Displaying items by tag: Peter Malone's Movie Reviews

COME TO DADDY

Canada, Ireland, New Zealand, 2019, 95 minutes, Colour.

Elijah Wood, Stephen Mc Hattie, Garfield Wilson, Madeline Sami, Martin Donovan, Michael Smiley, Simon Chin, Ona Grauer.

Directed by Ant Simpson.

What starts out as a reunion between father and long lost son, turns into a melodrama with some touches of violent horror.

While the story has an American setting, was filmed near Vancouver, has Irish finance, it was written and directed by a New Zealander, Ant Simpson, who specialised in some horror films.

This reviewer had started to review Come to Daddy but was interrupted by the coronavirus. On resuming the review sometime later, it seemed best to start again. Realising that there had been quite a twist in the middle of the film, watching the first part again was a surprise. Not so much a surprise in what was presented but the discovery of the clever ambiguity in the set up, the son visiting his father, the father’s long absence from the family, his way of dealing with his son, finding out about his life, his relationship with his mother, a test about the son’s claiming that he was a friend of Elton John, an eeriness about the relationship. It was surprising to listen to the dialogue in the light of the twist – very clever..

The success of the film rests on the shoulders of Elijah Wood as the son, alienated from his father, to receive a letter from him and making a long journey to meet him. It is quite easy to identify with Elijah Wood in most films, seeing from his point of view, feeling from his point of view. And, Stephen McHattie is intense as the father, enigmatic in his relating to his son, quite grotesque at times.

The film shifts tone with the twist, quite unexpected. There are some interesting cameos by Garfield Wilson as a seriously odd police officer who judges characters by the colour of their eyes. There is a sympathetic funeral director.

But there are also some criminals who threaten, Martin Donovan as an ambiguous presence, Michael Smiley as something of a deranged and violent Irishman. It is up to a Elijah Wood, timid in himself, fearful of the violence, to come out of himself, take tough stands, try to redeem the situation.

And, at the end, a quiet moment which gives new meaning to Come to Daddy.

1. The gentle title? Belying what was to follow? The letter from Norval’s father? The wrong father? The actual father?
2. The American settings, filmed in Canada? International production? New Zealand background of the director?
3. Elijah Wood as Norval? Age, appearance, haircut? Arriving on the bus? Across the sand and forest? The lavish house? His background, the disappearance of his father, care for his mother, response to the letter, travelling to his father? Expectations? His explanation of his drinking problem, thoughts of suicide? Small, quiet, gentle?
4. The initial encounter with his father, his appearance, suspicions, responding to the situation? The camera, destroying it? The discussions about friendships with Elton John? Lies? The meal? The wine? The father seeming suspicious? Norval and his being wary? The discussions, moments of conflict, his father coming with the axe, collapsing and dying?
5. Reflection on Norval’s encounter with his alleged father in retrospect – and all the ironies as Gordon parried all the enquiries, protecting himself?
6. The death, Norval’s reaction, the police, strange behaviour, believing Norval, not having “raisin eyes”? Gladys, the coroner, businesslike, friendly, supportive? Returning with the body, carrying him to the house? Her card? Norval drinking, calling her in the night, her response? Hanging up? Her advice about talking to the dead, telling them what they could not hear in real life?
7. Norval with the body, the strange sounds from the basement, his drinking? Finding the opening, going down, discovering his real father after looking in the photo album?
8. Brian, the torture, his writing the letter? Norval and his reaction to his father? The truth about what it happened, the kidnapping of the Thai woman, the money keeping Norval and his mother in luxury in Beverly Hills? Norval’s reaction?
9. The associates, dandy, the toilet, the confrontation, the fight and its brutality, Norval and the wrapping, the incessant beating, Dandy and his being smothered?
10. Jethro, Brian’s warning, sinister and Irish? Bryan urging Norval to kill Jethro? The fight, Jethro leaving, threatening to return?
11. Brian, the excrement needle, using it to pick the lock, failing, listening the chain, Norval taking Brian into the house, out into the sand and rocks? Jethro’s return, Norval hiding in the boot of the car?
12. Jethro, the motel, Precious, Norval trying to get into the motel, through the room with the swingers, confronting Jethro, Jethro stabbing him, through his cheeks? Precious, her initial hostile reaction, helping Norval?
13. Jethro in the car, the crash, Norval following him, Jethro saying his mother was a prostitute, Norval stabbing his wound, his death?
14. Norval’s return, Bryan losing consciousness, Norval and his questions – and the final reaching out of hand on hand?
15. The mixture of comedy, mystery, thriller, horror?

