Displaying items by tag: Peter Malone's Movie Reviews

A FAMILY AFFAIR

US, 2024, 111 minutes, Colour.

Nicole Kidman, Zac Efron, Joey King, Kathy Bates.

Directed by Richard La Gravanese.

A Family Affair is a romantic comedy designed for the Netflix audience. And, it was very successful.

The film was written and directed by Richard La Gravanese, longtime screenwriter and director. But the film relies on the impact of its stars, their reputations, bringing them together. And, especially, with the age difference between the actors and their characters in the film, a May-December romance.

At the same time, another film made for streaming, The Idea of You, starred Anne Hathaway and Nicholas Gallantzine, a much more serious take on the relationship, and the criticisms and judgements about the older woman was very successful.

This film has a Hollywood setting. Zac Efron, partly sending up his own image and career, is probably the most callow and self-absorbed film star, working in a superhero franchise, worried about his career, and the quality of the writing – though he is in no place to judge. He is a person of selfish whims, his production assistant having to fulfil all his wishes, and is phone calls at all times of the night, go to buy some food that he decides he wants. The production assistant is played by Joey King.

After the star dismisses his assistant, he goes to her house to ask her to come back and encounters Nicole Kidman as her mother, the widow of many years, an award-winning writer. Perhaps audiences will be taken aback by the swift sexual encounter but this does then become the theme and debating point of the film, the daughter taken aback, warning her mother, finding the actor giving his mother for gift of hearings, a sure sign in the past that he was breaking with a woman. This breaks up the relationship.

One of the advantages of the film is the genial mother-in-law played by Kathy Bates, a good influence on all the characters.

Of course, the daughter relents, the relationship takes up again – and seems to be successful, the mother even working on the screenplays for the films…

1. The title, variation on the theme? Romantic comedy? A May-December story?
2. The Hollywood setting, studios, actors, agents, assistants? The musical score?
3. The focus on the Zara, her age, working with Chris, doing all the work, his taking her for granted, the menial jobs, the issue of rewrites, his whims, her responding, his offhand attitude towards her, changing codes…? Her giving up on him? Her life, her friendships? Her relationship with her mother, memories of the dead father, idealising him?
4. Zac Efron, his image from his young days, now middle-aged? The movie star, his whims, tantrums, unreasonable demands on Zara, his attitude towards his characters, the franchise, wanting rewrites, his relationships, with women, breaking up with them, the eeriness and the tour…? A completely callow character?
5. Nicole Kidman as Brooke, her age, widow, writer, award-winning, successful, missing her husband? Her relationship with her daughter, supporting her ambitions? Critical of Chris?
6. Chris, the visit, meeting Brooke, the reactions, the speed of the sexual encounter, Zara coming home, her reaction to Chris, to her mother? Warning her mother?
7. Leila, mother-in-law, friendly and genial, supportive, the visit at Christmas, her urging Brooke to feel free, urging Zara to be tolerant? Her reaction to Chris?
8. Chris, wanting to employ Zara again, relying on her?
9. The happy couple, together, the dinners, talk, age difference, difference in character and temperament? Zara, her warnings, seeing the gift of the earrings and remembering these is the brush off, and the tour of the studio? Warning her mother, her mother upset?
10. Zara, her reactions, her friend, talking things over, her harsh and brash breaking up of the relationship, going to her mother, apologising?
11. 12 months later, happy endings, Zara and her being a producer, Brooke and Chris and the relationship?
12. A fluffy romantic comedy with the emphasis on the age difference?

THE GLORIAS

US, 2020, 147 minutes, Colour.

Julianne Moore, Alicia Vikander, Ryan Keira Armstrong, Lulu Wilson, Gloria Steinem, Timothy Hutton, Enid Graham, Bette Midler, Janelle Monae.

Directed by Julie Taymor.

The Glorias is a portrait-biography of feminist Gloria Steinem. It has been written and directed by Julie Taymor, a renowned theatre director, Tony awards for The Lion King, various Shakespeare productions. Her film career includes Shakespeare’s Titus, the biography of Frida Kahlo, Frida, the musical, Across the Universe.

On the one hand, the overall impact of the film provides a continuous biography of Gloria Steinem, her origins, her travelling father, the mental illness of her mother who had been a journalist writing under a male byline, the disturbing early years of her childhood, her getting a scholarship to travel in India as a young adult, her ambitions as a journalist, difficulties in a male-only publishing world, exposure to exploitation in Playboy clubs and writing on this, but her going to the March on Washington for a portrait of James Baldwin, encountering a number of black women, forming friendships with them, beginning to write, the establishing of the magazine Ms and the status of the title for women and its acceptance, participation in elections for Congress, friendship with Bella Absent, the passing of the years and her campaigning into the 21^st-century.

However, there is something of a surreal framework for this biography. A device is used, with black-and-white photography also, of the four actors portraying Gloria Steinem travelling on the bus, discussions with each other about issues, Gloria talking to herself, examining her past, in the past coming alive in the colourful flashbacks. The main focus on Gloria Steinem is in Julianne Moore, but also Lulu Wilson as the little girl, Ryan Keira Armstrong as the adolescent with conventional ambitions but then breaking out and the young adult Gloria played by Alicia Vikander. Timothy Hutton plays her father. Janelle Monae is one of her close friends and allies and there is a tour-de-force performance by Bette Midler as Bella Abzug.

The film recreates the period, immersing audiences in the various decades of the 20^th century, changes in politics, social attitudes, the rise of feminism.

An interesting different view on the feminist years can be seen in the television series, Mrs America, Rose Byrne playing Gloria Steinem, the focus on her opponent, Phyllis Schlafly, played by Cate Blanchett.

1. The title, the focus on Gloria Steinem, from her autobiography, My Life on the Road, the actresses portraying Gloria Steinem, the final sequences with Gloria Steinem herself?
2. The rise of feminism in the 20^th century, in the United States, the key personalities, the role of Gloria Steinem, journalist, international experiences, speaker, civil rights, abortion issues, women’s rights, multiracial campaigning, politics, the variety of associates, the buildup of her speaking engagements, opposition, personal life, the achievement?
3. The structure of the film, actresses, different stages, their being seen together, on the bus, conversations, interactions, the younger with the older Gloria remembering, questions? The effect of flashbacks and flashforwards? And, finally, footage of Gloria Steinem herself?
4. Gloria Steinem in her time, her mother, journalist, breakdown, institutions, her support of her mother? The divorce, her devotion to her father, caravan, the travels, his dealing in antiques, internationally? His illness, her travelling to him? The phone call sequence? The bonding with her parents, the visits to her mother, her mother’s encouragement?
5. Her growing up in Ohio, the travels, the 1940s and 1950s? The actress playing the young Gloria, the curiosity, her parents, and the sequences with the young Gloria and the older Gloria?
6. The teenage Gloria, the sequence of her conventional expectations of life? And her appearing with the older Glorias, the discussions? The teenage Gloria seen as taking strong stances in the later decades?
7. The adult Gloria, the sequences in India, and the later explanations her grant and travels, her interactions with the Indian women, their expectation she should be married, the conversations, the friendship? Drawing on her Indian experience in her career?
8. The revelation that she had an abortion, the visit to the doctor in London, abortion as illegal, that he not mention her name, that she live her life? (Her dedication of her autobiography to him and this quotation?)
9. Her attempts at journalism, the reaction of the editors, males, writes and rewrites, topics? The struggle, her wanting independence? The later meetings, the idea of their magazine, Ms, the discussions, the cover, the issues, expectations, adventurous attitudes, cautious attitudes, the publication, the results, the glimpse of women reading the magazine, the sequence of the interview with Nixon and the issue of titles, the establishment of Ms and its use?
10. The Civil Rights movement, her going to Washington, the march beyond expectations, Mahalia Jackson singing, the discussions, the discussions with the African-American women? And the later saying that after civil rights, women’s rights?
11. The range of associates, in the women’s movement, the importance of Dorothy Pitman Hughes, her presence, demonstrations, ideas, interactions with Gloria? Politics and the significance of Bella abs (and Bette Midler’s larger-than-life performance)? The meetings, the issues, the absolute and her declarations? Attitudes of Betty Friedan?
12. The older Gloria, Gloria from the 1970s, a long career, stances, the issues, civil rights, the attitudes towards abortion, abortion rights, campaigns? Women and their careers? Relationships? The older Gloria in the bus, and the discussions with the other Glorias?
13. The final sequences? Film clips of the actual Gloria Steinem? The background of her campaigning from the 1970s to the 2010s?
14. The changes in American feminism over the decades? Developments by the 21^st-century? The continued challenges in the present and into the future?

THE GOOD MOTHER

US, 2023, 90 minutes, Colour.

Hilary Swank, Olivia Cooke, Jack Reynor, Dilone, Norm Lewis, Madison Harrison, Hopper Penn, Karen Aldridge.

Directed by Miles Joris-Peyrafitte.

The Good Mother is a brief drama, set in Albany, the city not usually seen in American movies but here an impression of the vistas of the city, the buildings, the freeways, the neighbourhoods.

The title refers to Marissa, played by Hilary Swank, a journalist who has suffered the death of her husband, grief and drink. At the opening, we see the killing of a man jogging in the streets, the news coming to Marissa from her policeman son, Toby (Jack Reynor). At the funeral, she is very hostile to her son’s girlfriend, hitting her, but then apologising – and a bond growing up between the two women. Which means that the title could refer to the young woman, Paige, played by Olivia Cooke. Interestingly, Jack Reynor and Olivia Cooke are both British.

The women decide to follow some leads to see who was responsible for the killing, the dead son being an addict and dealer – though Paige asserts that they were off the drugs.

There is a strong sequence where Paige and Marissa go to a group discussion – and a highlight is a speech given by Karen Aldridge as Laurie, the children, addicts, their deaths.

There is a further complications, Paige discovering some drugs in her old house, Marissa pursuing her sons collaborator and his attacking her, aged Marissa interviewing a witness to the death and getting some clues, Paige with the phone number of the contact who set up the killing.

The narrative the film does not develop as we might have liked, harsh complications, harsh challenges some violence and sadness.

Which means that the screenplay combines familiar material but some unexpected plot developments.

1. The title? True, ironic? For Marissa, for Paige, for the grandchild?
2. The city of Albany, the views of the city, streets, buildings, freeways, homes, dangerous neighbourhoods, press office, trains, the railyard? The musical score?
3. The opening, tension, the runner, the pursuing lights, his death? The transition to Marissa, waking up, her drinking, going to the office, Toby coming with the news, her grief?
4. The background stories, the discussions and memories, the videos of Michael playing baseball, a good little boy, his talent, his shoulder injury, the drugs? Addicted, dealing? The long friendship with Ducky? Toby and his ambitions, the older brother, becoming a policeman? Marissa and the death of her husband, her grief, her drinking, going to group discussions? Toby and his advice, playing pool with her, urging him not to drink?
5. The funeral, Marissa’s grief, Paige present, Marissa and the attack, hitting her, the apology, their being together? Her dislike of Paige, Paige and her love for Michael, pregnant? The past friendship with Ducky, addictions in dealing, changing? Michael and his phone message, a change, buying a house? This leading to the bonding between Paige and Marissa, and the friendship with Gina, her pregnancy?
6. Marissa, going to back to work, her skill in writing, the editor urging her to write? With Paige, going to the meeting? Laurie and the cameo of her speech to the group, key revelation about feelings, children, addiction, care of children, taking Marissa to the safe injections centre? Her seeing Ducky, chasing him, his hitting her? Coming home, telling Toby, his saying he would handle it?
7. When did audiences become suspicious of Toby? Performance, body language, facial expressions? Suspicious?
8. Paige, going to the old house, finding the suitcase, the drugs? And the explanation of the drugs, femme fatale and cocaine? Causing deaths? Her escaping after the pursuit? Going to see Ducky, dead? Hiding the drugs in Marissa’s house? Marissa discovering them?
9. Taking refuge in Toby’s house, with Ducky’s phone, the mysterious call that lured Michael to his death? The information about the tower to underhand, the driver? Marissa and Paige visiting the old man who witnessed the episode?
10. Ringing the phone, Toby’s phone ringing, going to the basement, Toby confronting her, her fall, to the hospital, the birth, her death? Marissa taking the baby?
11. Marissa, suspicions of Toby, following him in the car, the train, the drugs to the man with a tattooed on the hand?
12. Marissa and her care of the baby, starting to write the story, giving it to the editor?
13. The open end, the document, the cigarette and her never lighting up, lighting up the lighter – to smoke or to burn the manuscript? The audience to decide what she would do, what they would do?

