Displaying items by tag: Peter Malone's Movie Reviews

WEEKEND IN TAIPEI

France/Taiwan, 2024, 100 minutes, Colour.

Luke Evans, Sung Kang, Lun-Mei Gwei, Wyatt Yang..

Directed by George Huang.

An action weekend in Taipei, enabling the audience to spend some time in Taiwan.

This is familiar action and romance material. And, for many audiences, when they want easy action/romance entertainment, they know what is to be expected and that is what they want. While many commentators and reviewers want originality and films to break new ground, the popular audience does not necessarily want this at all. They are satisfied to see what they expected with some pleasant variations.

Which is very much the case here. The initial focus is on wealthy Taiwanese businessmen, Kwang, court cases, declaring innocence, involved in drug dealing, especially to the US. Then there is his wife, Joey – and audiences will enjoy the introduction to her, the actress and style, hair, Audrey Hepburn in Breakfast at Tiffany’s, looking into the store window, and, in the background, Moon River! Then she drives a car at breakneck speed through Taipei, buys it for her gangster husband’s birthday. And the revelation that she has a 13-year-old son Raymond,, who is hostile to his stepfather, critical of his killing of dolphins in his fishing business, destroying the environment.

Meanwhile, in Minneapolis, DEA agent Lawler is undercover with an associate, working in a Chinese restaurant, becomes involved in a huge fight, not martial arts, it is punching and kicking amazing how much damage can be done with a wok. And, in the background, Johnny Cash singing Ring of Fire.

Obviously everything has to come together, a mention of 15 years by several parties, the audience putting two and two together, Lawler on his way, despite orders against it, to Taipei to confront Kwang. This might have been over happily with fights and guns early in the film, there is an escape, some romantic time spent in the country village, Lawler discovering his paternity, Raymond discovering his father and learning a great deal about his mother’s past life.

Then, into action again, speed driving, Lawler Kwang fighting in a cinema in front of the screen, and, reminiscent for film buffs of the Japanese couple enjoying the wild ride through San Francisco in Foul Play, an old couple watching, thinking it was all part of the film, 3-D!

Sung Kang, Korean-American, has appeared in many at the American productions including several of the Fast and Furious franchise. Lun-Mei Gwei is a star of  cinem Taiwanesea. Luke Evans takes on the kind of role made popular by Liam Neeson and other older actors.

Final credits indicate just what a family show it has been!

1. The action show? US story? Taiwan story? Drugs and the DEA?
2. The Taipei settings, the immersion in this city, the world of business and luxury, the shops, the world of drug dealing and thugs, life in the country village? The contrast with the USA, Minneapolis, restaurant, DEA action? The musical score?
3. The introduction to Kwang, bodyguard, wealthy, court case, assurances of innocence, anger in the car, mansion, the relationship with his wife, Raymond and his antipathy?
4. Minneapolis, John Lawler, the violence, the police, undercover, the restaurant, the detailed fight and action, Santiago and the injuries, the detective, the finding of the drugs? Lawler to go on a weekend vacation? His decision to go to Taipei? 15 years since he was there?
5. Introduction to Joey, immediate impression, the Audrey Hepburn look, the store window, the playing of Moon River, an arrogant manner, the car deal, the reckless drive, buying the car for her husband? The tension between them, her relationship with her son, the son’s hostility to Kwang, his helping her 15 years earlier?
6. Lawler, to Taipei, linking up with the agents, the weapons, the plan to get the register, the information, from Raymond? Waiting in the hotel, Joey and Raymond coming to the hotel, the thugs, the fights in shooting, the agents killed, the escape down the stairs, Joey and her speed driving, going to the village?
7. In the village, her grandmother, her old vehicle, the relationship between Joey and Lawler, Raymond and his puzzle, the eventual revelation, Joey in the past, mechanic, driving, the death of Kwang’s driver, the village holding the drugs, quaint employing her? In action with him, the driving? And giving birth to Raymond? Kwang and his love for her, trying to be a father for Raymond?
8. Raymond, 13, contact with Lawler, the register? Discovery that his family, his mother’s early life, his father? The flashbacks to the relationships, the memories of the various kisses? Jelly to be arrested, Lawler stalling and letting her go? Loss of contact?
9. Raymond, his motivation, the dolphins?
10. Kwang, the pursuit, his thugs, Raymond coming to get the hard drive, caught in the office, the deal with Lawler, the exchange? Kwang not keeping his bargain, Lawler and his pursuit, the confrontation, the cinema, in front of the screen the action, the old couple thinking it was real, the fight and Lawler winning? Kwang and his arrest?
11. Lawler in jail, the police, the detective from Minneapolis on bail, the passport, to Paris, happy ever after, the pregnancy, the new baby and family during the final credits?

SHOSHANA

UK/Italy, 2023, 121 minutes, Colour.

Douglas Booth, Irina Starshenbaum, Harry Melling, Aury Alby, Ian Hart.

Directed by Michael Winterbottom.

With newsreel footage from the period, especially the rise of Nazism and the migration of Jews to Palestine in the mid 1930s, the audience is introduced to tensions between Jews and Arabs, British administration after World War I, underground groups, sabotage and terror, the years preceding the establishing of the state of Israel in 1948.

The film was released at the time of the Hamas massacre of Israelis and the taking of hostages in 2023. It was screened during the subsequent year, Israel’s attack on Hamas, the bombardment of Gaza, the deaths of tens of thousands, and then the attack on Hezbollah and the bombardment of Lebanon during night 2024.

While the title focuses on a young Jewish woman, work is a journalist, daughter of a pioneer Zionist Socialist, the screenplay often moves away from her for quite some time, focusing more on the British police and the Haganah group, religious and literary inspiration, but underground terrorism, bombs and sabotage to make their presence felt.

The film also focuses on the British police presence, Harry Melling portraying Morton, severe and single-minded, working in the North, informants, exercising life and death authority, shootings, public executions. Douglas Booth, by contrast, is Tom Wilkin, a pleasant gentleman, working in Tel Aviv which is building itself up as a city. Irina Starshebaum plays Shoshana, in a relationship with Wilken, on and off, especially with her loyalties to him as well as to the Jewish movement.

Michael Winterbottom has been directing films since the 1980s, quite a wide range of topics and themes, but interested in political films such as Welcome to Sarajevo, In this World about migrants from Afghanistan, Trishna with an Indian setting.

1. The title, the focus on Shoshana, as a character, in the context of the 1930s and Palestine, the British, her work, relationships?
2. Audience knowledge of this period, the release of the Nazis in Germany in the 1930s, Jewish migrants to Palestine? Post-World War I, the British administration? The issues of the Jews, Zionist movements, protests, undercover activities? The Arabs, the sense of displacement, protests and activities? Leading to the experience of the war, knowledge of the Holocaust after the war, the state of Israel? The introduction, the use of newsreel footage, information, moods?
3. The recreation of the period, the information about Europe, Germany, the migrants, the British authorities, the Jewish Governor, successful administration or not? The role of the military, in the North, severity, interrogations and executions? The creation of Tel Aviv, activities in Tel Aviv and Jerusalem? Underground activities, sabotage, explosions, Arab deaths, Jewish deaths?
4. Tel Aviv is a city, building itself up during this period?
5. The introduction to Shoshana, her family, the reputation of her father, the Zionist Socialist, the Haganah, the organisation, paramilitary, her ability to shoot, activities? Her work as a journalist, in the office, the party, the encounter with Tom, her relationship, scenes with him, intimacy? The ups and downs of the relationship?
6. Shoshana and the title but her disappearing from large parts of the film?
7. The British, post-World War I, talent for administration, failures? The police, Tom and his role as police, Morton and his work in the North, the police chief, Cairns, the torture sequences, the attack on Cairns and his death? Robert Chambers, his authority, the contacts, sympathies, loyalty to government, observing the executions?
8. The leader of the secret group, poet, communication with people? The range of the members of the Haganah, their meetings, activities, sabotage, the deaths, the police pursuit? The protecting of the poet?
9. Morton, personality, his police role, in the North, informants, arrests, interrogations, torture? The shooting individuals? Public executions?
10. The complexity of the relationship between Tom and Shoshana, his personality, with the British, socially, politically, working with Morton, Morton in charge, Morton and his wife?
11. The years passing, the underground group, young, the men, the weapons, police pursuit, having to move, their being killed, arrested?
12. Shoshana and her moving away from Tom, yet returning to him?
13. The arrest of the poet, the interrogation, his defiance, becoming a martyr?
14. Morton and Tom being targeted, Tom being blamed for the execution, the dangers, his being killed?
15. This film as an introduction to the decades succeeding the state of Israel, the place of the Arabs, the subsequent wars? And, after the release of this film, the Hamas attack on the bombardment of Gaza and then of Lebanon?

HE WENT THAT WAY

US, 2023, 95 minutes, Colour.

Zachary Quinton, Jacob Elordi, Patrick J.Adams.

Directed by Jeffrey Darling.

The film is about an actual serial killer in the US in the 1960s (in fact, the killer was also involved in murders with his brother but not in the film).

This is a strange film that has not appealed to a wide audience but there are some admirers. For the most part, this is a road film, the serial killer, here called Bobby, and played by Australian actor Jacob Elordi (Priscilla, Saltburn) hitching a ride with a very buttoned up entertainment entrepreneur, Jim, played by Zachary Quinton (Star Trek) who is transporting a monkey who performs, called Spanky, to meet his wife and explore further contracts.

The audience has seen Bobby initially in a car talking, only to discover that he is talking to the corpse of a man he has killed.

Which means that the film offers an exploration of each man’s character and the strange interactions, Bobby psychopathic with some of the charm of the sociopath, inventing stories about himself, tantalised by the presence of Spanky, the monkey, influencing Jim. Jim is very proper, well-dressed, good mannered, agreeable to Bobby, sometimes surprised, protective of Spanky, and some have suggested that he may be an example of the Stockholm Syndrome with Bobby’s influence.

There are various encounters along the way, a violent confrontation with Jim’s brother-in-law, Native Americans, an Amish couple, two young girls being reckless away from their families, a night at a motel. And, there is the encounter with Jim’s wife and some bad moments for him.

While the actors give their best and Spanky (animatronics as well as prosthetics for an actor), the audience may well feel uncomfortable throughout. Perhaps the intention. (And the sad note the Australian cinematographer, Jeff Darling, died in a surfing accident just after the completion of photography, his first film as director.)

During the final credits there is into material with the Jim character who had written a memoir of these events – much more lively in the credits sequences than during the film.

1. Based on a (mostly) true story? The end credits, the central character, Spanky and the dance?
2. US, the 1960s, 1964, the JFK era, change, the place of outsiders?
3. Road movie, the Southern States?
4. The title, the references – which he?
5. The introduction to Bobby, driving, talking, the dead man in the car, the consequences of that action, his motivations, the flashbacks? His character, appearance, thumbing the lift? The drama of the interactions with Jim? Stories of his past, the Army? Weapons? Stories true and false? Childhood background? Emotional?
6. The contrast with Jim, his age, experience, uptight, proper, the homoerotic suggestions? The contact with his wife, the visit, contract about Spanky? The tension in the relationship and her brother and the death?
7. Spanky, the performing monkey, synthetics, animatronics, the actor? Travelling, performing, touches of the human? The contracts? The reputation?
8. The visit to the brother-in-law, a debt, his attitude, conflict, the threats, Bobby and violence?
9. The encounters along the way, ordinary situations, different characters, Native American, the Amish, two girls, a risky night with them at the motel? Behaviour in danger?
10. Bobby, the fascination Spanky, resistance, human explaining how to deal with Spanky, the control?
11. Bobby, the story going to Chicago for his girlfriend, the culmination, the revelations, the psychological and violent confrontations? This story as a memoir?

CADDO LAKE

US, 2024, 99 minutes, Colour.

Dylan O'Brien, Eliza Scanlen, Carolina Falk, Lauren Ambrose, Diana Hopper, Eric Lang.

Directed by Logan George, Celine Held.

Audiences who like something mysterious, Caddo Lake can be recommended. However, it is a difficult film to review, too many dangers for spoilers!

The first part of the film seems ordinary enough, filmed at Lake Caddo on the border between Texas and Louisiana, a vast lake, somewhat resembling the Everglades, the winding water, the overhanging trees and branches, swamp areas, suggestions of crocodiles, and the local town of Karnak. The atmosphere is authentic.

The first part of the film, it seems very ordinary in terms of human drama. There are two strands of the story – and audiences wondering when they will coincide. There is teenager Ellie, her father disappeared, her mother marrying again, a stepsister, the large family with its religious beliefs, her resentment at gatherings, but a good relationship with the stepsister, Anna. But, vocal clashes with her mother and stepfather.

The other strand focuses on the young man, Paris, played by Dylan O’Brien, initially seen drowning, but surviving, his mother having a seizure and dying underwater. He works in engineering developments around the lake, is obsessed with trying to understand his mother’s illness and seizures, whether the issue is genetic, meetings with his father, accosting a doctor in the parking lot, having all the charts concerning his mother.

The film drama changes, the tone changes when the stepsister, Anna disappears. One can say that the rest of the film is taken up with the people of Karnak searching for Anna, Elly becoming more desperate. And, Paris adventures more into the interiors of the lake, discovering its mysteries, sometimes overwhelmed.

Which is the time for a review to end, and googling indicates that practically all reviewers respect the issue of not giving spoilers. Because, while the first part seems ordinary, the change of tone in the middle of the film means that audiences are watching a film and its development that they might never have anticipated.

1. The title, the focus on the lake, the visuals of the lake, vast, warranty, in flood, dryer, the mud, the foliage in the shade, engineering, bridge, the dam? Atmosphere?
2. Filming at the actual lake and in the town of Karnak? The city the visuals of the town, shops, supermarket, streets, the home, engineering sites, atmosphere? The musical score?
3. The mystery of the plot? Not revealing spoilers? The complexities?
4. The first part of the film, ordinary, introduction to Ali and her life, introduction to Paris and his concern about his mother? Having the lake in common? Ordinary human dramas? The disappearance of Anna? The change in the tone of the film, the structure, the interconnections of the times, the experiences? Mystery? Satisfying explanations – or not?
5. Ellie’s story, her mother, the disappearance of her father, and willing to be absorbed into the new family, antagonism with Daniel, the outbursts against her mother, her devotion to Anna, sharing with her, the shopping, the driving of the boat? Scenes at home? And is disappearance and the effect on her? Her own life, age, assertive, staying with Claire? The phone call and the disappearance? Change, her searching, the reactions of the town and the people, her becoming more desperate? The disappearances of the boats?
6. Paris and his story, the opening, underwater, his mother, the seizure, her death, his blaming himself? Years passing, his having all his mother’s records, checking them out, accosting the doctor in the parking lot, the discussions with his father? His mother’s illness, explanations, genetic or not, his trembling hand? The behaviour of his father, meetings, discussions? His work, the engineering, the fellow workers? The eerie atmosphere of the woods and the lake? His venturing out?
7. The supporting characters, Paris and the return of his girlfriend, the relationship, the discussions, his distancing her?
8. The supporting characters, Ellie, the family gathering, the tensions, the arguments? The sheriff, the townspeople searching for an?
9. The mystery of the lake, light and darkness, tortures and daylight, passing through certain areas, the effect on the ear, the resounding echoes, the effect, time change? Ellie and the rope to anchor her trip, the boat, the search, the rope cut?
10. Paris, the walls, the search, finding and wounded, carrying her, the past, the workers, suspicions, taking her away?
11. Anna, Julie finding her, taking her home?
12. Paris and the past, the future, his injuries, in the hospital, observing, the escape, stealing the car, the pursuit, diving into the River? The final encounter with his father?
13. Ellie, the past, the search, the encounter with Celeste, the news about Paris? At the computer, the googling, the information, with her mother, the truth about Paris?
14. The complexities of time, different dimensions, movement, influence of the past, the complexity of the relationships?

GOEBBELS AND THE FUHRER

Germany, 2024, 121 minutes, Colour.

Robert Stadlober, Fritz Karl, Franziska Weisz.

Directed by Joachim Lang.

While films about the Third Reich have focused on Hitler, especially Downfall, in which Joseph Goebbels played a central role, there have not been many films which have focused on Goebbels himself as a central character. This is very much the case here.

An initial statement indicates that the screenplay is based on the  verbatim texts by Goebbels and others, that each line is authentic. And, throughout the film, there are insertions, especially of Goebbels and Hitler, from actual film footage (indicating that the actors here resemble Goebbels and Hitler significantly,  Robert Stadlober, diminutive, limping, smiling and sneering as Goebbels, Fritz Karl, however, rather lower key as Hitler).

And the question to be asked: what is a 21^st-century audience to make of Goebbels, as a person, his role in the Third Reich, the propagandist, mastermind of policies, his loyalty to Hitler? There are many indications throughout this film.

There is also the issue of him as a person, his personality, his ambitions, his snobbery, smug, but also his relationship with women, his affairs, especially with the Czech actress, Lida Baarova. Then there is his marriage to his wife Magda, his infidelities, her reactions, and the number of their children. In this regard, Magda’s special friendship with Hitler is significant but also the fact that Hitler was aware of Goebbels’ liaisons, did not want them to undermine aspects of government, intervened that Goebbels and Magda would make impact to stay together.

There are also some glimpses of the other leaders of the Third Reich, reminding audiences of who they were, what they did, and indications of Goebbels assessment of them.

The main focus of Goebbels’ activity is on his propaganda, the formulation of policies, pragmatic rather than principled, press, radio, cinema, his adapting them but always especially loyal to Hitler himself.

The 20^th century audience might wonder how Hitler could have achieved such power, such influence on the German nation and how men like Goebbels could rise to such status of influence in German history and in world history.

1. Audience knowledge of the Third Reich, the rise of National Socialism in the 1930s, knowledge of Goebbels, Hitler?
2. The film based on documents, verbatim words, visuals of the period, footage of Goebbels and Hitler, intercut with the performances for the film?
3. The film offering the outline of Goebbels’s life, when young, intelligent, his studies, writing, the attraction to National Socialism, the loyalty to Hitler, continued support, his involvement in propaganda, policies, the use of the media, the press, his interest in films, Leni Riefenstahl and her film of the Berlin Olympics, his attitude towards the Nazi leadership, his personal life, relationship with women, marrying Magda, the number of children, his relationship with the actress, public, Hitler intervening with Goebbels and with Magda, arranging the pact between them? His continued ambitions, the ending of the Third Reich, his achievement, with Magda and the children, suicide?
4. The structure of the film, the focus on Goebbels, moving back and forth in time? Particular events and perspectives throwing light on his char press, radio, film, and its development and changes?
5. The performance of Goebbels, impersonation, his personality, ambitious, snob, smug, his manner with the actress, with Magda? The scenes with the children?
6. Magda, age, previous marriage, the children, the relationship with Goebbels, the humiliation of his liaisons, her friendship with Hitler, the issue of divorce, Hitler and the pact her own relationships, the death and the children?
7. Goebbels in action, his creativity, his writing, his policies, issues of propaganda, shrewd, opportunist? In favour, moments out of, his adapting to Hitler?
8. The port of Hitler, more realistic than some portraits, showing the less fanatical side in day by day events, his exercise of power, diplomacy and not, his quiet ruthlessness, the public appearances, the insertion of actual scenes? His militancy against the Jews, not admitting defeat, the relationship with Eva Braun, our given to Goebbels, the decision for death?
9. The glimpses of the other Nazi leaders, Goering, Himmler, Boorman, Speers and the others, their roles, their manner, the characters?
10. Goebbels, a final success, but too late, the Russians, the final days in Berlin, the decision for death?
11. The impact of this kind of history for 21^st-century audiences?

SABBATH QUEEN

US, 2024, 105 minutes, Colour.

Amichai Lau Lavie

Directed by Sandi Simcha Dubowski.

This is an unexpected documentary, filming for almost 30 years as well as incorporating footage from further back.

This is a film especially for Jewish audiences, to be condemned by Orthodox audiences, a challenge for Conservative/Liberal audiences, and acclaimed by Jewish audiences who are open to change in the 21^st-century.

The film is a challenge for a non-Jewish audience, in the sense of trying to appreciate the different perspectives, to appreciate a lot of the nuances of the Jewish and the biblical traditions, the roles of the rabbis, the influence on various community is – a non-Jewish audience may feel that they are observers to the action of this story.

At the centre is a significant character, Amichai Lau Lavie. His ancestry is Polish, grandfather a rabbi who did not desert his community but was sent to a concentration camp with his two sons, one helping the other to escape and surviving. They migrated to Israel, one son becoming the chief Rabbi in Israel, statesman and ambassador (seen with a number of significant world celebrities including the Dalai Lama and Pope John Paul II). He married an English woman and they had two sons, one becoming a rabbi, then, the other, Amichai whose story this is.

While the film gives the historical background of the family, the material, filmed over the decades by the director, Sandi Simcha Dubowski, the action of the film moves around various times, later scenes illuminating what happened in the past, past scenes indicating the direction of Amichai’s life.

He identified as gay, something very difficult for his family. At age 28, he went to the United States, found a place in the gay community, took on a persona to dramatise issues, a drag Queen act, a Hungarian widow who is quite outspoken, appears at parades, at meetings, even walking into the Dea are d Sea as a gesture to free the feminine spirit under the sea.

Throughout the film there are excerpts from a long interview with Rabbi Ben, commenting on his brother’s relationship with Judaism, with orthodoxy, with the role of rabbis, his openness to other religions, his gender issues…

But, there are a lot of sequences with Amachai himself, interviews at various stages, the late 90s, 2010 and several during the succeeding decade. He is very frank in his explanations of himself, his Hungarian widow role, relationship, children through surrogacy and family life, his relationship with his brother and parents.

But, with his knowledge of the Bible, he enrols for Biblical studies with the intention of becoming a rabbi, which is also something of a contradiction for his family when he is ordained as rabbi. But, with his open outlook, he starts up a special schul, which everyone can attend, raising the issue of presiding at marriages, a case in point two gay Buddhists in New York, a Jewish woman and a Hindu man, with constant comment about biblical tradition, Jewish tradition, 21^st-century, need for change and openness.

There are also some sequences of protest against him, highlighting some vicious Orthodox men and their attitude towards women (with scenes of synagogue worship, the separation between men and women), and their vicious anti-Arab protests and denunciations.

The film was being finished after the Hamas attack on Israel, October 7, 2023. Amachai returns to Israel, joins demonstrations, denouncing the bombing of Gaza, with placards urging a stand for Israel but mourning for Palestine.

Which means that this story will be an ongoing continued challenge for Jewish audiences, non-Jewish audiences observing, trying to appreciate and understand.,

FOUR SOULS OF COYOTE

Hungary, 2023, 103 minutes, Colour.

Voices of: Lorne Cardinal, Diontae Black, Bill Farmer.

Directed by Aron Gauder.

Four Souls of Coyote is quite an unexpected cinema experience. It is an animation film. It is from a Hungarian director, a particularly European sensibility. However, it is a film about North America and its mythologies and histories, the Native Americans, the inroads by the newcomers to the continent.

The animation visual style is quite striking, range of characters, different landscapes, the present, the past, the landscapes of mythologies.

The film opens in the present, big business and exploitation, the destruction of the environment, business arrogance and the need to be challenged.

In the meantime, amongst the local Native Americans, the grandfather tells his granddaughter the story of the origins, the visualising of various mythologies, the different animals, parallels with Genesis narratives, issues of good and evil, especially embodied by the creature, the coyote, and its four manifestations.

The voices used are those of Native American actors.

There are quite some vivid sequences of the British, the invasion, the taking over of the land and the various political and cultural issues.

After this exploration of the mythologies, the action returns to the present, the need for some kind of protest, confrontation with the exploitation of big business – and, hopes for harmony and reconciliation, working together for the future.

1. The impact of the film? The animation style? The Hungarian director and European sensibility? The Native American myths, Native American history, the British invasion, religion and culture, 21^st-century and exploitation of the land?
2. The animation style, the characters, colour, movement, layout? Realistic aspects? Surreal and imaginative aspects? The total effect? The musical score?
3. The framework, the exploitation of the land, the business executive, relentless, phone calls, the companies? The vehicles, the drivers, the defiance? The protesters, the placards, motivations? The film as a protest?
4. The grandfather, the granddaughter, the fire, his telling the story? The Native American heritage?
5. The visualisation of the story? Origin story? The creator and his appearance, the appearance of the dark, their conversations? The various stages of development, evolution, the formation of the land, in its bird form, the materials, the gradual progress, the familiarity with creation and origin mythologies?
6. The coyote, the four souls, emblem of evil, confrontation? The stealing of the material, the formation of the band, of the woman? The Satan aspects? The development of the man and the woman? Against the coyote, independence, descendants?
7. The impact of this visualising of the mythologies, embassies, comparisons with Genesis narratives? Good, evil, the development of the world, progress, animals, crops, humans? The significance of the creation of the buffalo, its status, the coyotes and attack?
8. The invasion, the picture of the British, the visuals, the costumes, the ships, courtrooms? The presumptions of colonisation? Of religion and culture? The interaction with the Native Americans, the consequences?
9. The hopes for peace, interactions, the realities of history, the contrasts?
10. The return to the initial situation, the attack of the vehicles, the revolt of the drivers, the protesters, the possibility for some kind of settling differences, hope for the future?

GHOSTLIGHT

US, 2024, 115 minutes, Colour.

Keith Kupferer, Katherine Mallen Kupferrer, Tara Mallen, Dolly De Leon, Hanna Dworkin.

Directed by Kelly O'Sullivan, Alex Thompson.

A caution that this is a very serious film, serious themes requiring audience attention. It is a film about families and therapy, theatre as therapy, performance as therapy, and the film itself performing some kind of therapeutic function for the audience, some understanding, some empathy, some hope.