MIDAS MAN

UK, 2024, 112 minutes, Colour.

Jacob Fortune-Lloyd, Eddie Marsan, Emily Watson, Bill Milner, Jonah Lees, Ed Speleers, Eddie Izzard, Milo Parker.

Directed by Joe Stephenson.

The release of Midas Man coincides with the 60^th anniversary of the Beatles taking America by storm. Five years earlier, the four young physicians from Liverpool were playing in local clubs, going over to Hamburg, prospect of spending their lives playing in local venues. But, this is not what happened. And the reason? Entrepreneur Brian Epstein.

In the many stories and histories of the Beatles, Brian Epstein is a presence, sometimes upfront, more frequently behind the scenes. But here is a film that brings him centre-screen. It is his personal story. But, it is the story of a man with great energy, an eye for talent, and a commitment to the promotion of this talent.

He is played by Jacob Fortune-Lloyd (and Fortune making a connection with the Midas touch).

Epstein belonged to a prominent Liverpool family, Jewish, very successful in retail business, pressure from his father, Eddie Marsan, support from his mother, Emily Watson. He has an ear for contemporary music. He has an eye for talent, claiming that the store could deliver any record from any place in the world within five days. And he receives a request, a record the local lads, going to see them in one of the Liverpool clubs.

As regards the Beatles and their songs, their singing is included but not their songs, just references to them. But, there is a focus on them as personalities, the supporting cast of young actors who resemble him quite tellingly so that there is no puzzle as to who is who, a special commendation for Jonah Lees as John Lennon, his singing, his leadership, humour, his quips.

Initially the Beatles were rather wary, cocky 20-year-olds (with John Lennon only 20 more years of life, with Sir Paul McCartney still with us) considering Brian Epstein particularly posh, a different league from their own experience. However, they agree to a meeting, an audition, Epstein working hard, their being turned down by every record company but given a hearing by George Martin (who does appear later in the film but was their supportive producer).

The film also touches on Brian Epstein’s managing Gerry and the Pacemakers and some sequences with another protégé, Cilla Black. Since the film is about Epstein more than the Beatles, it shows his efforts, the contact with Ed Sullivan and persuading him to feature the Beatles, leading to their number one on the charts as well as their American success.

But, Epstein is a complex character, workaholic and driven, touches of gambling, relying on drink and an increasing number of pills to keep him going. And, there is the issue of his sexual orientation, the status of British law on homosexuals at that the period, episodes of cruising, police pursuit, blackmail, relationships and betrayal. And the response of his parents, the death of his father, his father’s reticence in praising him, his reliance on his mother.

Brian Epstein died of an accidental overdose of drugs when he was only 32. A successful life, but a successful life cut very short.

1. Memories of the Beatles? 60 years later? And memories of Brian Epstein?
2. The popularity of the Beatles in the 1960s, origins in Liverpool, playing in Hamburg, Liverpool clubs, their age, musical talent, cheekiness, the discovery by Brian Epstein, the consequences, auditions, promotions, records, worldwide…?
3. The Liverpool settings, the Epstein family, the home, the shop, record sales, the synagogue? The clubs and music, the fans? London, the recording offices, interviews? The growing success, the trips to America? The fans? The Ed Sullivan show? Epstein’s private life, the cruising at night, the police, the law, reputations?
4. The title, Brian Epstein and his success, his talent for recognising musical trends, his shop, records from anywhere in five days? His work ethic, the pressure from his father, comparisons with his mother, support from his mother? The scene of discussion in the synagogue and his ambitions to do greater things? His father’s distance, criticisms, private pride, the issue of his son’s sexuality, use of blackmail, reputation?
5. Jacob Fortune-Lloyd’s presence and performance, making Brian Epstein credible? Breaking the fourth wall, talking to the audience, confiding in the audience, explanations? His age, entrepreneurial skills, Alastair as his assistant, the request for Beatles records, going to the club, the impact, recognising their talent? Meeting them afterwards, local lads, way of speaking, John Lennon and his quips, seeing Epstein as posh? His invitation to meet them? Their coming to the office, Alastair and his reaction, the opening up of possibilities?
6. Epstein and his approaching the various record companies, the audition tape, the rejection by all the companies, the aristocratic club and their laughing at the idea of their success? The approach to George Martin, Epstein influencing him, George Martin producing their records – and their indebtedness to Martin, and the glimpse of him in the film for the first worldwide satellite performance?
7. The portrayal of the Beatles themselves, the actors and their sufficient similarity to each Beatle? Paul and his music, George the background, Pete Best and the drumming, the criticisms, Epstein and the interview with him and his being fired? Ringo Starr, coming into the group, his comic style? John Lennon and his humour, remarks, getting into trouble, the more popular than Jesus statement, at the Royal Command Performance the poor clapping and the rich jangling their jewellery?
8. Epstein, his manner, his education, his accent? His sexual orientation and the times? On the streets, the encounters, the police and the chasing? The man robbing him of his watch? The letters and asking for money? His being set up with Tex, the meeting, infatuation, the relationship, in America, Tex taking the money?
9. Epstein going to the US, the contacts in America, their friendship, setting him up, the interview with Ed Sullivan, money issues, persuasion, the results, number one on the charts, the visit to America, success? Emblematic of the Beatles in the mid-60s? The intimations of the later changes, not wanting to travel, the satellite program, the break up?
10. Indications of success with other groups, Gerry and the Pacemakers, especially with Cilla Black, her talent, discussions with her, especially at the party?
11. Epstein is workaholic, at all hours, intense, discussions with his parents, support of his mother? His father’s death, his mother saying that his father appreciated him? The drinking, intimations of gambling, the pills?
12. Report of the overdose, death at 32? The success of the Beatles with their talent but depending on his entrepreneurial skills?