STORMSKERRY MAJA

Finland, 2024, 169 minutes, Colour.

Amanda Jansson, Linus Troedsson.

Directed by Tiina Lymi.

Stormskerry Maja is based on a series of Finnish books, focusing on life in Finland in the middle of the 19^th century. For audiences unfamiliar with the Scandinavian way of life, this is an interesting and moving invitation to appreciate this world.

The running time of the film is quite lengthy, based on a series of books, the kind of material that could be portrayed in a miniseries.

The audience is taken to a remote village, and extended family, their way of life, religious beliefs, a strong emphasis on local traditions and superstitions, especially about the city, but also the question believes, language and practice.

The focus of the film is on a younger daughter, at first seeming rather a simple soul, playful with her older sister, devout, religiously superstitious, obedient to family in the style of the times. When a young man arrives and his father proposes a marriage, this automatically follows.

But, as the title indicates, Maja is at the centre of this lengthy story which takes place over several decades. Amanda Jansson grows on the audience, as she grows in age and maturity over the times. Visually, she seems ageless, a consistency throughout her long life – glimpsed only at the end as aged.

The audience wonders how she will deal with marriage, isolated and simple as she is, but, her husband, Janne, is a kind and considerate man and the union blossoms into an absolute love and devotion, one of the most persuasive portrayals of consistent and long love in the film.

The film shows their way of life, Maja’s pregnancy, the joy of the birth of their daughter, later several children, bringing up the children, the older girl learning to read and write, the fishing, the ambitions to build a better boat, a simple life and simple love.

There is a dramatic interruption with the outbreak of the Crimean War and British warships and sailors stationed on the island, Janne having to escape the conscription. Which means that there is a variation in the sequences, Maja and the children coping with the occupation, the language barriers, the threats from some of the soldiers to kill the cow for food, but his rebuffed by the authorities and flogged. And, there is set scenes when the sailors returned from battle, many dead, and Maja attending to the wounded.

As the film nears its final part, there is both joy and, as we might have expected, sadness. But, from it all, Maja emerges as a very strong woman, able to take responsibility, rejecting the offers of support from the family, staying, bringing up her children, a portrait strong woman.

1. The title, the island off the coast of Finland, the focus on Maja and her being grounded on the island?
2. A Finnish story, the 19^th century, the remote communities, the way of life, the land, the sea, fishing, isolated, religious, superstitious, the importance of family? The musical score?
3. The landscapes and the seascapes, the mainland and the village, homes, buildings, churches, the way of life, the work, join celebrations? The island, remote, the coast, the rocks, the hunt, the boats, the fishing?
4. The focus on the family, the numbers, the several generations, father and mother, the two sisters, life together, personalities, interactions?
5. The Christian traditions and prayers, church? Yet the mythologies of the Sea, the gods and powers, beliefs, prayer?
6. The focus on Maja, age, her sister, her eccentricities, the superstitions, the sea? The guest arriving, his son Janne, the arrangement, the marriage, Maja and her lack of preparation, the ceremony, Janne and his personality, his consideration, gentle manner, the aftermath of the wedding, the wedding night, Maja and her reticence, Janne and his consideration, the beginning of the marriage, the beginning of love, the deepening, the couple and their commitment to each other?
7. Going to the island, setting up there, the heart, Maja pregnant, the fishing, the hard work, their way of life, the joy together, leaping naked into the water, comfortable with each other, love and affection? The birth of the baby, the joy? The birth of the other children?
8. Time passing, the growing family, managing their survival, the fish, hoping for merchandise and trade?
9. The Crimean War, the arrival of the English, the ships, the sailors, setting up on the island, the threat to Janne, Maja, rowing him to his escape? The family missing him, the older daughter and her responsibilities, the boys, the baby?
10. The personalities of the British, the commanders, the men, the ships, complaints, the issue of the car, the family depending on it, the milk, the sailors demanding that it be slaughtered for food? The rabble rouser, his advances on Maja? The discipline by the commander, the flogging? The time passing, the family surviving, communications, language barriers? The involvement in the war, the battles, the sailors coming back to the island, the wounded, the daughter and her grief for their destruction, her mother reprimanding her, the shock of the wounds of the sailors, Maja and the wounded sailor, brandishing the weapon, her controlling him, summoning his wound, his gratitude? Their finally leaving?
11. The joy of Janne’s return, family life, the work, the fishing, the new baby? The plan for the merchandise, Janne getting ready, leaving, the son, August, going with him? Time passing, Maja and her pregnancy, with the children, the work, the plans for the boat, wanting the oldest child to be literate?
12. The sadness of Janne’s death, August returning? The family and their concern, her father, the visits, her sister and the harsh interactions, eventually becoming playful?
13. Maja, becoming more decisive, taking on responsibilities, doing the work, the boat, with her children, her roots on the island, not believing?
14. The final image, Maja aged, moving out, the children, her accomplishment – and seeing the images of Janne and August? The completion of a happy and worthwhile life, a simple girl, becoming a responsible woman, and assertive and capable woman?

WHEN THE LIGHT BREAKS

Iceland, 2024, 82 minutes, Colour.

Elin Hall, Katia Njalsdottir, Mikael Kaaber, Agust Wigum, Gunnar Hrafn Kristhjansson, Baldyr Einarsson.

Directed by Runar Runarsson.

The title is rather poetic and there are scenes of sunrise and sunset and the vistas out to sea.

However, the film is a blend of serious themes and a portrait of young adults coping and not coping with grief. At the centre, is a young woman, Una, in a relationship with a fellow student, a long sequence of their night together and his intending to break off with his long-time girlfriend the next day.

However, with a very long tracking sequence, cars in a tunnel and an explosion where he is killed.

Una is in shock, has to deal with the death, the secrecy about her relationship, dealing with the group of friends and, eventually, the arrival of the girlfriend. The group is erratic in its emotions, in its grief, outpourings, drinking, bickering. But there is a bonding between the two young women – although Una does not reveal the truth.

Acclaimed by critics, younger audiences may identify with the characters and their lifestyle – but older audiences may find their behaviour less than mature, tiresome.

1. The title, the scenes of the sky, the sun, rising and setting? Visual symbolic sequences?
2. Iceland, the landscapes, the seascapes, the coast? The town, the church, the streets, the Square, the restaurants? The musical score?
3. Setting the scene, Una, Diddi, the relationship, the night with each other, conversation, his intending to break off with his girlfriend? The next morning, the plans for the day, the couple, their friends, studies?
4. The long sequence visualising the tunnel, the explosion, its impact? The deaths, Diddi’s death?
5. The main part of the film about tuna and the friends, the news of the death, disbelief, shock, grief, the details of how they handle the situation, talking, part joking, part sadness, the drinking, going the rounds? The different characters, the relationship with Diddi, from the past, confidences, their interactions?
6. The effect on Una, her loss, the difficulty of the arrival of Katia, Diddi not having broken off with her, their interactions, their eventually bonding, the closeness, but Una not telling the truth?
7. The overall impact of the film, a portrait of young adults in the 21^st-century, the differences from their elders, their lifestyles, manner, relationships, grief?

HEMEL

Netherlands, 2012, 80 minutes, Colour.

Hanna Hoekstra, Hans Dagelet.

Directed by Sacha Polak.

A brief Dutch film focusing on sexuality, promiscuity, father daughter relationships. It runs for only 80 minutes.

