigation?