Displaying items by tag: Peter Malone's Movie Reviews

SILVER DREAM RACER

UK, 1980, 101 minutes, colour.

David Essex , Beau Bridges, Christina Raines, Clarke Peters, Harry H. Corbett, Diane Keane, Lee Montague, T.P. McKenna.

Directed by David Wickes.

Silver Dream Racer is a star vehicle for popular singer of the period, David Essex. He contributes to the score and to the central song which was very popular.

Direction is by David Wickes who had specialised in television more than films for cinema, directing the series The Sweeney as well as the film version. In the 90s he continued in television with some touches of horror with Jack the Ripper, Frankenstein, Jekyll and Hyde.

The story is fairly conventional, an older brother expert with bikes, his death, the younger brother stepping into his place, the family background and relationships, rivalry with an American rider played by Beau Bridges. There is a strong British supporting cast.

However, the main focus of the film is on the racing, footage taken at the Grand Prix of 1979 and incorporated into the film.

1. A sports film? Personal interactions film? The conventions, the quality?
2. British production, pro-British, the rivalry with the US? The stars, David Essex, singer, actor? The British supporting cast? American stars?
3. Effective photography, actual footage from the Grand Prix? Special effects and atmosphere?
4. The musical score, David Essex and his reputation, the song?
5. The prologue, Nick, his brother, working on the bike, his death? Skill, challenge, the horror of death?
6. Nick as a character, his family and relationships, training, in honour of his brother, finding the bike? His brother’s work? Speed, skills, the international atmosphere, Cider and his work, the support team?
7. The background, garages, designing, finance, deals, racing, challenge?
8. David Essex as Nick, Beau Bridges as Bruce, the rivalry, the clash, the contrasts, the women, relationships? The race, the techniques, the manoeuvres, the ending?
9. The family background, Nick at home, Carol, going out, encounters with Bruce, anti-American stances, emotional relationships?
10. The main focus on characters, on the race, rivalries – and the drama of the actual racing footage?

AND MRS

UK, 2024, 111 minutes, Colour.

Aisling Bea, Billy Lourd, Susan Wokoma, Harriet Walter, Sinead Cusack, Peter Egan, Omari Douglas, Samuel Barnett, Paul Kaye, Elizabeth McGovern, Colin Hanks.

Directed by Daniel Reisinger.

Most of us may have to look twice at the title. Is there a misprint? An omission? No, in fact the title is quite accurate. And, if one were looking for a smart title, we might suggest A Post-mortem Romantic Comedy.

While the film is British, the writer is an Australian playwright living in London. And, the director is also Australian. Some audiences may sense a somewhat Australian sardonic tone, the humour in the seriousness.

This is Gemma’s story. She is played by Aising Bear. She is in a relationship with an American, Nathan, played by Colin Hanks. He has proposed. And while she has accepted, the engagement is still on something of an emotional long finger.

There is quite an early twist of the plot, something which advertising and trailers may quickly indicate. However, this review will take the reticent stance.

We spend a lot of time in London, with Gemma, with her close friends, happy flashbacks with Nathan and scenes of a sense of his presence with her all the time, with her parents, who are supportive of her engagement to Nathan and are eager for a happy resolution of the engagement despite Gemma’s hesitations.

Also in the picture are Nathan’s relations, the visit to London from his somewhat wacky sister, Audrey (Billy Lourd, Carrie Fisher’s daughter, in fact) and a visit to the United States to visit their mother, Elizabeth McGovern, a long way from Downton Abbey.

There are some legal difficulties which are pursued throughout the film, especially in approaches to the Chief Justice for various permissions required. And, as a bonus for audiences of British films and television, she is played by Harriet Walter.

Ultimately, there is a happy ending, a wedding ceremony, and we realise what the title means.