The title, which means “Heaven”, is actually the name of the central protagonist. The film opens with her involved in sexual activity, frankly visualised, and the audience soon learning that she regularly has stands with men, the audience seeing one of the men trying to be tender after the intercourse but her rejecting this.

It emerges that she is very close to her father, a widower, with a flair for younger women, an auctioneer. The pair have been close since her childhood, which looks, sometimes, uncomfortably close – dramatised in a scene with a visit to the opera.

Hemel also visits her ex-stepbrother, a man with rather strict Protestant principles upset after a violent episode..

When her father takes up with a woman, there are tensions within the relationship. Hemel continues, having a relationship with a married man. And discussions with him.

This film could be compared with 99 Moons, a Swiss film about a woman with sexual problems and identity.

THE TUNDRA WITHIN ME/ EALLOGIERDU

Norway, 2023, 95 minutes, Colour.

Risten Anine Kvernmo Gaup, Nils Ailuy Kemi, Berit Anne Oskal Kemi, Elias Ante Pilutaq Gaup Lennert.

Directed by Sara Margrethe Oskal.

This is a film for the Sami people, in the northern areas of the Scandinavian countries, memories of their culture, its being more accepted, the language, behaviour, sense of humour, and the hurting of reindeer.

The focus of the film is on Lena, an artist, her husband leaving her to start another family, bonding with her son and deciding to move back home, a project to explore women as managers in reindeer herding. It emerges that she had been skilful this in the past telling her heard and moving to the city to pursue her art.

She returns to the north with her son, meeting again with her mother after neglecting visits, incurring suspicions from the other townspeople with memories of her. She encounters reindeer herder who likes his work but has not given free rein by his mother who continues as the management herder.

Almost needless to say, the romance is to be expected, and some ups and downs before final resolution. And the son finds it congenial to stay in the north.

While the focus of the research is on women herding managers, there is also the focus on Lena’s art, somewhat graphic, startling, very much feminist in protest against women’s subordinate roles.

While the setting and the photography of the snowclad region and the herds of reindeers are striking, the characters are much as expected.

1. A story of Sami culture, Norway, the people, the language, the customs, their sense of humour, the reindeer herding, social life, the bar, shops, bones? The musical score?
2. The location photography, the snowclad vistas, the reindeer herds, homes, the club, the details of farm work?
3. Lena’s story, family background, husband and new family, with her son, her art in Oslo, its style, her feminist issues? Her relationship with her son? Leaving the North, her memories, clashes with her mother, the bus return, the bus hitting the heifer, arrival, the accommodation, setting up a studio, the interactions with her mother, her mother welcoming her grandson? Settling in, the project, female reindeer herding managers, her own back experience, selling the herd, moving away?
4. Mahtte and his story, the accident with the heifer, glimpsing him, relationship with his mother, the reputation of his father, working with his uncle? His mother managing the herd, not handing over to her son? His brother and moved to the city, courses? Mahtte, his personality, friendships in the town, with a fellow herder and expectations of romance? The encounters with Lena, with her son, scooter ride, the rehabilitation of the heifer, his mother fixing the dislocation? Inviting Lena to the celebration?
5. People in the town, the different attitudes towards Lena, her wanting interviews, Mahtte promising his mother, the attitudes of the women spurning her, too busy? The sympathetic woman and the interview? Her going to the club, the competition, celebrating her father, emotional, friendship with Mahtte, her leaving, her winning the competition? Her friendship with the owner, from the past?
6. Her artwork, the visuals, feminist? Her place at home, the herding, the episode with Mahtte and the lassoo? Her skills? The growing relationship with Mahtte?
7. The tensions, the relationship, her ambitions, the city or not? Discussions with her mother? Her son settling in, his friendship with Mahtte?
8. The scenes of outdoor action, the roaming herds, the boundaries, the different owners, the mingling of the herds, capturing of the reindeer, marking them for ownership?
9. Lena and her intervention, her regrets, her judgments on Mahtte? The final decisions? Reconciliation, her son, the future?

THE MISSILE/ OHJUS

Finland, 2023, 110 minutes, Colour.