TAKE MY HAND

Australia, 2024, 102 minutes, Colour.

Radha Mitchell, Adam Demos, Bart Edwards, Meg Fraser, Xavier Molyneux, Natalie Bassingthwaughr, Darren Gilshenan, Robyn Gibbes, Steve Bastoni, Angie Milliken.

Directed by John Raftopolous.

There is always an emotional appeal with stories, especially about illnesses, that are based on actual characters in real life. And this is the case here. As with many such films, there are photos of them during the final credits. The film has been co-written by director, John Raftopolous and executive produced by his wife, whose story, at Claire Jensz. There is a tenderness about the title.

The film opens vigorously, horses racing through the countryside, the beauty of the New South Wales countryside, the Northern Rivers, the coastal beaches, the cliffs. And riding the horses, Laura (Meg Fraser), finishing her studies at school, applications to British universities, some tensions with her strict school teacher father, support from her mother (and early glimpses of her mother’s hand shaking and indication of multiple sclerosis). As with her riding, Laura is independent-minded and determined.

But, she encounters Michael (Xavier Molyneux), delivering fruit, working with his Greek father. And, as we expect, mutual attraction, his learning to ride a horse, her strong-mindedness in the relationship, the dilemma about her education and leaving home. Michael is supportive of her choice to leave for the UK.

Then a sudden, unexpected transition of 20 years. This time, Laura, now played by Radha Mitchell, is a very successful businesswoman, married to Jason, also successful in business, and the mother of three young boys, family life at home, football practice, and, at work, the possibilities for her promotion.

One day, at the football, she faints. Hospital, diagnosis, MS, the concern that it is hereditary, strength of the disease, the debilitating factors, the need for care… And this is complicated by her company’s decisions about her future, about her relationship with her husband.

Ultimately, Laura and the boys go back to Australia to live with her parents, an encounter with Michael (Adam Demos), her increasing dependence because of the MS, decisions, love, future.

Most audiences will find this film touching, expectedly emotional (though some reviewers and audiences, seemingly becoming wary of expressions of emotion and sentiment, have considered the film too sweet). But the film is, in fact, the couple telling their story.

1. The title, the tone, love, help? Based on a true story, the final photos of the credits of the actual characters? The emotion of the film – and critique that it was too sweet?
2. The Northern Rivers locations, the beauty of the countryside, the forests, the coast, the water and the tides, the cliffs? The home, the riding sequences of the horses, the town, ordinary life? The musical score?
3. The contrast with the London sequences, business, the vistas of London, offices, the country home? Hospitals, surgeries?
4. The story of Laura, her family, her father as local teacher, strict? Her mother, home, intimations of MS? Her sister? Her love of riding the many riding sequences? Age, determination, self-willed, the episode of cheating in class, her father’s reprimand? The application to the Universities? The encounter with Michael, delivering the fruit, the initial attraction, playing off each other, the various meetings, the outings, sharing, teaching him to ride, and shovelling the manure? The future, the bond with Michael, the university entry, discussions with him, his willingness that she should go?
5. The passing of 20 years, Laura, successful in business, the meetings, her plans, qualifications, promotions? Married, the three boys, the comfortable lifestyle? The relationship with Jason? His success in business, making money? International travels? Relationship with the boys, is his forgetting to pick them up for football? Indications of tension? Laura ready for the promotion, prepared, hopes? The bond with the boys?
6. The background her mother with MS, her fainting, the hospital, the tests, the truth about her condition, severity, control? And not getting the promotion and her angry walking out? The husband’s response? The boys? The need for medication, discussions about MS being hereditary? Her not telling her father?
7. Her managing, Rachel coming to England, sharing with her, the support?
8. The tensions with Jason, increasing, fighting, the final evening, the clash, his walking out, the tension with driving, the crash?
9. The decision to return to Australia, the boys and their love for their father, staying with the grandparents, Peter and his looking up to his wife, her MS?
10. The encounter with Michael, friendly, story of his divorce, meeting Bella? Rekindling the friendship, his knowing about her from social media, her MS? The invitation to stay with him? Discussions with her father, with her mother? Discussions with the boys? Rachel and her support?
11. The transition, Michael and his love for Laura, her love for him, the discussions with Bella and Bella’s encouragement? The football, the boys playing with Michael? Laura’s continued MS, need for 24-hour care, but a future with Michael?

BOOKWORM

New Zealand, 2024, 102 minutes, Colour.

Elijah Wood, Nell Fisher, Michael Smiley, Vanessa Stacy.

Directed by Ant Timpson.

A family story from New Zealand, but not quite the story we might have expected. It follows soon after the release of that fine New Zealand film about three children climbing Mount Taranaki, The Mountain.

This time we are on the South Island, in the Canterbury Plains. The bookworm of the title is an 11-year-old girl, Mildred. She is a reader, a thinker, precocious for her age – and not immediately sympathetic for the audience (this reviewer may be open to correction by young girls of Mildred’s age). She is supportive of her mother who has had addiction problems in the past. No sign at all of a father.

The opening credits indicate a government statement that there are no animals in New Zealand who pose a threat to human life. Which means then that the premise of this story moves us into fantasy and imagination, a black panther haunting the mountains above the Canterbury Plains. Mildred has great ambitions to find the panther, filmed the panther on her phone, submit it the authorities who have been offering a substantial reward, and devoting the proceeds to her mother’s health.

An incident with a toaster and electric shock confines her mother to hospital after she had promised to take Mildred camping. Then, an odd -looking man arrives, a professional magician, trying out some tricks on only interested then sceptical Mildred, and the revelation that he is Mildred’s father, a chance encounter with her mother in Las Vegas years earlier.

We know that there will be a bonding between father and daughter eventually, despite the sometimes supercilious ignoring of her father and criticism of him by Mildred, and his bewilderment as he tries to understand her. And he agrees to go camping with her, never having done so in his life, climbing steep mountains, pitching tents, making fires…

There are some further adventures in some spectacularly photographed scenery, especially when the panther materialises. And there are some rather comic-book villains, an odd couple but get their comeuppance. And, then, the action items considerably: the panther, cliffs, a rope bridge… And an amusing hospital sequence

Elijah Wood, returning to New Zealand after his Frodo days, is the magician. Nell Fisher is Mildred.

1. The title, the nickname for Mildred? Her reading, her knowledge, her room, posters and photos, her imagination? For an 11-year-old?
2. A New Zealand film, New Zealand story, Canterbury, the story of a panther in the forest (and the prologue to the film with the government disclaiming any animal who would attack humans)? Mildred, her quest, the money, her cause?
3. The New Zealand landscapes, the South Island, the Canterbury Plains, the mountains and forests? The musical score?
4. Mildred, her age, her mother, background of addiction, the interaction of mother and daughter? Her education, reading, knowledge, applications? The absent father?
5. Her mother, the promise of camping, her mother’s collapse, the toaster and the shock?
6. The arrival of her father, American, the background of the one night stand, no commitment to his daughter, his being a magician, the television shows, and his being cancelled? Age, appearance, his magic tricks? The initial encounter with Mildred, her disinterested reaction, his tricks, her scepticism and explanations? The card, picking, her denials, the card on the window? The initial hostilities? Audiences expecting him to break down and to discover how this would happen?
7. Going camping, the gear, the trek, the scaling of the mountain, the effect on Strawn, on Mildred, the tense, the discussions, the fire, his magic? Seeing the panther, Mildred and her filming, the tension, its departure? Her having the film?
8. The further encounters, the couple, their story, jovial, the menace, the woman with Mildred, the man with Strawn, kidnap, robbery, their going on their way, Mildred and direction accusations against Strawn, the loss of the camera?
9. The continued journey, coming across the couple, the strategies to get everything back, stealing issues, the prickles in the feet, getting away? The film lost – and the credibility of the couple using the film, the battery?
10. The Panther, the approach, the bridge, getting across the bridge, the crash, falling?
11. Reconciliation between father and daughter, some mutual understanding, the irony of their all being in the hospital ward together?
12. Having the recording of the Panther, the reward, the media headlines? The future for the family?

