Displaying items by tag: Peter Malone's Movie Reviews

JOY

UK, 2024, 115 minutes, Colour.

Thomasin McKenzie, James Norton, Bill Nighy, Rish Shah, Tanya Moodie, Joanna Scanlon.

Directed by Ben Taylor.

The 21^st century audience takes IVF procedures for granted. It was not always the case as this film dramatises.

This is an interesting and enjoyable drama, fairly straightforward in its presentation. It opens in 1968, the year in which the central characters started to work together towards success in IVF procedures, the naming of particular years on the screen, until 1977 and success with the pregnancy and in 1978, the birth of the first baby, Louise Brown, in England.

The is one follows the science steps of those involved, insights, experiments, many failures, and some scepticism from the science community. The film also follows the scientists and surgery working with a range of infertile women, full of hope that they will be able to conceive and give birth. And, the screenplay gives a great deal of attention to ethical issues, criticisms, the accusation of interfering with nature, fears of the consequences in health for the children born.

At the opening of the film, there is a tribute to the three people key to the development of IVF and the comment that one of them, a young woman at the time, a trained nurse with an interest in science, Jean Purdy, who had died at age 39 from cancer, had not been included in the plaques or tributes. And the surgeon who was key to the processes, Patrick Steptoe, had also died. The survivor, named as a Nobel prizewinner Robert Edwards, is honoured but makes an appeal for recognition of the other two.

With this introduction, we see the young Jean Purdy (New Zealand actress, Thomasin McKenzie) eager to meet the creative scientist, Bob Edwards (James Norton), successful in catching a runaway mouse in the lab, immediately getting a job. They go to hear the surgeon, Patrick Steptoe, played by Bill Nighy in one of his most agreeably positive roles, in dispute with other scientists, noting some of his surgical breakthroughs.

The action taking place over a decade, we see the young woman moving from her 20s to 30s, deeply involved, her religious mother disagreeing with her, not wanting her to visit her or the church, a sacrifice for the religiously-minded Jean. The quality Jean brings to the procedure is the personal interaction with the women, not just the science and the medicine, but the personal, emotional, the psychological – the first group of women calling themselves the Ovum Club.

James Norton is intense as Edwards, a family man with several daughters, aggressive, especially in a range of television interviews where he is challenged, his procedures are denounced, his becoming despondent, deciding to stand for politics but not being elected, persuaded by Jean to go back to the enterprise.

Patrick Steptoe offers the medical contribution, the precise and typical procedures for the impregnation, number of attempts, having to communicate failure to the hopeful would-be mothers, supported by his wife over the years.

The last part of the film is the encounter with the Browns, the success, the pregnancy, the caesarean birth, the joy of the parents, the happiness of the trio – and the Browns offering them to suggest the middle name for their daughter, the group suggesting Joy.

1. Audience knowledge of the development of IVF, the 1960s and 1970s, science, ethics, media, religion, public opinion?
2. The title, the joy of women giving birth, the team’s name for the middle name for Louise Brown?
3. Based on a true story, the opening speech, Robert Edwards and his point that Jean Purdy had been ignored, his plea for acknowledgement for her? For Patrick Steptoe? The visualising of the plaque at the hospital?
4. Introduction to Robert Edwards, his scientific background, the beginnings of IVF, his laboratory work, his team, his interest in Patrick Steptoe, at the lecture, Steptoe and his interrupting the speaker, his irritation? Indications of clashes between scientists and their subjects, possibilities, ethical issues?
5. Jean, her age, her background work as a nurse, science, her interest in Bob Edwards, coming to the office, wet shoes, holes, the chasing of the mouse, catching it, being hired?
6. Jean, her personality, religious, church, the Vicar? Her mother, devout? Her mother correcting her, not stooping…? The mother’s response to her daughter’s work, public opinion, wanting her to give it up, not going to the church, not coming to the home, the pain for Jean, the loss of religious comfort in the church, the separation from her mother, the later visit to the church, with the vicar? The hostile helper? Leaving the treat for her mother at the door?
7. Bob Edwards, his intensity, at home, his wife, his daughters, home life? The discussions? His continued investigations, persuading Patrick Steptoe, Steptoe and his techniques, laparoscopy, assisted by Marian, Matron, Jean’s shock to discover he was doing abortions? Matron’s explanation of backyard abortions, women’s choice?
8. The highlighting of dates, from 1968, various moves to 1977, the stages of experiments, the scientific explanations given, the close-ups of the work, confidence, the group of women, arriving, talking, tests, the procedures,, disappointments, audience sympathy for the women? The calling themselves the Oval Club? Jean and her personal listening, the outing to the beach?
9. The effect of all this work over the years on Jean? Her looking sad, often morose? The interactions with Patrick, especially concerning her illness and the possibility of having children? The interactions with Bob, the enthusiasms, the disappointments, fresh ideas and possibilities?
10. Her leaving, going back to her mother, caring for her mother, her mother’s death? The funeral, Patrick and his wife coming?
11. The continued interest, ideas, the contact with Bob, his standing for the Labor Party, his defeat? The group getting together again?
12. The new group of women? Moving to 1977?
13. Bob, direct, the media, trying to avoid journalists, television interviews, the discussion with the scientist and his development of DNA? The public hostility in the television audience? Scientists and their condemnations? Ethical issues? His arguments in the developments in contact lenses, false teeth…? And the risks of failure?
14. The buildup to the first success, Leslie Brown and her husband, an ordinary couple, their consent, the details of the IVF work, her pregnancy, the caesarean birth, the first IVF baby, her father, the joy of the team, the process being filmed, the photos? The decision to offer the name Joy for the baby?
15. The importance for audiences to see this story, the human issues in the context for scientific development, ethical issues, decisions? The final information about the statistics of babies born through IVF?

THE LORD OF THE RINGS. THE WAR OF THE ROHIRRIM

New Zealand, US, Japan, 2024, 134 minutes, Colour.

Voices of: Brian Cox, Gaia Wise, Miranda Otto, Luca Pasquarello, Lorraine Ashbourne, Shaun Dooley, Laurence Ubong Williams, Michael Wildman, Billy Boyd, Dominic Monaghan.

Directed by Kenji Kamiyama.

This is a pre-Hobbit tale, 183 years before the story of the rings. The characters and places are taken from appendices to J.R.R.Tolkien’s sagas. However, one character has been invented for this film, a young, vigorous, heroic princess, Hera, with the narrator telling us that none of the stories told about her survived. A license then for the screenwriters to be creative.

The immediate striking aspect of the film is that it is an animation saga. The director is Japanese, Kenji Kamiyama, with much experience in Japanese Anime. So, on the one hand, this is very much anime style of storytelling and action, particularly characteristic, the minimal mouth movement of the characters as they speak. But, on the other hand, the influence of Peter Jackson’s films, backgrounds, castles, warfare, is still very important. And, the style of animation, building on the live performance of the actors.

It is surprising to learn that the film has not been a box office success. One would have thought that there is a continual succession of generations fascinated by Middle Earth, its characters, the conflicts, the magic.

For audiences able to accept this anime style and an animated version of the stories, it is very enjoyable in its way. It is a very masculine world, a mighty king, voiced by Brian Cox, his prince sons, his Rio prince nephew, his Armed Forces, and a conflict with a rival lord, a sudden death, the Lord’s son consumed with vengeance, unrelenting, attacking the castle, laying siege, a bitter winter, unwilling to take advice to raise the siege.

But, we have been alerted straightaway to Hera, another embodiment of the development of the Disney princesses, the Warrior Princess, doted on by her father, protected by him, but learning to take stronger and stronger stances, eventually confronting the angry vengeful besieger of the castle, and hand-to-hand combat.

At the end, there are some links to the future Rings stories, the image of Christopher Lee’s Saruman (and his actual voice, a clip from one of the films, reminding us of his evil power). Billy Boyd and Dominic Monaghan from the originals are also in the voice cast and, interestingly, Hera’s devotedly strong-minded maid is voiced by Lorraine Ashbourne (who, in fact, is the wife of Andy Serkis, Gollum).

Plenty of action, plenty of colour, memories of Howard Shore’s rousing score, a venture into a different kind of Middle Earth.

1. The popularity of Tolkien’s books? Tales and imagination? Fantasy? Heroes? The popularity of the films? Peter Jackson, the adaptations, producer of this film? Philippa Boyens and her writing the screenplays?
2. The decision for an animation film? The Japanese , the directors, Anime style, formal, strong characters, the importance of the layouts and backgrounds, musical score (and the echoes of Howard Shore’s original score)? The animation style fitting the Tolkien world, Middle Earth, the delineation of each of the characters, costume design, the backgrounds, the action sequences, the battles and hand-to-hand fight?
3. The background of the characters and places in Tolkien’s appendices? The invention of Hera? The voice-over, the explanation of her character, the fact that her stories were not recorded? Free opportunity for the screenwriters?
4. The introduction to Hera, age, background, her father and younger brothers, skilled in riding the horse, and action in vigorous heroine?
5. The kingdom, the King, his appearance, strength, leadership, the sudden appearance of his rival, the confrontation, the one-to-one fight, the fatal blow, the reaction of the son, vengeance, consumed? And his past relationship with Hera in their childhood, his proposal, her rejection?
6. The title, the war, Wulf and his vengeance, the importance of his assistant and advice? Laying siege to the Castle, his forces, the long winter, the effect on the troops, on those trapped in the Castle? His adviser suggesting he withdraw, his refusal, ultimately killing him?
7. Hera, the situation with the Eagles, the offering of the food, their power, her later returning, the request, their understanding the language, the helmet, the Eagle flying to urge her cousin to come and fight?
8. The situation in the Castle, the King, his blaming himself, protecting his daughter, going out, the fight and confrontation, his surviving, his single-handed warding off the enemy? The reconciliation with Hera? His watching from the battlements, Wulf and the death of his son, the hostage, cutting his throat?
9. Hera, her maid, tough-minded, her son, his role in the Castle, the proclamations?
10. Hera, the decisions about the escape, the inhabitants rounded up, the young boy, leadership, escaping the castle?
11. Hera, her cousin and his forces coming, the siege, the fortification pressed against the castle wall, the attack, the opening of the gates, their seizing, the king remaining outside?
12. Hera, her plan, with her maid, writing to confront Wulf, the combat, his attack, wounding her, her killing him?
13. Order restored, but Hera wanting to be free and go her own way?
14. The links with The Lord of the Rings, Suraman’s appearance, the Orcs and their stealing, 183 years before the Rings?

UNDER STREETLIGHTS

Australia, 2024, 90 minutes, Colour.

Madison Hull, Jacob Harvey, Leighton Mason, Luke Scholes, Lachlin Blue, Lynette Ellis, Ian Martin, Declan Castle.

Directed by Danielle Loy.

The first streetlights of the title are in Alice Springs. In fact, this is very much an Alice Springs film.

We see many aspects of the city, the different neighbourhoods, the home of the white policeman, the home of an aboriginal family, shops and bars, schools, the city streets. And we see the surrounding country, especially at the end, a journey from Alice Springs towards Melbourne.

In most ways, this is a gentle and hopeful film. It should be noted that this is the first film for the six main characters, and they are quite convincing. First there is Ella, played by Madison Hull, a teenager grieving the death of her beloved mother in a car accident. Her father, Jack, Luke , Scholes doesn’t cope, drinking. By chance, Ella comes across Izac, Jacob Harvey, young aboriginal man, lover of rap, composing songs, using his computer for background music. They become friends.

And we see Izak at home, his younger brother Tobias, his father, Clifford, glimpses of’ Clifford’s background as an international dancer, touring France, at the Eiffel Tower, now an alcoholic. And, at home, there is the idle Uncle Ronnie, Ian Martin, who sits and makes sarcastic comments. And there is Aunty Samara, Lynette Ellis, very sympathetic, always advising Uncle Ronnie to shut up.

Which means that this is a pleasing film about friendship, love of music, composing songs, sharing, and genuine bonding. But, this is Alice Springs, and the realities of racism and, especially, alcoholism, have to be faced. Jack, in fact, is a police officer who had raided Clifford’s house in the past, treating the family harshly. And, it is a shock to Jack to find his daughter at Clifford’s house. Tensions rise, Izak and Tobias, leaving home, their father and uncle taking their money. And, Ella more and more alienated from her father.

The story becomes something of a message film at the end, the younger generation running away, hopes to make success of their music in Melbourne despite so many previous frustrations, the two fathers in pursuit to rescue their children. A message of reconciliation – and, exuberant hope as the two youngsters with their band perform successfully at a club.

A short and modest film, some familiar material, but engagingly presented.

1. The title, and the song and its background, Alice Springs, the wider world?
2. An Alice Springs story, a symbolic Australian story, the indigenous community and their situation, the white community, interactions, prejudice, suspicions and injustices?
3. A contemporary music story, the young musicians, composers, writing, rap, computers, studios and recordings, promotion and projections, concerts and success?
4. Ella and her story, the opening, the death of her mother, the accident, her bonding with her mother, the music, her father and his sadness, policeman, drinking? Ella managing, at school, her friends?
5. Ella and her accidentally hearing Izak, the music, the rap, with his friend Chase, outside the club? The conversation, Ella and her curiosity, tracking Izak down, visiting the house, the discussions about music, her response, her own music, sharing, meeting his family? Her explanation of her origins, Irish, Central America and indigenous? The Irish and indigenous in common?
6. Izak, the house, in Alice Springs, his father, drinking, the flashbacks to the past, his skill in dancing, in front of the Eiffel Tower, his drunken dances at home? Uncle Ronnie, idle, comments, wanting the money? Aunty, the wise member of the family, kindly, her comments, telling Ronnie to shut up so often? Life in the house? Izak and his younger brother, Tobias?
7. Ella and her father, his continued drinking, the risk to his job? Memories of his wife? Ella and her room, her music?
8. Her father, finding her at Izak’s house, the past history, the animosity, the hostility? The consequences for Izak and for Ella?
9. The separation, the phones, the contact, Izak’s work at the bar, friendship with Chase, the music, using his computer, his band, saving the money, yet the family stealing it, the support of the manager of the studio, the recording, the joy? Sending out the links, the responses from the companies? Disappointment?
10. The buildup of tensions, Ella with her father, the clashes, long drinking bouts, the police concerned? Her decision to leave home, to go with Izak to Melbourne, to sing?
11. The final confrontation at home, Izak strong about his father, the family and the money, the drinking, leaving home with Tobias, supported by Chase?
12. Ella and her mother’s car, her father’s refusal, leaving, with Izak and Tobias, her driving, journey towards Melbourne, the countryside, the water, venturing through, the breakdown?
13. The two fathers, the meeting, the discussions, driving together, finding the young people, the reconciliation?
14. A month later, the concert in Melbourne, the fulfilment of his extremes, the singing, the crowd, the applause – and a future?

HORS- SAISON/ OUT OF SEASON

France, 2023, 115 minutes, Colour.

Guillaume Canet, Alba Rohrwacher, Sharif Andoura, Marre Drucker. Lucette Beudin, Hugo Dillon, Staphane Brize, Johnny Rasse, Jean Boucault.

Directed by Stephane Brize.

Pensive. Unhurried. Melancholic. Tres français. Vraiment.

Winter, hors-saison, a coastal French town where huge waves break on the rocks, or stream onto the vast beach whether anyone is there or not.

We follow a car to a modern luxury hotel, where Matthieu, a popular film star (and Guillaume Canet playing Matthieu is definitely that in fact). He has walked out on rehearsals for his stage debut, afraid, checking with his busy TV executive wife, getting the benefit of comfort, massage, therapy – although some comic scenes with the talkative,-theoretical Jim trainer and in his room where he finds it very difficult to cope with the technology, especially a recalcitrant and unstoppable coffeemaker.

Then a contact from the past. Alice (an excellent Alba Rohrwacher) with a more than five minutes restaurant conversation with Matthieu. The film becomes more about her and there is much more depth, more regrets as her life, marriage, motherhood, life in the town over 15 years is revealed. And the former relationship in the grim breakup, his abruptly leaving her.

This is a film of conversations, a number of restaurants, exploring the past. Alice reveals her home life, the audience getting a glimpse, especially of her hurt, her relationship with her daughter, love, truth, her talent with the piano, composition, teaching, but regrets…

Alice has friends in an aged care home and there is a strong sequence (though not necessarily key to the plot), an interview with an elderly woman about herself, marriage her relationship. At the celebration, enthusiastic song, dance, and a fascinating routine, enjoyably long, that most of us have never seen before, one reviewer referring them to as bird singers, another as “avian impersonators”. The couple really do have a talent for imitating the birds and dramatising the variety of their actions. One of the cinema moments when you feel the urge to join the applause as they take their bows.

The interaction between Matthieu and Alice lingers on, complex, a time for Matthieu leave, or not, Alice to keep on with her life no matter what. A wounding one-sided breakup has to give way to an amicable parting.

1. The title? The atmosphere of the winter town on the Brittany coast? The quiet, the bleakness, the weather? The ocean pounding on the rocks? The water coming in to the empty beach? The musical score?
2. The introduction to Matthieu, the car, the aerial shots of the road, the countryside, the car, his coming into the town, the hotel, the spa, the accommodation, his treatment, his room, the comedy with the recalcitrant coffeemaker, his idly opening and shutting the doors, the discussion with the theoretical gym trainer, the massage and its effect? The background of his marriage, the phone call to his wife, the television station, her efficiency as a manager? His attempt at theatre, overwhelmed, walking out, the phone call from the producer reprimanding him? Yet his great career as a movie star and people recognising him, photos and autographs?
3. The surprise phone call from Alice, her coming to meet him g, her personality, the revelation of the relationship 15 years earlier, his abruptly breaking the relationship? Stranding her, her coming to the town, marrying the doctor, the 15-year-old daughter, her own music compositions, teaching piano lessons?
4. The discussions between the two, the long conversation at the restaurant, re-acquaintance, getting to understand each other, the effect on each of them, the memories? The continuing to meet, to discuss? Seeing Alice, at home, with her husband, friends, discussion about issues in the town, with her daughter?
5. The visit to Matthieu, the sexual encounter and the consequences? Not to meet again?
6. The interlude with the celebration of the marriage, the long interview with the older woman, extraneous in many ways to the action of the story, yet her explanation, her family, age, relationship, love, the celebration of the union?
7. The party, the bird imitators, their performance, entertaining?
8. The music, the dancing?
9. The various stages of ending, Matthieu staying an extra day and the consequences, Alice and her visits, to leave or to stay? The break up of the past, its savage effect, the comparison with the reconciliation and an amicable parting?

WELCOME TO YIDDISHLAND

Australia, 2024, 95 minutes, Colour.

Directed by Ros Horin.

2023-2024, especially with the Middle East conflicts, particularly Israel and Hamas, there is a greater need for social cohesion, and this has become significant in Australia, protests, signs and flags, the burning of the synagogue… And the official government appointment of mediators for anti-Semitism and he and anti-Islam.

One of the ways for this social cohesion is appreciation of the different cultures, their traditions, sharing in music, sharing enjoy.

And, this is what this film is trying to do. Especially with its provocative title and the reference to Yiddish. Which means that a non-Jewish audience has to check on what they know of the Yiddish language, a game of the Tongue. Many, and culture, used in Europe for 1000 years, during times of prosperity but, especially, times of oppression and persecution. (Maybe not an exact parallel but those of Irish extraction might remember the role of Gaelic in oppressed Ireland for so many centuries.)

Surprisingly, this is an Australian production, interviews with local actors, singers, composers, theatre directors, some will like Evelyn Krape and enjoyable reminiscences from Barry Kosky, but moving to countries all over the world. The emphasis is on the richness of the tradition, its significance, the popularity of the language (and its influence on English, and Age crossword testing its readers for an answer to a clue which could be schmuck or schlemiel), the development of music, the quality of song, rehearsals for a performance of Yentl in the Yiddish. These artists see themselves as Yiddishists.

The summary description of this film: A feature-length documentary about the progressive artists spearheading a global cultural renaissance of the endangered Yiddish language; by creating new art in an ancient language that speaks to our times.

For music lovers appreciative of a variety of cultures, this documentary will be welcome. Those interested in the traditions of Jewish and yet his culture, very informative. But, as has been indicated, in times like these, this kind of appreciation contributes to greater social cohesion.

HERE AND NOW

US, 2018, 91 minutes, Colour.

Sarah Jessica Parker, Simon Baker, Gus Birney, Jacqueline Bissett, Common, Taylor Kinney, Renée Zellweger.

Directed by Fabian Constant.

First called The Best Day of my Life, ironic title, being called Blue Light, the film is now Here and Now, focusing on 24 hours in the life of singer, Vivenne. She is played by veteran actress, Sarah Jessica Parker well-known for films as well as for the television series, Sex and the City.

At the opening of the film, Vivenne visits a doctor, gets a diagnosis of cancer in her brain. The next 24 hours, until her next appointment, the audience accompanies Vivenne wandering through the city of New York, late for a rehearsal at the club where she has worked for 25 years, contact with her manager (Common), an affair with a musician (Taylor Kinney), her buying a dress and giving it to her daughter, a visit to her former husband (Simon Baker) and a further return to be with her daughter, Gus Birney.

She is pestered by phone calls from her French and dominating mother, Jacqueline Bissett, who turns up at her apartment, possessive and interfering. Upset at her taxi driver, she leaves the dress in his taxi but later has to retrieve it, finally meeting him again and paying him to be available for her for the rest of the evening when she returns to be with her daughter.

There are also interludes where she goes to sing in a club and is welcomed. And she encounters an old friend celebrating her birthday, Renee Zellweger, and their conversation.

The invitation to the audience is to empathise with Vivenne on this significant day of her diagnosis. However, blogging comment is very negative on the film, lack of sympathy for Vivenne, and many accusations that it is very boring. One might have thought that the situation and the character might have elicited more empathy and understanding.

1. The title? Rigidly, The Best Day of my Life, then Blue Night? A day in the life of Vivienne? And her contemplating her illness and death?
2. Sarah Jessica Parker, reputation, star, producer? Audience sympathy for her character, her health situation? Family, career?
3. The New York setting, the life of the city, the look of the city, the sound? Streets and taxis, apartments, clubs, music rehearsals, medical interviews? The musical score, the songs, Vivenne singing?
4. Vivenne, her age, career, the French background, her relationship with her mother, the phone calls, irritating? Her mother turning up, possessive and dominating? The breakup of her marriage, her relationship with Ben, able to turn up, her relationship with her daughter, tensions, the daughter’s age, music interests? Relationship with the group, the club, 25 years, her relationship with Ben, her manager? The affair with the musician? past life, tours, prospects for the future?
5. The health situation? The diagnosis and explanations? Vivenne’s mood? Her not revealing the truth, the possibilities for support? The day, late for the rehearsal, apologies, singing, relationship with the group? Her wandering, at home, the shops, buying the dress, leaving it in the taxi, the later contact, her abruptness with the driver and the music, the phone call, leaving the dress, finding it again, and later meeting him, paying him for the hours of the night? Her continued wanderings, going into the club, the singer welcoming her, her song? The arrangements with the manager and discussions, and his supporting her at the end and going to the hospital? The chance meeting with her friend Tessa, the years, the birthday party, going out into the street talk?
6. Vivenne going to meet Nick, his patience and understanding, her daughter, later returning, gift of the dress, the night with her daughter, the emotional effect?
7. The preparation for going to the hospital, the driver, meeting Ben, going in – and the prospects?
8. The hostility of bloggers against the film, considering it boring? No empathy for the health situation?

DEAR SANTA

US, 2024, 107 minutes, Colour.

Jack Black, Robert Timothy Smith, Keegan-Michael Key, Brianne Howie, Hayes MacArthur, Post Malone, P.J.Byrne, Jaden Carson Baker, Kai Cech, Ben Stiller.

Directed by Bobby Farrelly.

Seeing Jack Black on the poster as Santa Claus, there might be a few moments of scepticism!

This is a film from the Farrelly brothers who for more than 30 years have enjoyed making all kinds of satire from There’s Something about Mary too Shallow Hal…

This is a Christmas film with a difference. It opens, perhaps expectedly, a family grieving the loss of a child in an accident, moves with the remaining child to a new town, trying to settle in, parents blaming each other, and the young boy, Liam, Robert Timothy Smith, dyslexic. And he believes in Santa Claus.

He writes a letter to Santa but misspells, sending the letter to Satan. Which, of course, is where Jack Black fits in well, Satan trying to be Santa Claus, giving Liam three wishes  demanding his soul after the wishes.

There is entertainment in the wishes, Satan persuading a sympathetic young girl at school to be interested in Liam, even to the extent of their going to a concert by a Post Malone, overcome by Satan and unable to remember the concert afterwards), Liam going on stage and performing with the singer, and it all filmed. Meanwhile, at home, his parents wanting him to see a counsellor played comically by Keegan-Michael Key.

Liam has a young friend, African-American, who has protruding teeth – fixed with the second wish.

Liam argues with Satan against the wishes but, overhearing his parents seemingly squabbling but actually reconciling, he wishes for the reconciliation, Satan then urging him to be his forthright self – which he does, with the bully and the pompous teacher.

Then a twist. Jack Black is only a minor Demon, on probation, and reprimanded by the real Satan, an uncredited Ben Stiller. He then does the right thing in telling Liam the truth and rewards everyone by resurrecting the dead brother. While audiences might be taken aback  at this reality/in reality, there is a final twist because the young girl admires Liam because of his devotion to his dead brother. How will he explain the resurrection to her!

1. Title, expectations, Santa Claus, happy Christmas themes? Ironies?
2. The American town, the family moving after the death of their son, settling in, the home, the conflicts between husband and wife, the effect on Liam, school, dyslexia, taunts, Emma’s support, believing in Santa Claus? His mother supporting him, his father wanting to tell the truth?
3. Liam, age, character, quiet, the dyslexia, taunted, supported by Emma, his strong friendship with Gibby, not telling his parents? His parents and their fighting? The accidental death of his brother? Mutual blame, blaming themselves? The effect on Liam? The issue of Santa Claus and truth?
4. The decision to write to Santa, the misspelling, posting the letter, Satan receiving it, the decision to act?
5. Jack black as Satan, his screen persona, comedy, touches of mania, the touches of mean-mindedness? The appearance, the misunderstanding, Liam thinking he was truly Santa, Satan playing along, the repartee, Liam’s responses, the issue of the three wishes?
6. The reality/fantasy in the screenplay, Liam and his wish, Emma and her support, at school, in the classroom, the fussy teacher, Dickens, self-important, (and the later scenes, the bike riding, diarrhoea, the encounter with the level crossing guard, her abrasive personality, her course and training?) the bully and taunting Liam?
7. Satan arriving at school, his behaviour at school, appearance, changing appearance, the change for Emma, her support? At home, the parents and their concern, Dr Finkelman, the discussions, the sendup of the counsellor? The arrival with the tickets, going to the concert, the best seats, backstage, the status of Post Malone as an entertainer? His being transformed, Liam going up onto the stage, the performance, the effect on Emma, the effect on Gibby and his disappointment? The filming and it spread on social media?
8. Gibby, the second wish, his teeth fixed? Post Malone unable to remember anything about the concert when interviewed).
9. Liam, changing his mind about the wishes, the discussions with Satan, hearing his parents and their reconciliation, misinterpreting, his wish that they be reconciled? And his being prepared to give Satan his soul? Satan and his encouraging Liam, to be forthright, the attack on the bully? The confrontation with the teacher? Emma and her change of heart?
10. Satan, the revelation, half-Demon, the true Satan calling him to account, the reprimands, punishment?
11. The effect on Liam, Satan’s explanation, the third wish nullified because the reconciliation happened without him?
12. The credibility of the final wish, the brother coming alive again – but the final twist that Emma likes Liam because of his devotion to his dead brother, how would he explain?

RUMOURS

Canada, 2024. 118 minures, Colour.

Cate Blanchett, Rolando Ravallo, Charles Dance, Nikki Amuka-Bird, Roy Dupuis, Dennis Menochet, Alicia Vikander.

Directed by Evan Johnson, Galen Johnson, Guy Maddin.

Esoteric and exotic are two words that come to mind while watching films by a Canadian rector, Guy Maddin. While he does have narrative and character development, his interest seems to be on the different kinds of impact films can have. His work is praised by critics. But, the average audience is bewildered.

While Rumours is probably the most accessible of his films, it still seems to have bewildered many of the public. To many, this seems so absurd a narrative, that they give up on it.

The basic plot outline, however, seems fairly direct. A meeting of leaders of the G7 takes place in ta castle in a German forest. The seven leaders meet for lunch, served in a pleasant gazebo, discussions, personal interactions, conflicts, and then their being stranded, lost in the forest at night. But, what happens to them in the forest, exposing of the limitations of their characters, the threats of impending apocalyptic doom, certainly takes them and the audience on unexpected paths.

The film does have the advantage of having Cate Blanchett in the central role as the German Chancellor, accented English and all. The other central character is the Canadian, Roy Dupuis, the most complex character of them all and he is given the final rhetorical declarations. The rest of the cast are strong character actors, including Charles Dance, of all people, as the ageing, prone to nod off, American President (and, just as it was a to explain his very proper British accent, he is cut off and we never know). Dennis Menochet dominates his scenes, a large man, -the intellectual, the French president. And Nikki Amuka-Bird, is a black prime minister from the UK.

The film might be seen as a political drama. However, the expose of the limitations of each of the leaders, leads to a satiric approach. The task for the leaders that we watch is their preparing for the communiqué, something like a school project amongst them, small groups, stating the obvious, truisms, platitudes. And then there are many farcical situations, some comedy. And, the three directors have though had an interest in conventions of horror films – so, excavations of 2000-year-old corpses, zombies, sex-obsessed, cavorting in the forest, and an AI program that is a perverse controller, and an overlarge-sized brain out their amongst the trees.

When asked to indicate approach to appreciating Rumours and its satire, a review suggests itself. What if the leaders of the G7, meeting there at the gazebo, all nodded off like the American President and had a communal nightmare. This would be the nightmare, cut off, lost, the very human limitations made all the more manifest, their being manipulated as the world seems to be going to its doom – and, rhetorically, standing there on the balcony, proclaiming some kind of hopeful G7 statement that might transcend the doom. Which means that both the leaders and we ourselves as the audience are often bewildered.

1. The work of the directors? Exotic and esoteric? Ironic comedy? Drama? Touches of horror?
2. The title, rumours, rumours of war…?
3. The basic premise, the meeting of the G7, the world leaders, economic situation, the official statement, reassurance? The screenplay and the presentation of the leaders, strengths, and expose of weaknesses, personal incompetencies, self-importance, relationships, affairs? Their characteristics representing their nations? The meeting, lunch, the gazebo, discussions, the small groups, preparation of the statement?
4. The German setting, the forest, the Castle, the gazebo, the forest? The events in the night, the darkness? The trees, the zombie-like creatures, the excavation of the bodies, Sylvain falling in, the sexual behaviour of the zombies, the ferry, the crossing of the water? The final scenes in this castle? The musical score?
5. The German leader, memories of Angela Merkel, Cate Blanchet, the accent, in charge, hosting, her concerns, the attraction to Maxine, going to search for him, the sexual encounter, the aftermath? Her support, guidance? The encounter with Celestine, her being able to understand and translate?
6. Maxime, Canada, the crises at home, the past affair with the British Prime Minister, his Celestine, the present with the German, his personality, his wife, deceptions? His crises and running away, the drinking, the clash with the British Prime Minister, the sexual encounter with the German leader, wandering in the forest, the discovery of the giant brain, discovering Celestine, the interactions with her? His carrying Sylvain after his collapse?
7. The French Prime Minister, pomposity, large, history, his book on graves, the excavations, his literary quotes, historical quotes, relationship with the other members, especially with the Italian Prime Minister, his notes blowing away, his pursuing them, in the forest, falling into the grave, the struggle with the body, his collapse, Maxine carrying him, the wheelbarrow, the ferry?
8. The Japanese Prime Minister, quiet, participating in the activities?
9. The Italian Prime Minister, small, friendly, quiet, the cured meat in his pocket, helping everyone, is a special concern about the French Prime Minister, the wheelbarrow?
10. The British Prime Minister, black, businesslike, the past relationship with Maxime, f ending him off, the participation in the activities?
11. The American president, as played by Charles Dance, the British accent, the almost explanation but not given? Age, superiority, leader of the free world, yet his falling asleep, his wanting to sleep, the Italian Prime Minister saving him?
12. The satire, the discussions for the statement, like small school groups discussing, the obvious, the platitudes…? The expose of the foibles? Lost in the forest, the zombies, the crises?
13. Celestine, the past, the talk about a new world order, her language, her documents, past with Maxime, the translation, rescuing her? Talk about Astrid?
14. The phone, the messages, Astrid, the little girl, asking for rescue, the group making their way to the Castle, entry, finding the Pres, the AI control, the accusations of sexual abuse, manipulation of characters? The death of the president?
15. The finale, the world up in flames, the rhetorical speech, the seven on the balcony? How much satiric? How much some kind of hope despite everything?