1. Curiosity about the title? The explanation, engagement, the wedding?
2. The British setting, Australian writer and director, humorous tone, satiric tones, romantic tones?
3. The structure of the film, the present, the range of flashbacks, building up the picture of Nathan and his relationship with Gemma? His appearances in her imagination?
4. A romantic comedy, a post-mortem romantic comedy, marriage and commitment to a dead’s powers? In terms of realism? In terms of imagination and comedy? The background of legal issues and precedents in the UK and France?
5. Gemma’s story, her relationship with Nathan, his American background, her life, work, exercises, returning to find Nathan has died? The impact on her, grief, surprise? Her reliance on her best friend, flight attendant with her stories, consolation and support? The response of her parents, their understanding, discussions?
6. The issue of the funeral, the arrangements, the messages for Audrey, not picking up her phone, Nathan’s sister, arrival in the UK, thinking it a joke, the reality, vomiting into the Prada bag? Her personality, erratic? Her stories about their mother? Abandoning them? The later visit by Gemma to their mother, her life, conversations, Audrey outside, eventually coming in, the mother’s hard stands, not consenting to the wedding, the later scenes of rethinking, the photo, change of heart?
7. The funeral, the speaker, the parody of this kind of speech, Audrey and her attack, ousting him? The effect on everyone?
8. The idea of the wedding, the research, the approach to the Chief Justice, the impersonation of the court, sitting in on the prostitution case, the farcical aspects? The application, the letter, the return, the discussions with the Chief Justice, the eager assistant supporting the idea, the continued meetings, her turning down the issue, the legal precedents, her own life? The final meeting, the eventual persuasion, and her seeing herself in a good light?
9. Manager of the restaurant for the wedding, his criticisms of Nathan and online rules, the confrontation with Gemma? Agreeing to hold the reception? The final sequence in the middle of the credits at the reception?
10. Nathan’s best friend, arriving, no refund for the ticket, his attraction to Gemma’s best friend, together, talking, dancing?
11. The gay friend, his support, is officiating at the wedding? Attracted to the Chief Justices assistant?
12. The film showing Gemma’s moods, frame of mind, the reappearance is of Nathan, her imagining him, reassessing the engagement, the flashback to the proposal, the reasons for acceptance, her not having the opportunity to explain her commitment to Nathan, the urgency of the quest, the interviews with the Chief Justice, with Nathan’s mother (and going to America with the comedy of the best friend having to go through security so many times)?
13. The ultimate ceremony, her hesitations, her mother absent for the moment, the deep commitment, the ceremony, the aftermath and the celebrations and support?
14. An offbeat idea, a post-mortem romcom?

MOZART’S SISTER

Australia, 2024, 98 minutes, Colour.

Directed by Madeline Heatherton-Miau.

One of the points made early in the film is that so many people over the centuries and into the present time are not aware that Wolfgang Mozart had a sister. Let alone that she was a composer and a talented pianist.

This is an international documentary for the new awareness of Maria Anna Mozart. It has been internationally financed including from Screen Australia. And, the documentary, with a variety of talking head experts on music, musicology, history, and handwriting… We are taken to various locations around the world including Australia, Sydney and Darwin, in the US Tucson and New York, Britain, Austria…

The film also has some reconstruction of scenes, the costumes and decor of the 18^th century, many portraits, some re-enactments.

The film explains the background of the Mozart family, Leopold Mozart and his skill as a violinist, his love of music, his awareness of the genius of his children, the three and half years of touring Europe, from Austria through Germany, the low countries, France and to London. Both of the children still very young, no sibling rivalry, rather companionship, playing the piano, composing, writing the music, and the young Mozart discovering his talent. There were also times when their father was too sick and they had to imagine the music and to write it down in silence.

For those who love the music of Mozart, there is a great deal on his background, his talent, his place in the family, his marriage, his genius, early death. And, with the help of some historians, with Alma Deutscher, herself a composer, pianist and conductor when young, insights into Maria Anna Mozart. And, practical comments from veteran conductor, Dane Jane Glover.

The film also takes us to the various locations of Mozart’s life, his birthplace in Salzburg with all the tourists, the museums, especially with the manuscripts, to Vienna.

Which makes the film a combination of re-enactment and drama, a presentation of the music, and a masterclass in history, research, the reassignment of the Mozart catalogue, identification of his sister’s compositions, close examination of signatures on writings to test authenticity.

Definitely for classical music lovers but also for a public aware of Mozart – but discovering they need to know something of Maria Anna Mozart, his sister.

FALLING INTO PLACE

Germany/UK, 2023, 113 minutes, Colour.

Aylin Tezel, Chris Fulton, Alexandra Dowling, Rory Fleck Byrne, Juliet Cowan, Samuel Anderson, Olwen Fouere, Michael Carter, Cian Barry.

Directed by Aylin Tezel.

Perhaps calling Falling into Place romantic comedy suggests that it is a light presentation of a relationship. It is a touch more serious. And, by the end, the two characters, we know, will fall into place.

One of the surprising features of the film is to discover that the writer and the director, Aylin Tezel, is German, and has featured in the number of German films. However, while she brings her German perspective to characters and situations, the setting is British, some scenes on Isle of Skye, some of life in London.

But, even more significantly, Aylin Tezel also plays the central role of hero, an artist, set designer for the theatre, tensions in relationships, insecurities in her own life, getting away from London to the Isle of Skye. On the same train from London, but separately, is Ian, a musician, also getting away from a relationship in London but visiting his parents on Skye.

The different feature of this film is that we spend the first almost 30 minutes sharing the initial encounter of the couple, in a bar, chatting outside, and a gradual development of acquaintance, beginnings of a friendship, sharing talk, confidences, jokiness, competitive running, being comfortable with each other. But, a crisis, Ian having to go home, his sister alienate, attempting suicide.

Then, back in London, for a long section of the film, the story of Kira, the story of Ethan, no connection between the two. The audience sees Kira’s insecurity, fragility in relationships, breakups, yet people confident in her talent for the theatre and her getting an exhibition at a Gallery for her art. The audience also sees Ian’s insecurity, the conversations with a very patient girlfriend, the steps towards breaking up, his work with his music.

There is one of those coincidences, made quite plausible, in which the two characters come together again, a re-acquaintance because they had never expected that they would encounter each other after the time on Skye.

Perhaps more than a happy ending because in those first 30 minutes we saw how compatible Kira and Ian were, so some confidence for the future, everything falling into place.

1. A romantic comedy for 30-somethings?
2. The contribution of the writer, director, star?
3. German perspective? The British settings, the Isle of Skye? London? European? The musical score? The songs?
4. The introduction to Kira and Ian, on the train, separate, their brooding, the arrival, Kira at the hotel, at the bar, the situations, the man chatting up Kira, noticing Ian? His going off with the girl? Both outside?
5. The scenario of having the two encountering each other, starting to talk, interact, share, click, the running, the different situations, locations, the night passing, comfortable with each other?
6. The crisis, Ian going home, the welcome from his mother, the reaction of his father, the news about his sister, in the car, rushing away? Keira and her return to London?
7. The focus of the film on the story of each of them? The present, the range of flashbacks, building up the story?
8. Keira’s story, her art, the paintings, portrait of Ian? A relationship with Aidan, broken, yet her dependents, meeting him, weeping, his reactions, the separation? Her indecisions, the theatre, the commission from Lewis, meeting the cast? The meeting with Aidan’s friend, leading him on, the sexual encounter, breaking off? Judy, the art gallery, praise for her art? And the continual meeting with her friends, confidantes? The exhibition, praise?
9. Ian’s story, in London, the relationship with Emily, open relationship, her tolerance, his treatment of her, his not talking about his sister, gradually opening up, some kind of understanding between them, his breaking with her? The importance of his sister, her suicide attempts, not having seen her for years, change of heart, going to visit, her reaction, the repeat visits, the growing understanding between them? Visiting his mother and father? And his playing the piano?
10. The irony of his walking along the street, seeing the white piano, going into play, meeting Judy, apologising, seeing his picture, at the exhibition, encountering Kira again, Kira with the flowers, the talk, the dancing? His leaving, her following him into the street, the kiss, the running…?
11. A romantic comedy for an older audience?

CROSS THE LINE

Spain, 2020, 92 minutes, Colour.

Mario Casas, Milena Smit, Elizabeth Lorena, Fernando Valdiveilso.

Directed by David Victori.

Dani, played by popular Spanish actor, Mario Casas, is a timid man, has been looking after his sick father, then coping with his father’s death, supported by his enterprising sister, Laura. While wanting to go back to work, he is challenge by Laura who buys him a round the world ticket to get him out of himself and his past life.

Most of the action of the film takes place over a couple of hours. The camera technique is to urge audiences to be close to Dani, many close-ups of his face, and generally, the camera tracking after Dani throughout the streets, or moving with him and facing him.

Dani is a kind man and helps out a young woman who has no money on her  for b to payurgers. She states she is indebted to him, continues to cajole him, he succumbing every time, going her to her tattoo shop, reluctantly accepting a tattoo, a photo of them for the wall, then persuaded to go to her apartment, her sexual advances, the return of her boyfriend, a desperate fight, Dani killing the man, the woman leaping out the window.                  

Dani then has to make moral decisions, wants to go to the police, his sister urging him not to, so he returns to the tattoo shop to retrieve the incriminating photo, otherwise there is no evidence against him, cash payments. What follows are more fights, his being brutalised, the pressure on his conscience.

The film does not end with a pat solution but, rather, the young woman in coma, the possibility of her recovering and going to the police, and a long final shot, Dani looking into the mirror, questioning himself, and his looking at the camera lens and therefore at the audience, challenging us to make our moral decision.

1. The title, the moral line, looked, responsibility, choice?
2. The Barcelona settings, hospital, apartments, offices, the streets, the bar, the tattoo shop, upstairs, atmospheric? The musical score?
3. The camera style, continuing on the move, close-ups of Dani, the camera following him right throughout the film, the sense of movement?
4. Dani, devoted to his father, buying the cigarettes, the father’s death, the meeting with Laura, the sadness, going back to work, his timidity, Laura buying him the air ticket? Urging him to make more of his life?
5. The action over a few hours, Dani and the bar, Mila and her approach, paying for the burgers, her spiel, his paying, her pressurising him, his genial nature, succumbing to her, her cajoling, going to the tattooe store, persuading him to have the tattoo?
6. The photo, on the wall, leaving, going to the apartment, the drinking, her pressure, sexual response, Ray at the door, his entry, Dani hiding, the confrontation, the fight, desperate, Dani killing Ray? Miller and her reaction, jumping out the window?
7. Dani, the physical impact, psychological impact, contacting Laura, telling her the story, her covering for him? His trying to recover, the return to the tattoo shop, recovering the photo, the owners coming in, his hiding, the bashing, his getting out, in the streets, the fights?
8. Contacting Laura, the news about Mila in coma? The possibility of her recovery and speaking to the police?
9. The moral dilemma for Dani, his wanting to go to the police, Laura not wanting to go, his conscience, Mila and her waking up from the coma, possible denunciation, his going to the hospital?
10. The long final shot, Dani looking into the camera, looking at himself, looking at the audience, challenging the audience to make their own moral decision?

SPEAK NO EVIL

Denmark, 2022, 97 minutes, Colour.

Morten Burian, Sidsel Siem Koch,Fedja van Huet, Karina Smulders.

Directed by Christian Taldrup.

Here is a thriller which begins quite genially, very cheery, a family on holidays in Italy, a chance encounter with another family, friendly, sharing the Italian countryside, food, and an invitation from the Dutch family to the Danish family to visit them for a holiday.

And the invitation comes. And the Danish family decide to travel to Holland. A touch of eeriness as they arrive at the Dutch house in the dark but is one immediately welcomed, the couple, and their little son who is almost mute.

The first part of the film, the situation is quite genial, the hosts welcoming, the Danish couple enjoying the change, but soon intimations that there may be some difficulties, especially when the little girl is given a bed on the floor in the same room as the boy. She then begs to come in with her parents each night.

There are tensions with food, the mother being vegetarian though eating fish, an accumulation of snide remarks and criticisms. A friend coming in and cooking meat and the mother being forced to taste it. But there are outings, conversations, the children possibly getting on well together – though the boy opens his mouth and shows the father that his tongue has been cut.

This becomes too much for the mother, she persuades her husband to go home in the night, the plan thwarted because of the little girl’s bunny which she has left behind, and their return.

Some recriminations but the hosts reaching out again. The wariness comes to a head when the two children do a dance and the boy’s father is severe, reprimanding his son, making him dance again, physically violent towards him.

Eventually, the couple decide to leave, especially after the father wanders upstairs in the night and sees a room full of photos of children and parents.

There is a dire Scandinavian ending, no hope. The little girl is abducted, her parents taken to the beach, stripped, assaulted, stoned, their being left for dead – and the little girl becoming a sister to the young boy, mute. No explanations are given, just the fact of the couple exploiting unwary couples, taking their children and living off their finances.

Writer-director, James Watkins, adapted this screenplay and directed an English language version (although the original is mainly in English for discussions between the two couples, some Danish between the mother and father and daughter), this time the British and American couple, the British, played by James McAvoy and Aisling Franciosa, the American couple by Mackenzie Davis and Scoot McNairy. In fact, Watkins has amplified the original screenplay, has brought in more sinister suggestions like the role of the cook, a greater focus on the mute boy. And, a completely different ending, the Scandinavian ending probably too severe and dark for most audiences, but the substitution of quite an effective confrontation all round, especially the final focus on the mute boy.

1. The title, the silences about the activities of the Dutch couple, the removal of their little boy’s tongue, his speaking no evil, the finale, the death of the parents, their daughter losing her tongue?
2. The plausibility of the plot, the pleasant holiday in Italy, shared experiences, pleasant couples, the two children? Invitations to visit? Danish couple, the invitation, their discussions, advice, the decision to go?
3. The arrival, in the dark, the welcome, the home, the interiors, the little boy, mute? Accommodation, the bed on the floor for Agnes? Her wanting to sleep with her parents? The cheeriness of the hosts?
4. The hospitality, the meals, the difficulties with the mother and her being vegetarian, eating fish, the host and his snide criticisms? Forced to taste the meat with the visiting cook? The later going to the restaurant, drinking, the dancing, the mother feeling uncomfortable, the return home, wanting to turn down the loud music in the car? The aftermath, the sexual encounter, the consequences?
5. The decision to leave, in the night, the daughter wanting her bunny toy, the return, the reaction of the hosts, persuasive, the wife staying and working in the garden, the husband, the frank talk with his host, his disappointment in life, repressed, being taken on to the top of the cliff, their scream and shouting and relief?
6. The crisis, the children dancing, the host and his treatment of his son, reprimands, violent touch? The reaction of the couple?
7. The decision to leave, the husband and his hesitation in giving reasons, the wife and her outbursts and all the reasons?
8. Leaving, the drive, stranded, the husband going through the woods and the water, returning, his wife and daughter disappeared?
9. The buildup to the final confrontation, the daughter taken, mute, with the boy? The couple, ordered to strip, the violence, down the cliff, the stoning, their pose in death?
10. The film not explaining the motivations of the host couple, the photos in the room, the living off the proceeds of trapping parents and disposing of them, taking the children? A portrait of unrelenting malice? Ordinary people being victims?

THE MOOGAI

Australia, 2024, 86 minutes, Colour.

Shari Sebbens, Meyne Wyatt, Tessa Rose, Bella Heathcote, Clarence Ryan, Jahdeannnna Mary, Toby Leonard Moore.

Directed by Jon Bell.

In recent years, the Australian film industry has moving towards making horror films, responding to the popularity of the genre throughout the world.