STOWAWAY

US, 2021, 93 minutes, Colour.

Ruby Rose, Patrick Schwarzenegger, Frank Grillo, Luis De Silva junior.

Directed by Declan Whitebloom.

This is an action thriller which many would describe as “generic”. It is not unfamiliar material but, nevertheless, provides passing entertainment for a wide audience.

The star of the film is Australian Ruby Rose, not all that popular with some audiences, a lot of hostility from bloggers. However, here she is as an action star.

Focus is on the father-daughter relationship, devoted father, the little girl almost drowning, but her father disappearing, her growing up with a criminal group, finding herself in prison – then the passing of years, seen trying to steal a motorbike but then informed that she has inherited a luxury boat from her father. She goes to the boat, encounters a young man at the bar, is not supposed to be on the boat, some thugs come and kill the security guard at the harbour, are searching for money in a safe, forcing the captain of the ship to take them out to sea. The young man escapes but is shot. The rest of the film is the young woman using her wits, helped by the captain, signalling for the Coast Guard who come but find no evidence, her escaping with the captain in a lifeboat.

The audiences see veteran action star, Frank Grillo, giving the news to the young woman about her boat then disappearing. It quickly emerges that he is the chief villain, controlling the thugs, aiming to confront the young woman to find out about $80 million which her father had taken back from Grillo and his thugs – but, ironically, had given it all away to those in need.

Happy ending, of course, the young man wounded, calling the Coast Guard, the rescue, the boat blown up, the young woman giving a lot of the money to the sick daughter of the captain who saved her life.

Generic, yes, 90 minutes of action for the wider audience.

NICE GIRLS

2024, 90 minutes, Colour.

Alice Taglioni, Stefi Celma, Baptiste Lecaplain, Noemie Lvovsky, Lucien Jean-Baptiste, Katrina Durden.

Directed by Noemie Saglio.

There was an amusing action-comedy with Russell Crowe and Ryan Gosling, Nice Guys. And there is the American phrase used in films, Knockaround Guys. Here is a French version of the Nice Guys turned into Nice Girls, Knockaround Girls.

The setting is the Riviera and filmed to great advantage with the sea, the mountains, the mountain roads overlooking the sea, lots of atmosphere.

And, there is a basic message about the environment, an event being staged, a speaker who reminds audiences of Greta Tunberg, but some sabotage planned by oil-based industries. The local police are meant to be providing security for the event.

The characters are very Knockaround, focus on Leo, athletic, intense, bad judgements a lot of the time, upset at the death of a fellow officer whom she considered a brother, determined to investigate his murder in Hamburg. At headquarters, there is Hernandez, the chief, smiling, tough-sounding, and dithery. Into the mix comes an investigator from Germany, much more sensible, effective in her police work, getting clues. And, the main villains are male, with the exception of a deadly, icy female killer. And, in the mix, is a computer nerd who would like to be involved with the police, is infatuated with Leo, and becomes more and more involved in the action.

Which sounds all right for the formula. However, while there is a lot of action in confrontation, shootings, explosions, chases, the tone is frequently comic – but varying more towards the silly knockabout style than clever comedy.

To appreciate how the dynamic ticks, one could imagine an American version with male-female roles reversed, with Mark Wahlberg the equivalent of Leo, thinking of so many of his action characters, tough, not always serious. The police woman from Germany, more serious, ethnic background from beyond Europe, is a Denzel Washington type of character. The head of the police department could be Danny DeVito. And, the nerd could be played in the vein of Amy Poehler and her comic style.

So, if that appeals, this is an easy 90 minutes light and slight entertainment. If too silly or frivolous, give it a miss.

AS LUCK WOULD HAVE IT

US/Ireland, 2021, 87 minutes, Colour.

JoAnna Garcia Swisher, Allen Leech, Niall Buggy.

Directed by Clare Niederpruem.

A pleasant television movie, the luck of the Irish – and the luck of the American leading lady! This is a Hallmark film, type of film popular for wide television audiences – and, usually derided by critics and audiences who feel above this kind of thing.

It is predictable – but that is the point. We know that there is going to be a romance, wariness at first, a couple working together, in the atmosphere of the Irish countryside, difficulties, finally coming together. In fact, most of the IMDb bloggers are very much in favour of the film (and expressing surprise and its being Hallmark).

JoAnna Garcia Swisher looks remarkably like Amy Addams – and a reminder of a similar kind of film in which she starred, Leap Year. The rest of the cast is agreeably Irish.