To the theme from Oklahoma, Oh What a beautiful morning, we are introduced to construction worker, Dan, older, serious, called to the principal’s office with his wife to discuss the expulsion of his daughter, Katherine, for attacking a teacher. Katherine is angry, compulsive behaviour. Dan and his wife, Sharon, hopeless as to what to do. And then we see Dan at work, preoccupied, assaulting an aggressive driver. What is behind this family anger?

In fact, this is only gradually revealed, indications of a lawsuit and meetings with an adviser for a deposition. Sharon conducts children singing a song at a school event. Katherine is involved in therapy.

Angry with Dan because of roadworks and noise, Rita, an actress from the Philippines (Dolly de Leon so effective in Ruben Ostlund’s Triangle of Sadness) sees him lose his temper and invites him to come in to meet the group in an old abandoned cinema.

And here begins the theatre connection, the theatre therapy. Rita invites Dan in to join the group, a motley collection, an unlikely community theatre group as you will ever find! Dan is welcomed by the sympathetic and knowledgeable director. Dan is at a loss, but returns, gradually coming more and more involved, the play being Romeo and Juliet. Katherine is able to show him the video of as Lerman’s Romeo + Juliet, to explain iambic pentameter to him. He becomes more and more involved.

The audience is invited to become more and more involved in this strange group, their ups and downs, the rehearsals, the tantrums, the enthusiasms, and Dan secretly returning to rehearsals, seen by his wife and daughter with Rita, Katherine following him – but quickly caught up in the enthusiasm of the group. Katherine herself aspires to be an actress, enjoys singing, becoming part of the group.

But, the true story behind the family grief and anger is gradually revealed, and the screenplay opens up parallels with Romeo and Juliet, to the point where it seems a good idea, even though they are old, that Dan and Rita play the starcrossed lovers, the experience, especially in the night of actual performance, bring home the reality of his grief which parallels that of the play. Cathartic for Dan as well as for Sharon and Katherine.

Audiences will be caught up in the drama – and, able to suspend disbelief that such a group could achieve such a performance, could actually stage it with costumes and stagecraft so quickly.

In fact, the actors performing the family in this film are husband and wife and daughter, strong performances, most especially moving is Keith Kupferer completely convincing as Dan,. A moving experience.

1. An unexpected experience, portrait of the family, tragedy and sadness, the telling of stories, the sharing the stories, drama and theatre?
2. The setting, an American town, family home, school, workplaces, the streets, the abandoned cinema, the interiors and its use as theatre space, the school theatre space, visits to therapists…? The musical score? Songs from Oklahoma?
3. The title, not appearing until the end, the experience of presence of the dead, the theatrical experience in dramatising tragedy ghostlights and footlights?
4. The significance of theatre, auditions and actors delving into themselves, motivations, consciousness, issues? Rehearsals and their effect? Interactions, clashes, emotional testing, intimacy, angers? The achievement of performance, audience response, cast satisfaction – catharsis?
5. The introduction to Dan, his age, work helmet, situations, collaboration with his workmate, call to the school principal, meeting his wife, Katherine and her behaviour at school, her outbursts with the principal, issue of expulsion, arguments, suspension? Audiences puzzling as to the key problem at home?
6. Dan, returning to work, the noise with the digging of the streets, Rita and her coming out, her anger with the workers? Danny and his reaction, thinking about his daughter? The driver, the confrontation, the physical violence? His leaving, the later meetings with the boss, the confrontations?
7. At home, his wife, love for her husband, exasperation with him, the problems of Katherine? The issue of therapy, their going, his wife’s reaction, Katherine and her scepticism, and not wanting to go? Been forced into situations, his angry reactions?
8. Back to work, the discussion with the authorities, the encounter with Rita, her inviting him in, his following her, community theatre, the unusual character is there, the skill of the director and her control, her insights, encouragement? The older men, not looking like actors, the younger men, the older lady? Dan, reading, the awkwardness, the encouragement of the others, his return? His wife and Katherine seeing him, suspicions of an affair?
9. The character of Rita, theatre, Filipino background, with the group, friendship with Dan, interactions, friendly with the family, wanting to perform Juliet, her achievement?
10. The choice of Romeo and Juliet, the various aspects of the text, the introduction, the rehearsal of the love meeting seeing, the death of Juliet, the death of Romeo? The iambic pentameter, the video of Baz Luhrman’s film, the explanation of the rhythms of Shakespeare’s language? The effect on Dan?
11. Katherine following, suspicious, finding the theatre, the confrontation, discovering the truth, quickly adapting, enjoying the company, becoming part of the ensemble, the rehearsals, the songs from Oklahoma? Her participation in the rehearsals?
12. The gradual revelation of the death of their son, his relationship, the prospect of moving, the love, the suicide, the girl surviving? Going to the lawyer, rehearsing the questions and answers? The document? The final meeting, its effect, the young girl and her meeting with Dan, apologies? The meeting, unsettled?
13. Danny and his wife, the gradual revelation of the truth, her coming to meet the group, her enthusiasm, her previously being seen conducting the children singing, the theatre space, the ensemble coming, rehearsals, sets, lights, unexpectedly lavish and such preparations in such a short time?
14. Rehearsals, difficulties, changing characters, the actor going off in a huff? Dan, the emotional crisis, whether to go in or not, the rehearsals of the death of Romeo, the surfacing of his feelings about his son’s death, identifying with him?
15. The performance, the crowd, the students getting credit for attending the play, his friend from work and his wife, Dan’s wife and the cheer squad? The performance, the success, the importance of Dan experiencing the surfacing of his feelings? The aftermath and happiness?
16. Tragedies, trauma, therapies, communal therapy, surfacing issues, overcoming reserve and fears? Ultimate effect?