HOW TO MAKE GRAVY

Australia, 2024, 120 minutes, Colour.

Daniel Henshall, Hugo Weaving, Agathe Rousselle, Brenton Thwaites, Damon Herriman, Kate Mulvaney, Benedict Hardie, Fayssal Bazzi, Kieran Darcy-Smith, Kim Gyngell, Jonah Wren Phillips, Adam Briggs.

Directed by Nick Waterman.

Paul Kelly has been a musical icon in Australia for decades, singer and performer, composer, strong songs and lyrics. This film is based on his Christmas song, How to make Gravy, 1996 (the lyrics can be found by Googling). Producer, Meg Washington and her partner, director, Nick Waterman, have elaborated on the characters and situations in the song, creating a narrative – and introducing a most sympathetic character, not in the song, the prisoner, Noel.

The film has a Queensland setting, an extended family gathering for Christmas, the background of grief with the central character, Joe (Daniel Henshall) grieving the death of his mother. There is his wife, Rita (French actress Agatha Rousselle), his young son Angus (Jonah Wren Phillips) young daughters. For the Christmas dinner, his sister and brother, uncles, some of the guests are initially jovial, the grief surfacing, Joe highly aggressive towards his brother-in-law, a fight, the police, in prison.

In prison, Joe is victimised by a fellow prisoner, have Red, and other bullying prisoners. Joe has no anger management and fights back, to his detriment. His wife visiting, his son would like to visit, he has phone calls, but the families not sure how he is bearing up in prison.

Where the original song narrative is enhanced is the introduction of a most sympathetic life-sentence prisoner, Noel (Christmas name and ultimately his wearing the Santa Claus hat), a sympathetically vigorous performance from Hugo Weaving. Noel is charge of the prison kitchen, offers Joe a job, Joe offering his family’s recipe for making gravy. There are some jovial and joyful scenes in the kitchen, the cooking, and, eventually, the chaplain providing some wine for the gravy recipe.

Echoing Paul Kelly’s Catholic background, there is a young chaplain, not many in his congregation, a bit desperate. And there is a prisoners’ choir who perform with zest.

In the meantime, the screenplay offers the difficulties at home, Angus and his tensions, his musician uncle trying to help out at home (Brenton Thwaites), Joe in an angry outbur but provoked st being prevented from seeing his wife and son at Christmas.

How does the film bring everything to a climax – Angus angry with his mother and uncle, running away, going to the prison – but a kindly guard allowing Angus in and a happy reconciliation with his father. And the kindly Noel effecting some peace in the prison.

A film for Australian audiences to enjoy – with the hope that others will enjoy it as well.

1. Paul Kelly’s song, popular, Christmas, prison, family? A dramatisation of the song?
2. The Queensland setting, the town, home for Christmas, the prison, exteriors, interiors, the kitchen, the yard and fights? The musical score, the range of songs, music and lyrics?
3. The Christmas theme, the first Christmas, 51 weeks later? Introduction to Joe, lying on his bed, Angus urging him awake, preparing for Christmas, the grief at the death of his mother, his relationship with his wife, daughters? The guests arriving for Christmas, the uncles, his sister and Roger, Dan, the separation, his daughter?
4. The tension at the table, the speeches, the conversation, aftermath, family tensions, criticisms, squabbles, Joe and his aggression, Roger, the fight, the calling of the police?
5. Joe in jail, his angers, his grief, the visits from his wife and their talking, his son wanting to visit, the phone calls? The routines of the prison, Joe being picked on, Red his associates, the violence, Joe as victim? The other prisoners, life in the prison?
6. Noel, his Christmas name, Hugo Weaving’s presence, in jail for life, yet his attitudes, offering to help Joe, offering him the job in the kitchen, Joe and his return, the rules, the attendance at the meetings, the significance of the meeting, Joe telling his story, the response of the men? Joe and the recipe for gravy, the ingredients, no wine? The bonding with the men in the kitchen, the preparation of the meals? The preparation for Christmas, the detail? Joe at home in the kitchen, going to the concert, looking forward to Angus’s visit? Red picking on him, the fight, his being prevented from seeing his son?
7. The men in the kitchen, the choir practices, the priest, talking with the men, the concert, the sermon, his drinking the wine, his bringing the wine as a gift for the gravy? Noel’s intervention?
8. Rita and the children at home, Dan moving in, helping, the girls coping, the pressure on Rita, her love for Joe, her mother’s phone calls, her choices? Dan and his support? The dancing, Angus’s anger? Going to see Joe with Angus, his not being allowed the visit?
9. Dan, his daughter, the woman across the street, her bullying sons picking on Angus, the fight? Her chatting with Dan, the sexual encounter? And having to come to terms with himself and Mary? Her saying she had forgiven him?
10. Stella, with Roger, the visit to Joe, the tensions with Roger, the bouquet, his presence at the meal, the only one at home during the search, talking with John on the phone, the apology? Stella and the future with him, saying her choice was family or Roger?
11. Angus, the upset, seeing his mother in Dan, running away, the search, the desperation? The bike, the dog and the bus, Paul Kelly as the driver, going to the prison, the sympathetic guard and surveillance, letting Angus in, keeping the dog? Bringing Joe to the visiting room, revealing Angus, the embrace?
12. Joe and his final confrontation with Red, standing up to him and his bullying? Noel making him to go to the concert? Getting the meal, some kind of peace?
13. The Christmas ending, family reconciliations, hope for the future?