Very few surprises – just the pleasure of watching a predictable and pleasant romance.

1. The title? The luck of the Irish? The luck of the Americans?
2. The New York settings, the building industry, entrepreneurs, managers, deals?
3. The contrast with the Irish countryside, the town, the Castle, grounds and interiors, local accommodation, offices, chorusaspects, working aspects, the picnic by the waterfall…? The musical score?
4. A Hallmark film, for the television audience? Frequent scepticism about Hallmark films and sentiment? The general positive acclaim for this Hallmark film?
5. Lindsey, her story, her doing deals, scouting possibilities, work in the office, the boss and his reliance on her, her friend in the office, no personal life? Going to Ireland, the story of her grandmother and the later checking the computer, the visit to the stone house and its disappearance, Brennan urging her to appreciate the atmosphere of her grandmother? Her going to Ireland, her task?
6. The people in the town, the Castle, the upkeep, costs, the idea to sell the Castle? The traditions of the town, the festivals, matchmaking…? The owner of the Castle and his struggling to save it, the idea of selling it? Officiating at the wedding ceremony? The members of the Council, various jobs in the town, the meetings and discussions?
7. Brennan, background story, studies, relationships, disappointment, returning to the town, involved in all the aspects, practical and waiting at his parents diner, the whiskey collection, the Council…? Wary of Lindsey?
8. Lindsey, at the Council meeting, the disappointment, her decision to stay? The encounters with Brennan, each wary, his turning up all the time, the Festival, her involvement, the various activities, the conversations with partners, Brennan helping her escape, their discussions, the picnic by the waterfall, the ideas about the Castle and the sale?
9. The idea of combining the old with the new, Lindsey spinning the deal to her boss, the Dublin rifle, his coming to the party, the great celebration, but his declining the offer?
10. Lindsey, the return to New York, three months, her wanting to settle, become part of building up the hotels rather than just doing the deals and leaving? Returning to Ireland, collaboration with the company, the renovation of the castle?
11. Brennan, his story, dressing up for the final party, Lindsey and her idea of the distillery at the barn, his reaction? Her return, his surprise, the whiskey project, the falling in love and the final kiss?
12. The plot is predictable – but that being the whole point for audiences to follow the falling in love?

PAPA O MAMA/ YOU KEEP THE KIDS

Spain, 2021, 90 minutes, Colour.

Paco Leon, Miren Ibarguren, Sofia Oria, Ivan Renédo, Laura Quiros.

Directed by Dani de la Orden.

A Spanish comedy about marriage and divorce – and the children. It is actually based on a French film made a few her years earlier, Papa ou Maman, but it has universal themes and could be remade in most cultures.

The film is billed as a comedy and there are very many funny sequences – but, the tone is particularly wry, the treatment of marriage, the cooling of relationship in a marriage, the increasing number of children, careers and promotions, spouses wanting to go their own way, divorce, litigation – and the custody of the children.

Quite a deal of time is spent in setting up the characters of Victor and Flora, the parents, as well as their three quite distinctive children. The main part of the action is the separation, the consequences of life in the family, discussions with the lawyer and the continued challenge to find the right time to tell the children. Complication is that Victor is a successful architect has prospects for furthering his career by spending some months in Russia. Flora is a doctor, has always had an ambition to do charity work in Africa. Laura is ready to concede that Victor should go to Russia and she look after the children until she finds him in a relationship with his young assistant.

The latter part of the film is comedy in creating all kinds of situations where each parent and be offputting so that the children will opt to go to the other partner, leaving each one to pursue their careers.

And the implication is always that a successful marriage is the better route through life and parents united with their children is the most important.

1. The title, tone? The theme: marriage, love, children, years passing, willing of love, divorce, litigation, custody…?
2. Spanish comedy, a remake of a French film? Universal themes?
3. The setting, Spanish city, homes, hospitals, architecture offices, restaurants, parties, legal offices? The musical score?
4. The comic tone, irony, right comment on human behaviour? The reality of marriage, value of marriage, difficulties, and the children, separation, divorce, consequences?
5. The opening, the two couples, Victor and Flora, carrying on, the proposal, acceptance, marriage, the years passing, pregnancy, the birth of the children, setting the characters?
6. Years later, the three children, the teenage girl and her issues, the precocious young girl and her idiosyncratic behaviour, the little boy and his ambitions to be a singer? Family life? School life? Girl and the animal in the microwave, later at school? The boy, singing at the competition? The teenage girl, boyfriends, school, her friends, kissing, the party and her embarrassment with her parents?
7. Victor, architecture, advancement, to Russia? Working with his partner? The attraction? His dealing with Flora, the meetings with the lawyer, the custody issues, at home, dealing with each of the children? Flora, doctor, at the hospital, friends, the eccentric patient?
8. The issue of Russia or Flora going to Africa? Flora making concessions, seeing Victor with his partner, changing her mind?
9. The issue of the children, custody, the bulk of the film showing the comic behaviour of Victor and Flora, to influence the children, to stay with the other partner, the comments, the outings, the dancing at the party, the bewilderment of the children?
10. Flora and the patients at the hospital, the attraction? Her bringing home He do, the Christmas tree, the farce, his mother’s ashes…?
11. Victor and Flora meeting, the attraction again, in the water, the boy and his singing, the embarrassment, the parents coming on stage, the invitation to everybody joining in, the success of the performance?
12. Love, yet parting, the prospects of the future and the encounter with the man who was prospering, had a divorce, state for his children? Victor packing, going back into the house to watch Home Alone?