At the opening of The Moogai, there is a statement about the Stolen Generation, the decades of the practice of government authorities taking young indigenous children from their mothers, settlling them with adopting white families. But, along with this Australian social background, the filmmakers introduce aboriginal themes, especially the story of The Moogai, a strange bogeyman character, in aboriginal lore who wants to kidnap and possess children.

The film was written and directed by Jon Bell, who contributed to the successful television series exploring aboriginal issues, Redfern Now and Cleverman.

It is over to the audience to make what they will of these two strands, and the interconnection between these two attempts at kidnapping and possessing aboriginal children.

The scene is set in 1970, a rather lyrical situation, a supervisor with a group of children happily playing, a focus on two sisters. And then the officials arrive to take away the children, the supervisor whistling, the children fleeing the two girls, rushing to a dark cave where one of the sisters is captured by the Moogai.

Then a 2024 story, not quite what we might have been expecting, an urban story, the central character, Sarah (Shari Stebbins, a strong screen presence), more than competent in her business world, offered promotion is. She is married to a genial husband, Fergus (Meyne Wyatt). They have a young daughter, Chloe, and she is pregnant.

When her young child is born, a particularly difficult birth, Sarah having a cardiac arrest, we see her white parents and her dependence on them. However, now present is Sarah’s birth mother, Ruth (Tessa Rose) who wants to protect her from the influence of the Moogai, has found her daughter, wants to make contact, but is rebuffed by Sarah, a strong scene where she refuses to have a smoking ceremony in her house because of fire alarms and legislation, Ruth painting her wall, trying to paint the baby to protect it from the Moogai. Sarah is a sophisticated, anti-superstition, urban businesswoman, seemingly quickly assimilated into the white population, not wanting to make her indigenous connections.

As expected, the film veers into the eerie atmosphere, Sarah and her tiredness, her dreams, hallucinations, even suspicious of Chloe, clinging and hugging her newborn baby. Visits to the doctor, visits from Ruth, her white mother trying to fix things at home – but, it is too much, Sarah going into institutional care but being rescued, fleeing the city.

There is an appropriate dramatic confrontation with the Moogai, extraordinary prosthetics to make the Moogai a kind of monstrous, rapacious creature. Ruth is there to support Sarah, Chloe and the baby, a circle of ritual fire, strange serpents, and a final violent climax.

Audiences might have liked the screenplay to take the narrative further. However, audiences may realise that this Moogai scenario is symbolic of the power that created the Stolen generation and that the issues are not yet fully resolved.

1. The title? Meaning? Tone? His being gradually visualised, the final confrontation, monstrous?
2. The introduction, the issue of the Stolen Generation, the opening in 1970, the young children playing, protected, the officials trying to catch them, the pursuit to the cave? The two girls, sisters, playing hands, into the cave, one taken by the monster, the other saved?
3. The paralleling of the Stolen Generation with the stealing of the children by The Moogai?
4. The atmosphere in 1970, the women protecting the children, the children playing, the whistle, fleeing, the men in ties and suits, pursuit?
5. 2024, Sarah, her marriage, focus and his work, devotion, Chloe, her age? Sarah pregnant? At the office, her promotion, praise, Becky and her support?
6. Ruth, her memories as a girl, the loss of her sister? Having to give up her baby, the adoptive parents and to Sarah considering them as mother and father? Her wariness about Ruth?
7. The pregnancy, the sudden birth, hospital, the cardiac arrest, her being brought back, and death experience? Her devotion to the baby? Care, careful?
8. Fergus going to work, later calling in his brother to help out, the two brothers? At home, Sarah beginning to have strange experiences, that Chloe had moved the baby, the appearance of the young girl, the white eyed children, her health, weakness, the increasing nightmares, suggestions of the Moogai, deterioration?
9. Ruth, coming from the country, Sarah not calling her ‘mother’, her parents, at the birth, her disdain of Ruth? Ruth’s later visits, wanting the ritual fire, Sarah objecting because of the fire code, the paint and her refusal to have the baby consume it? The paint on the wall, and her mother later trying to remove it?
10. Becky, the visit, the drinking, the possibility of a promotion, Sarah going to pick up Chloe from school, the previous visit, the conversation with the teacher, the background of the Catholic school, her own education, the teacher, the accusation of drinking, the physical confrontation, the police, Becky denying drinking and her later explanation to Sarah’s discussed, Fergus coming, home?
11. The visit to the doctor, the medication, to sleep, Sarah wary, not taking the tablets, the increasing hallucinations? Fergus, becoming desperate, the visit to the doctor, her being institutionalised, her fears fight back? Fergus, the change of heart, coming to rescue her, the drive, the service station, the encounter with the police, Fergus arrested, memories of past in prison?
12. Sarah, Chloe and the baby, the drive, fears, in the store, rushing out, into the bush, her mother finding her, the rituals, the Circle of Fire, the paint on the faces, to become invisible, the Moogai arriving, the threats, the visuals, confrontation with Ruth, her death? Sarah and her grief, acknowledging her mother? The confrontation with the Moogai, the fight, Chloe and the baby invisible, the physical attack, the snakes, the Moogai devoured?
13. (Audiences wanting more of the story, the development but the themes for indigenous Australians, stolen generation, traditions, urban change are still to be resolved?