GLADIATOR II

US, 2024, 148 minutes, Colour.

Paul Mescal, Denzel Washington, Pedro Pascal, Connie Neilson, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, Matt Lucas, Tim McInerny.

Directed by Ridley Scott.

While sequels are often welcomed by an audience, they also often find it difficult to maintain the standard of the original film. Which is the case here. Gladiator won the Oscar for Best Picture in 2000 as well as an Oscar for Russell Crowe in his role as the strong Roman warrior, Maximus. She is one was a triumph for prolific director, Ridley Scott.

It was something of a surprise when plans were made over 20 years later for this sequel. The focus is on the son of Maximus who died in the first film, his son with Lucilla, the daughter of Marcus Aurelius. He is Lucius, played by Paul Mescal, seen first quietly living in North Africa, the Romans attacking under the leadership of General Acacius, Pedro Pascal, the North Africans defeated, taken to Rome, sold as slaves, many commandeered as gladiators.

Audiences will see the parallel scenario with the original film, the provinces, Roman warfare, prisoners, slavery, the Colosseum, gladiators, harsh life, brutality in the arena, political intrigue.

As with the original film, Gladiator II looks quite spectacular, special effects, naval battle sequences, extraordinary fights in the Colosseum especially against monstrous effect monster monkeys, and the recreation of a battle sequence in the Colosseum. Many of these scenes are very violent, and some of them exceedingly brutal in the impact. Sometimes we might wonder, as we watch the brutality of the fights and audience excitement that we are very much like these vicious Romans and their control of human life with thumbs down.

As with the Emperor, Commodus in the original film, there are two rather despicable emperors this time, the twins Geta and Caracalla (Joseph Quinn and Fred Hechinger) as symbols of the decline of the Roman Empire. Returning from the original film is Connie Neilson as Lucilla, daughter of Marcus Aurelius, mother of Lucius, recognising him, trying to make contact, eventually sacrificing herself for him. She is also in a relationship with General Acacius. One of the difficulties for the impact of the drama is that while Paul Mescal is exceedingly serious and single-minded as Lucius, he is not charismatically engaging for the audience a little in here and charm, while Pedro Pascal as Acacius does have leadership charism.

But, the big difference for this drama is the presence of Denzel Washington as the former slave with political and power ambitions, based on an actual character, Macrinus, a master in buying slaves, controlling the gladiators, with entree to the Emperor’s, deals with corrupt senators, waiting for his power grab moments, unscrupulous with his violence, even with the Emperors.

Given the limitations, the repetitions in parallels with the original, and the single-minded sternness of Paul Mescal as Lucius, audiences who enjoy Roman epics, will enjoy Gladiator II as well.

1. The impact of the original film? Its legacy? So many years for a sequel? The continuity? The scenario of the first parallel scenario of the sequel?
2. The work of Ridley Scott, epics? And audience response?
3. The settings, North Africa, the city, the battles, the Navy, the Roman conquest? The road to Rome? The entry? The Colosseum, the quarters for the gladiators? The animals? The use of the Colosseum, fights, naval battles? The royal palace? Homes? The market for gladiators? The musical score?
4. The links with the original, the mentions of Maximus, the flashbacks and the appearance of Russell Crowe? Connie Neilson as Lucilla, her relationship with Maximus, with, discovering with Lucius? Derek Jacoby as the senator?
5. Africa, Lucius and his life there, relationship with his wife, warrior, silent about his identity, the local authorities, the attack of the Romans, the details of the battles, strategies, defeat? Imprisonment? The death of his wife, seeing her pass into the next life, grief?
6. The prisoners going to Rome, the entrance to the city, the legions and the triumphant entry, general Acacius, his relationship to Lucilla, his tribute to the Senate, their suspicions, their wanting him to go on further conquests? His own response, with Lucilla, his significance in the revolt against Rome, his legions at Ostia, the sending of the message, his being trapped, sparing Lucius, his own death? Lucilla’s grief?
7. The role of Macrinus, dented Washington’s presence, slave, freed, ambitions for the Senate, ruling Rome? The auctions of slaves, seeing Lucy is in action, his talents, strength, perseverance, purchase? His master of slaves and the treatment of the slaves? The training, the accommodation in the below the Colosseum? The fight in the Colosseum, the monstrous monkeys and battles, UCS and his survival? The response of the crowds, the emperors, thumbs up?
8. The personality of Lucy is, silent about his identity, his anonymity in Africa, his relationship, the defeat, the death of his wife? With the other slaves? With the master of slaves, his being tested? With Macrinus? With Lucilla, her visit, his identity, his resistance? His eventually changing, the encounter with Acacius, the fight in the arena, spared, acacias death?
9. The background of the emperors, their status, twins, effete life, games, the court, the worms? The attitude of the Senators? Acacius? Macrinus and his setting them up, the death of Geta?
10. Arrow colour, wilfulness, childish, nominating his monkey as senator?
11. Lucius, behind-the-scenes, the ex gladiator, observing, supportive Lucius, his sending him to Ostia to bring the troops?
12. The buildup, the taking of Lucilla, in the arena, her death, the many troops converging on Lucius?
13. The troops arrival, Macrinus and his control, his deals with the senators, the corrupt senator, the gambling, the meeting of the senators, Gracchus and the past, and government, decline? The death of Gracchus?
14. The troops arriving, Lucius and his a leadership, the confrontation with Macrinus? And the future?