REVENIR/ BACK HOME

France, 2019, 77 minutes, Colour.

Neils Schneider, Adele Exarchopoulos, Roman Coustere Hachez, Patrick d'Assumcao, Helene Vincent.

Directed by Jessica Pallud.

This is a brief but effective film.

The focus is on Thomas, middle-aged, returning home to France from his life in Montréal where he runs a restaurant. He has been alienated from his family for 12 years, his father refusing to speak to him. However, his mother is in hospital and has asked her son to come to visit.

The film has an attractive rural setting, the French countryside. But, the drama is focused, Thomas and some scenes with his mother, the hostility from his father. And there is a complication that his older brother had been killed in an accident and Thomas had not returned for the funeral. He now encounters his widow and the young son.

The film builds up atmosphere with simple sequences like meals, Thomas minding the boy while his mother has to go to work.

There is some hope at the ending, the sadness of the mother dying, some moments of leniency by the father, but still grudgingly, and the search for the boy when his lost and Thomas bringing his father home after he fell in the woods.

There are further complications, the audience wondering what will happen to the boy and his mother, has the father will cope after the death of his wife, Thomas returning to Canada…

1. The title, memories of the past, returning home, the crisis of the present, crisis of memories and hurt?
2. The setting, the countryside, the farm? The house and interiors? The hospital? The musical score?
3. The focus on Thomas, age, arrival, the taxi, encountering Alex, Alex falling, hurting himself, the meeting with Mona, unfolding the story, his dead brother and not coming for the funeral, Mona as a widow, the little boy? His mother, ill, asking him to come? Not speaking with his father for 12 years, going to Canada, successfully setting up a restaurant? His motivation for returning?
4. Thomas going to the hospital, the reaction of his father, gruff, hostile, the visit with his mother, her tenderness, his sadness? Her death? The impact on her husband, on Mona, on her grandson, his grief?
5. Thomas, reacquainted with friends, memories of the past, the situation at home, debts, selling the cattle, the discovery of the well, the flooding of the field? And her situation, prospects for Alex?
6. The domestic scenes, Alex and his tantrums, his mother’s reaction? Thomas, looking after him while his mother was at work, the play, the ride, the bedtime story?
7. The aftermath of the death, the father, sitting quietly, his grief, the toast to his wife and not acknowledging Thomas, Thomas’s angry reaction? The father recounting the long life yet had with his wife, constant devotion?
8. Alex, disappearing, crisis, the three going out to search for him, the father falling, Thomas rescuing him, bringing him home? Alex walking to the friends, their driving him back?
9. The father sleeping the chair, the next morning, the coffee, his comments, opening up a little to his son?
10. The visit, Thomas ending the leak with his father’s tools, returning to Canada – and the audience wondering what connections for the future?

IT ENDS WITH US

US, 2024, 130 minutes, Colour.

Blake Lively, Justin Baldoni, Jenny Slate, Brandon Sklenar, Alex Neustaedter, Hasan Minhaj, Kevin McKiddc, Amy Morton, Isabela Ferrer, Emily Baldoni

Directed by Justin Baldoni.

At first, a glossy romantic tale. But, ultimately, a challenge, a drama of domestic violence. In fact, during the final credits, there is website information for any of the audience disturbed by the theme and the treatment.

The cinema staff member who gave me my ticket told me she had read the novel and was very much looking forward to seeing the film. The novel. Written and self-published in 2016 by Colleen Hoover, indicating that aspects of the plot were influenced by her parents’ experience, the book became a “must-read” when promoted on social media, especially on Tik-Tok. Then the author found a publisher and further novels. And a readership of millions.