SMILE 2

US, 2024, 128 minutes, Colour.

Naomi Scott, Rosemarie de Witt, Lucas Gage, Miles Gutierrez-Riley, Peter Jacobson, Ray Nicholson.

Directed by Parker Finn.

Smile is a beguiling word. And many smiles themselves are beguiling. But, this is not the kind of smile in the title of this film. Rather, there is that other aspect of a smile, a grin, sometimes a fixed grin which might look immediately cheerful but is ultimately sinister.

In fact, this is the opening for this reviewer’s take on the original Smile. And it applies to this sequel – even more so. Smile was a popular and critical success or a horror/terror film in 2022. Now, fans and critics seem to be united in the view that Smile 2 is even better. One might say that if the two film were submitted for an examination, Smile might be awarded Distinction while Smile 2 gains a Higher Distinction.

But this does not mean that this is a film for every audience. Rather, it presupposes in its audience an interest in horror and terror, some bloodthirsty scenes but much more than this. And the crass language is gratingly incessant.

The original film was written and directed by Parker Finn. With the original success, he obviously feels that he can let himself go – and the film runs 128 minutes. There is a very clever and tantalisingly filmed prologue, headed “six days later”, so the continuity. And the actor, Kyle Gallner, reprises his role to pass on the deadly smile, some kind of evil parasite that takes over a person, their descent into hysteria and hallucinations, into madness, and the compulsion to pass on the parasite. The audience needs to pay attention to this opening sequence to appreciate what is happening later in the film.

But, this is a story that take place in the world of  ro ack ‘n’ roll singer, an aura of the Taylor Swift tours and concerts, with a number of song and dance sequences, elaborately staged, and the music videos style. In fact, the central character, Skye Riley, is played by British actress Naomi Scott, in fact a singer who has her own music videos. There is also her show business mother, Rosemarie de Witt, her entourage and supporters. This is her comeback after recovering from addiction, and a car crash which killed her husband (seen in flashbacks and played by Ray Nicholson, reminding audiences of his father, Jack Nicholson’s smile.)

Naomi Scott gives a powerhouse performance, and then some! She is on screen for most of the film, having her normal moments, the musical productions, the personal relationships, the aftermath of her husband’s death, her insecurities, and her being possessed by the smile parasite, leading to all kinds of hallucinations, a descent into violent madness. Naomi Scott is persuasive at every moment.

In many ways, the plot here is a variation on the original film, but taken in different directions, often spectacularly, frighteningly (and, whether it was the editing plus the sound volume, several jump shocks – and the man sitting behind this reviewer jumping, kicking the seat and exclaiming loudly!)

For audiences who like terror of films and their psychological dimensions.

1. The popular and critical success of the first film? Terror? Horror? Psychological dimensions?
2. The sequel beginning six days later, the prologue, a character in the car, observing, going to the house, the confrontation, the shooting, the drug dealers arriving? The issue of the man possessed by the parasite, the drug dealer observing and being possessed by the parasite?
3. The credibility of the plot, the reworking of the original, the issue of the parasite, scientific, psychological, paranormal? The smile, seeing others smile, the victim smiling, and the hallucinations? Unreality, mental disturbance? Violent consequences?
4. The story of Skye Riley, her success as a singer, the flashbacks to her earlier career, videos, her black hair and style? The story of the accident, the death of her husband, her injuries and surgery? The background of addiction? Her rehabilitation? Need for pain killers because of her back injury? (And the later flashback of the accident, the hostility between the couple, her engineering the crash, his death and smile?)
5. Skye and preparing for the new tour, her age, her career background, success, the number of fans, the Taylor Swift kind of aura? Her appearance, hair style, her appearances in the musical numbers, their style, performance, focusing on her? The music videos style?
6. Skye and her relationship with her mother, fostering her career, controlling it, always present? The young assistant and his eagerness? Those associated with productions, the choreographer and his style, patience, Skye and her falling, the hallucination with her leg,, injuries, her moods?
7. Skye, going out at night, going to the dealer, the strange encounter, his behaviour, disappearance, her looking for him, reappearance, smashing himself, his death? The parasite in her?
8. The style of the hallucinations, the visuals, the past, grotesques? The dreams, her waking hours, lapses in consciousness? The characters, behaviour, eerie? And the number of jump cuts and people jumping in their seats?
9. The reconciliation with Gemma, the stories of the past? The phone communications? Gemma’s arrival, the reconciliation, helping, Skye, oversleeping, her mother’s impatience, going to the meeting, her falling?
10. The scenes of the fans, the adoration, Skye managing with them, photos? Autographs? The main situation, the lineup, the girl and her smile, the obsessed fan and his threats…?
11. Darius, financial support, the request for the function, her being upset, the growing hallucinations, stage, the prompter and its stopping, her improvising, getting more awkward, about herself, the audience, the host on the stage, the confrontation, pushing the old lady and her injuries? The embarrassment, her being hurried away?
12. Growing possession, the text message from the friendly nursing aid, their meeting, his proposal, her rejecting, her growing desperation, the hallucinations worsening? Meeting him, the process, the freezer, the plan for her death, the apparition, the confrontation, the needle?
13. The hallucinations in her room, her mother arriving, the violent killing of her mother?
14. The failure of the operation, the parasite and its taking over, the end and the close-up of Skye and her smile?
15. Audiences and terror of films, touches of horror and violence? Psychological implications?