PLANE

UK/US, 2023, 107 minutes, Colour.

Gerard Butler, Mike Couter, Tony Goldwyn, Yosan An, Evan Dane Taylor, Paul Ben-Victor, Daniella Pineda.

Directed by Jean François Richet.

An extremely plain title! And Plane is what the film is all about.

Here, Gerard Butler is reclaiming his Scottish identity and accent. Audiences may have forgotten that he was The Phantom of the Opera on screen in 2004. However, his career, especially in the United States, has been in action films, something of a strong saviour figure in all kinds of desperate situations especially with films with “… has fallen ”In the title.

This film is lower key, especially in the first half. Gerard Butler plays a pilot based in Singapore, his wife dead for three years, his daughter studying in California, New Year’s Eve, his making contact to meet his daughter, a six hour flight to Tokyo, only 14 passengers. The weather forecast is somewhat dire but the authority figure decides that they will be able to ride through it.

They don’t. So, audiences can identify fairly quickly with the setup. However, there is one factor not told to the passengers, the sudden transporting of a criminal killer with an American agent, handcuffed, sitting at the back of the plane. (And audiences who have seen Wesley Snipes in Passenger 57 will be anticipating all kinds of mayhem on the flight – but this does not eventuate, far from it!)

The storm is severe, Butler and his pleasant co-pilot, Dele (New Zealand Chinese actor Yosan An) take the plane up to 40,000 feet, a strip are struck by lightning, lose power and connections, time their fuel supply and their searching for a possible landing spot – remote island in the Philippines, using a country road, safe landing, the casualties not due to violence but the crash.

The second part of the film has all the action violence. And not entirely implausible. They find they have landed on an island, abandoned by the Filipino government and military as too difficult, a home of rebels who take hostages and demand money.

Hence, a reasonable situation for an action film, the pilot trying to save the passengers, the threats of the terrorists, and a new role and interpretation of the criminal passenger.

In the meantime, the headquarters of the air company, the fixer coming in, press releases and conferences to cover all situations, the pilot using his wits and getting a message through via his daughter, an American squad landing, confrontations – and, of course, quite an exciting climax.

Perhaps we have seen all these ingredients before, not perhaps! But, the various situations, characters and issues are well put together for an enjoyable action show pastime.

1. The very plain title? The action living up to its name?
2. Drawing on inventions for plane disasters, storms, crash landings, survival – then the transition to terrorists, hostages, American intervention, the final drama of the takeoff and escape? Enjoyment for popular entertainment?
3. The setting, New Year’s Eve, Gerard Butler and his reputation in films, action, strong, saving situations? More ordinary here? Pilot, Singapore-based, UK experience, asserting his Scottish identity, the death of his wife, his daughter studying and contact with her? Flight, Singapore to Tokyo, only 14 aboard, his charm with the flight attendants, the information about the prisoner under guard? The co-pilot, from Hong Kong, his family, good relationship?
4. The warning about the weather, the decision to go through the storm, the later reprimand of the authority for that decision? The takeoff, the range of passengers, the 3 girls and the photo, the cantankerous passenger and his criticisms, the prisoner, his guard, the handcuffs?
5. The effect of the storm, the lightning strike, the pilot handling the situation, contact with flight control, the loss of contact, the turbulence, the guard trying to reach his phone and his death, the death of the flight attendant? Visual effects for audiences to share this experience? The pilots, using their wits, timing, getting through the storm, estimating where they work, the Philippines, making towards land, landing on the island, the road, the effect of landing, surviving, getting things out of the plane, the shelter, interactions?
6. Brodie Torrence, the decision to fight help, taking the prisoner, the conversation, his background, the accusation, his disappearance, the foreign Legion, his military skills? Finding the terrorists headquarters, Brodie and his fixing the phone, the headquarters and the condemnation of crank calls, phoning his daughter, her getting the message through? The terrorist, the fight, the prisoner and his intervention, the escape, the vehicle, back to the plane?
7. The information about terrorists in the Philippines, the lawlessness of the island, the discovery of the camera, the passports, the taking of hostages, demands, executions? The leader, his control, the violence, the locals, the range of thugs? Going to the plane, the attack, the girl running and her death, her friend and his being killed? Rounded up, into the bus, taken away?
8. Brodie, leaving the message on the pilot’s seat? Going back, the attack on the terrorist, Brodie deciding to hang himself over, getting the passengers out, back into the bus, the drive back to the plane? Brodie, the interrogation, the meetings?
9. The headquarters, the personnel, skills in negotiating, getting help, the technological information, press releases, keeping face, the phone calls, Brodie’s message getting through? The sending of the squad? The Filipino government reluctant to help?
10. The squad, the landing, the confrontation with the terrorists? Brodie, getting back to the plane, the prisoner, discovering the money, taking it, disappearing? But his continued help with the shooting?
11. The final situation, the squad keeping the terrorists at bay, Brodie and his injuries, fixing the break, the passengers inside, his getting into the plane, the squad on the plane, continued firing? The rocket, Brodie steering the plane at the vehicle and the gunmen? At headquarters, the reluctance to let the plane fly, the final encouragement? The drama of the takeoff, the co-pilot and his contribution during the situation? Finding the island, the landing?
12. Action entertainment ingredients, entertainingly put together?