And, now, It Ends with Us has become a box office success, $150 million in two weeks and not just in the United States, very popular in Australia.

This is a film very much geared towards the female audience. But, it also targets the male audience, challenging both. So, the female audience identifies with the central character who plans to open a flower shop in Boston – with her not so subtle name of Lily Blossom Bloom!. Her father has died, the liver something of a local celebrity in his small Maine town, her mother wanting her daughter to the funeral eulogy, to find five good things to say about him. She can’t. She doesn’t. She has left the town with memories of parental domestic violence and a happy, sad memories of a long past encounter with a young man, Atlas.

Lily is played by Blake Lively.

After the funeral, quietly reflecting on a rooftop, she watches a rather dashing type, thinking himself alone, indulging in a temper tantrum. They talk. She can’t believe he is a neurosurgeon, Ryle, and at first, neither can we. But he is.

There follows a story of growing friendship that gradually transforms into love. Some have found this part of the film too glossy, but it is nicely pleasant entertainment, Lily and some reconciliation with her mother, finding a best friend in Ryle’s sister (Jenny Slate). Ryle is played by Justin Baldoni who directed the film.

Then, sudden alarming situations arise, drama, melodrama, domestic violence, physical, psychological, apologies, failure, all complicated by pregnancy, birth, mother and child.

There have been different perspectives voiced by critics and audiences, too soft on the one hand or very important on the other. But, for an Australian audience in 2024, the statistics on cases this year of men killing women in domestic violence is alarmingly large, averaging a death the week.

It Ends with Us brings these stories to popular attention – and challenge.

1. The popularity of the original novel, its influence on readers, romance novel, a novel about domestic violence?
2. The title, the reference to Lily and the man she loved, but finally Lily and her daughter?
3. The action in Plethora, Maine? Homes, streets, buses, the funeral, atmosphere? The contrast with Boston, high-rise, vistas of the city, apartments, hospitals, the flower shop and its development, clubs and restaurants? The musical score?
4. Lily’s story, the opening, her mother’s anxiety, her father’s death, her mother’s pressure on her to give the eulogy, five points in his favour, Lily going back to her old room, her memories, the ceremony, her standing at the lectern, not saying anything, walking out? Audience curiosity about her father?
5. The insertion of the flashbacks, her age, at home, seeing Atlas, squatting, stealing the food, on the bus, her buying the food and leaving the bags, his speaking to on the bus? Her standing up and kissing him, the reaction? The friendship, the bond between them, the sexual relationship? Her father catching them, his ousting Atlas? The separation from Atlas, his going to the military, disappearing?
6. Lily’s mother, anxious, the phone calls, the visit to Boston, meeting Ryle, the revelations about her husband, visualised, his domestic violence, yet her loving him?
7. Lily, back to Boston, on the roof, Ryle and his violent outbursts, kicking the chair, then seeing her, the conversation, on the ledge, the to and fro of the conversation, his flirting, her challenging him?
8. Lily, the purchase of the shop, cleaning, Allysa arriving, the conversation, friendship, getting to work, Alysa and her husband, the friendliness, the discovery that Ryle was Alsysa’s brother?
9. The film’s development of the relationship between Lily and Ryle, his work as a neurosurgeon, her initial disbelief, his skills, his charm, continued attentions to Lily, her response, as Friends, gradual breaking down of the barriers, moving in, their life together?
10. Lily, the prosperity of the shop, Allysa and the friendship? Alyssa’s pregnancy?
11. Lily’s mother, coming to Boston, meeting Ryle, charmed by him? The irony that Atlas was at the restaurant, Lily disconcerted, talking with him, not telling Ryle?
12. The eventual proposal, Lily accepting, the ceremony? Her mother’s anxiety of not being there?
13. Ryle and his charm, the initial violence, his suspicions, the visit to the restaurant, Lily and her anxiety, talking with Atlas, Ryle following, the fight? And Atlas giving Lily his phone number, concealed and her phone? Ryle’s discovering it, the confrontation, his violence, pushing down the stairs?
14. At the hospital, with Atlas, discovering she was pregnant?
15. The consequences, support from Alisa, condemnations of Ryle, the stories anxiety, six-year-old, with the gun, the death of his brother? Consequent anxieties?
16. The separation from Ryle, his visits, with the gynaecologist, discovering it was a daughter, letting Ryle be present, at the birth?
17. Lily then assertive, love for her daughter, the friendship with Ryle, but the divorce?
18. The consequences, the years passing, meeting Atlas again, possibilities for a future?
19. The credibility of Ryle and his violence, domestic violence, cruelty, denials, repentance? And the message of the film about domestic violence?