KNOX GOES AWAY/ ASSASSIN’S PLAN

US, 2023, 115 minutes, Colour.

Michael Keaton, James Marsden, Al Pacino, Marcia Gay Harden, Joanna Kulig, Suszy Nakamura, Dennis Dugan.

Directed by Michael Keaton.

A surprisingly interesting human drama. Even more so when we realise that the central character is a long time, very successful professional hitman. And, the film was directed by its star, Michael Keaton, playing the hitman, an intense performance.

The film was released locally with an alternate title, Assassin’s Plan, indicating violent action. While there is some violent action, the assassin’s plan itself is not what we might expect, quite some twist as the film comes to a conclusion.

The original title, Knox Goes Away, is the more telling title. While we see John Knox take on a commission, generally commissions to eliminate drug dealers and other thugs, we see him momentarily hesitant, just trying to remember, the thought going out of his head, a touch of insecurity. He is covering himself, flies to California for a consultation with a neurologist who gives him a sombre diagnosis, a special kind of dementia coming on, not long before it takes over. There are signals throughout the world film as each successive week comes on.

Incipient dementia has a disastrous effect on the hit. The local detectives, led by the tough Emily Ikari (Susie Nakamura) note the inconsistencies at the murder scene, and a lead to John Knox. But, the screenplay becomes even more complex with the arrival of John Knox’s longtime alienated Myles, son, played by James Marsden, with a violent story of his own. It involves a sleazy trafficking dealer and his relationship with Myles’s daughter.

One of the entertaining aspects of the film is the presence of Al Pacino, longtime coordinator of crimes and hits, a perfect Pacino role which he brings to life, Pacino in his early 80s. There is a later guest appearance by Marcia Gaye harden as John Knox is long-suffering wife.

So, there is double interest in the latter part of the film, John Knox’s relationship with his son, the reason for the alienation, his attempts to rectify the situation, set up for the police. The other interest is Knox’s declining memory, increasing failures, the inevitable onset and its repercussions. While we can’t admire Knox as a person, we can have some compassion as we sympathise with the dementia.

A film that Michael Keaton can be proud of.

1. Title? The focus on Knox, his career as a hitman, his mental decline? The commercial title, emphasising the assassin, the complexity of the plan for his son?
2. Michael Keaton, directing, performing, producing, an effective achievement? And his role as producer for the supporting cast, especially roles for Al Pacino and Marcia Gaye Harden?
3. The portrait of John Knox, his background, military training, the connection with the saviour, the unseen controller arranging the hits, the targets, dealers and thugs, his mentioning only two mistake and deaths? His marriage, alienation from his wife, her love for him, his visiting her, the sadness of the visit, his alienation from his son? His time in prison? Jobs, his collaboration with Mauncey their conversations, planning? Success with their jobs?
4. The indication of oncoming dementia, gaps, the distractions, unable to remember, saying that he would be away, the flight to the neurosurgeon, the discussions, the specialty of his illness, the limited number of weeks? Audience sympathy for his condition?
5. The killing, entry into the apartment, the target, the girl, the shower, killing both? The memory lapse, the mistake with Mauncey, killing him, fixing the situation, the gun in hand?
6. The visit to Xavier, the friendship, Xavier’s character, the conversations, arranging the finances, going to the dealer, the money issues, the plan to leave the money to his wife, son, girlfriend?
7. The girlfriend, coming once a week, his relationship with her, for years, her wondering about him, seeing the book, the irony of her bringing the thugs, the confrontation, wanting the paintings, the stones, his ability to overcome the thugs? Her fear, and the irony of his telling her she would have got more from his will? The final irony of his bequest of the books to her?
8. The detectives, on the scene, the tough chief, her own preoccupations about her ill mother, the experts, fingerprints, the issue of who turned off the shower? The John Knox connection, visiting, interrogations, his going to the station? The discussions, the tests, conclusions, and mystery?
9. The alienation from his son, the visit, Myles and his explanation of the situation, his daughter, online, the predator, Myles confronting him, killing him? Asking his father’s help? The story of the alienation? Knox agreeing to help, the discussion with Xavier, the elaborate plan to divert the police, Knox and his notes? The range of the plan, the blood on the shirt, artificial, the clothes in the dumpster, hiding the knife, fingerprints contrived? The setting up of the plan?
10. Myles, with his wife and daughter, the confrontation in the restaurant, the fight? His being arrested, interrogated, the death of the trafficker? Going to prison? His father’s visit, the truth that he had reported his father and sent his father to jail?
11. The screenplay suggesting weeks passing, Knox getting weaker, forgetting, the search for the stones, his getting lost, having to be rescued?
12. The detectives, the analysis of the situation, Knox’s plan working, that he was responsible for the death, their not being able to keep Myles?
13. The scene of the wife receiving the money and her reaction? Miyes realising the truth, the money?
14. His going to see his father in prison, the farewell, and the final pathos of Knox just gazing into nothingness?