HERE

US, 2024, 104 minutes, Colour.

Tom Hanks, Robin Wright, Paul Bettany, Kelly Reilly, Michelle Dockery, Gwillym Lee, Ophelia Lovibond, David Fynn, Nikki Amuka Bird, Harry Marcus.

Directed by Robert Zemeckis.

Yes, it is 30 years since Forrest Gump won the Academy award for Best picture. The director was Robert Zemeckis. The writer was Eric Roth. The stars were Tom Hanks and Robin Wright. And – here – we are all again.

One of the striking aspects of Forrest Gump was that it was a piece of Americana, not just a story of the present, but going back into various events of America’s past, Forest Gump himself inserted into so many of the events, meeting so many of the historical characters. It is not exactly the same here with characters but there is a continuity throughout this story, the actual “here” of the main room in an American house.

There is a surprising touch of the cosmic as the film opens, the location, prehistoric, vegetation and creatures. After this brief nod to pre-history, there is a glimpse of Native American characters in the same place. Then the move into more recent times, children looking at workmen digging the foundations for the house, and the glimpse of a mansion being built across the street.

For the rest of the film, the camera will be firmly planted in the main room, looking across the room, out the window towards the mansion, the vehicle traffic passing by. All the action will take place within the frame established by the fixed camera. In fact, when there is a change of time, a change of character to be considered, literal frame lines appear on the screen, the beginning of action in the frame and its widening so that we watch the stories.

One of the difficulties is that the action moves from one period to another, without any immediate reason. At one stage, we are back at the time of the War of Revolution, the 18^th century, the world of Benjamin Franklin. At another time, the period after World War I, the beginnings of aviation, an enthusiastic husband, primly disapproving and fearful wife, glimpses of the 20^th century American eagerness as well as conservative hesitation.

More positively in 1942, husband and wife are really enthusiastic about the husband’s invention of a reclining chair (business executive saying that this would be ideal for the incoming television), the establish of the La-Z-Boy.

At another stage, there is an African-American family in the same house in the 21^st-century, the father instructing his son how to respond when pulled over by the police.

However, the main attention in the film is to the period from 1946 to the present, the story of Al (Paul Bethany) returning from war, shellshocked, marrying Rose (Kelly Reilly), the birth of their children, his travelling for work, her keeping the household. Then, their son, Richard, at 18 (played by Tom Hanks, deaged, as will be Robin Wright as Margaret, but a bit disconcerting seeing Tom Hanks acting as an 18-year-old). It is a complex story of American dreams, some American hopelessness, unfulfilled ambitions, illness and death.

We are used to Tom Hanks in this kind of role. More is demanded of Robin Wright, initially full of verve, but sadness in her later years.

This is a film of emotion, some might find it too much, but the invitation is to share, staying in the same place, some overviews of American history.

1. The title? The place, changes over the millennia, 18th century into the 21^st-century? The focus on American history?
2. The role of the camera, fixed camera, the action within the frame, the variety of times, prehistoric, Native American, War of Independence, aspects of the 20^th century, World War II? The 21^st-century – even up to the Covid pandemic?
3. The variety of sets, prehistoric, early human, costumes and decor, the variety of vehicles over the centuries, the building of the mansion opposite, its always being seen outside the window?
4. The structure of the screenplay, based on a graphic novel, the fixed camera, the device of outlining the frames for each sequence, squares and rectangles…, Sometimes two actions within the one frame? The rationale for the insertions of the flashbacks to the past? The effect on the audience?
5. The building of the house, the children playing, the deep foundation? The changing interiors, the common elements, especially the couch and its replacement?
6. The performance of the actors, within the framework, sufficient for developing characters, drama, interactions? Audience sympathies?
7. The central characters, as young, the ageing techniques, and the impact of seeing Tom Hanks and Robin Wright acting as teenagers? Young adults? Older?
8. The Native American story, the parallels with the 20^th century, young man and woman, courtship, marriage, pregnancy, birth, family, deaths and rituals?
9. The reason for including Benjamin Franklin, the War of Independence, the clashes of points of view of those loyal to England, to the revolutionaries, Franklin as a character, his illegitimate son and his support of him?
10. John and Pauline, tensions in their marriage, Pauline not wishing to live in the house, his enthusiasm about flight on the future, near the aerodrome, her fears, his taking the child on a ride? The funeral, his Spanish flu death, not in a flight? The comment on Americans at the beginning of the 20^th century, enthusiasm for the future, Conservative stances?
11. The early 40s, the couple, her glamorous style, singing and dancing, her husband, large, seemingly lazy, the reclining chair, his inventions, the development, the patent, the company coming to see him, television coming in, the promotion of the La-Z-Boy?
12. The 21^st-century family, African-American, the bonds, the meetings, meals, the father instructing his son if held up by the police?
13. The focus on the main family, Al and Rose, his experience of the war, surviving, shellshocked, unacknowledg PTSD, meeting Rose, the marriage, the passing of the years, her pregnancies, the increasing number of children, Al and his work, the ups and downs, indication of affairs during his travels, Rose and her devotion, patience with her husband? The children, at play, the various stages, tantrums, changes, Richard and his artwork, Jimmy and Elizabeth and their play?
14. The teenagers, Richard and Margaret, meeting, together on the couch, her pregnancy, family reactions, the wedding, the birth of Vanessa? The years passing, Richard and his talent with art, giving it up, earning a living, the years passing, interactions with Al and Rose, Margaret not wanting to live there? Urging Richard to build a house, to move out? It’s not happening?
15. At Rose, the collapse, the stroke, Al and his response, the decision to go to Florida, the treatment? Rose and the effects of the stroke? Her death, her reappearing in Al’s dreams and imagination? Al, his own health, in the house, Margaret and her care, exasperation is? Vanessa as the lively teenager?
16. The years passing, Vanessa and her studies, law career, achievements? Richard, the same, Margaret exasperated, getting a job, the growing tension, her decision to leave? Packing, the kiss for Al, her departure? Her work, messages to Richard, the visit to Paris with Vanessa?
17. The scene of her 50^th birthday, the candle, her reaction, friends, highlighting her regrets?
18. Margaret, indicating memory losses, the gradual transition, the dementia, Richard bringing her back to the house, the memories of their engagement, that she could live there forever, the episode with Vanessa losing the ribbon, finding it, her joy, her reaching back to some glimpses of the past while not remembering so much else?
19. A view of America, family, trials, happiness, sentiment?

SATURDAY NIGHT

US, 2024, 109 minutes, Colour.

Gabriel LaBelle, Rachel Senott, Corey Michael Smith, Ella Hunt, Dylan O'Brien, Emily Fairn, Matt Wood, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, J.K.Simmons, Nicholas Podany, Robert Wuhl, Jon Batiste, Willem Dafoe, Paul Rust, Tracy Letts, Matthew Rhys.

This history/comedy/memoir was released at the 49^th anniversary of the opening show of what has become an American tradition, Saturday Night Live. While the program is screened in other countries, it is a particularly American television experience, comic experience, social commentary and criticism experience. While it touches the American funny bone, the response of audiences outside the United States might be something of hit and miss.

Which might be also the case with this film, American audiences relishing the re-creation of that first night, the tensions in the last hour and a half before going on air live. And there are many famous names appearing in this film, many of whom through Saturday Night Live became media celebrities – producer Lorne Michaels, comedians Chevy Chase, Jon Belushi, Dan Aykroyd, Jane Curtin, Lorraine Newman, Billy Crystal, George Carlin… And Nicholas Braun as both Andy Kaufmann and Jim Henson.

In many ways, this is a frantic and frenetic film because that is the situation in which Lorne Michaels found himself, the decision to do something new in the mid-1970s, live performances, sketches, satiric songs, social commentary. While NBC allowed it, there was hostility from some of the bosses, dramatised here by the talent director, David Tabet (another sinister performance from Willem Dafoe), and the rivalry with the Johnny Carson show, also dramatised here.

This film purports to be a dramatisation of what actually happened on that night, October 11, 1975. While a lot of this may have happened, putting it all together in the one film means exhaustion for the protagonists, exhaustion for the audience.

So, very much behind the scenes, the young Lorne Michaels and his initiatives, sometimes naive, sometimes shrewd, often the target, trying to get the temperamental Jon Belushi to sign a contract, encouraging his writers, new talent, placating Jim Henson and his concern about the treatment of the Muppets, supported by his wife, Rose Schuster, and all kinds of practical disasters, lighting falling almost on top of the actors, authentic bricks knocked over and having to be reset again, his being squirted with fake blood…

This is very much the show must go on despite… Everything.

The ensemble cast is very effective. Gabriel LaBellel is Lorne Michaels (he had appeared as the young Spielberg in The Fablemans). The impersonators of the famous talent are very good, Michael Wood as Jon Belushi, most credible. Corey Michael Smith as a rather arrogant but quickwitted Chevy Chase. And, surprisingly after seeing him in the Maze Runners and other action films, Dylan O’Brien enjoying himself impersonating Dan Aykroyd. One of the best surprises is the arrival of Milton Berle, arrogant, full of disdain for the younger generation, visiting the set, performing a musical number – and the fact that the performance is by J.K.Simmons rather unlike anything else he has done and making quite an impact.

There are a number of character actors in the supporting roles as well as a number of new faces. It is all put together with speed, momentum, the visuals of the time ticking down, a final crisis as to whether they were permitted to go ahead, the final permission – and, as the cliche says, the rest is history.