Oona Airola, Pyry Kahkonen, Hannu-Pekka Bjorkman.

Directed by Mila Tervo.

The film is based on actual events, 1984, a Soviet missile landing in Finland, the search for the missile and the potential dangers, the attitude of officials, the international media, speculation about a mission, nuclear dangers, especially for Europe.

The film was described as “absurdist”. On the one hand, there is the domestic story set in this remote part of Finland, a woman a victim of domestic abuse, her husband in prison, with her children, with her family and the preparation for a wedding. On the other, there is the international situation as regards the missile, serious investigations. It will depend on cultural nuance and senses of humour to appreciate how well this absurdist combination works.

The film becomes more serious when the young woman causes an accident to the window of the local newspaper office, offering her services in writing for some kind of compensation. The editor is very much concerned about small local stories. She begins but with the news of the missile, she draws on her abilities for research, reading and background, her skill in writing. She then began serious investigation, interviews, writing, dramatised in some detail.

And, then the military observers come in, the search, the focus on a young pilot who is forthright in his comments, encounters the young woman, helps her with research, has a relationship with her. There is seriousness in those coming to investigate but there is also some satire in an obstinate official who tries to sabotage all the opinions of an Estonian expert who is brought in to explain the dangers.

While audiences outside Finland might find this an interesting look at the particular culture, the film is very much for a local audience.

1. Screenplay based on an actual incident, the Soviet missile, landing in Finland, the potential dangers, the investigation, cover up?
2. The combination of the investigation with the story of the violence, her family, the wedding, the accident and her wanting to offer compensation by work, investigations? And the romance element?
3. For audiences in Finland, culture and sensibilities, audiences outside, appreciating not appreciating the Finish culture?
4. The focus on Niina,, domestic abuse, her husband, his art, in prison, his later getting out, reuniting, attacked by his sister-in-law, accepted by Niina, relationship with his children? Niina and the children in the forest, the trees, the wagon, getting loose, crashing into the window of the newspaper office? The reaction of the owner, anger? Her making her case, offering to work?
5. The newspaper, local, domestic articles, reports, the owner, the cost of the window, allowing Niina to work, her poems, the accident report, her background, reading, writing?
6. The domestic sequences, her sister, the wedding dress, family background, the old man and his memories of World War II (and is giving information to Niina, the pathos of his death and funeral)? The raucous ceremony, Niina asking the editor for some money? Her buying toys for the children?
7. The indications of the missile landing, television, the wedding party not taking much notice? The point being made about serious matters and the public carrying on as normal?
8. The arrival of the military, the personalities, the meetings, the discussions? The issue of the accident or deliberate? The arrival of the expert and her explanation about the contamination details? The haughty representative and haughtily trying to undermine her at every moment? The military, listening, cover-ups?
9. The film described as “absurdist”? The blend of local colour and ordinary life, the touches of the raucous aspects of the community, serious investigation by Niina, the official meetings, the speculation about the missile, nuclear head, headed for Hamburg?
10. The arrival of the international media, the interviews, the discussions? Finland’s attitude towards Russia, subservient?
11. Niina’s story, her continued investigations, interviews, research, conclusions,? Her writing the stories? The contrast with the owner, at the hotel, interested in the cooking, reaction to Niina?
12. Repola, pilot, his mission, with the of the military, at meetings, his speaking up, ousted? The encounter with Niina, her intruding into the men shower, the later discussions, the relationship? His information? Speaking up at the meeting, the official ridiculing him?
13. The outcomes, the news item about the missile, Finland and Soviet relationships, international crescent observations? Niina, the relationship with Reploa, her husband’s return, her future?

MAXXXINE

US, 2024, 104 minutes, Colour.

Mia Goth, Elizabeth Debicki, Bobby Cannavale, Michelle Monaghan, Kevin Bacon, Lily Collins, Simon Prast, Giancarlo Esposito, Moses Sumney.

Directed by Ti West.

In recent years, writer-director Ti West, has directed many television episodes. However, he made his mark around 2010 with some horror films, especially The Innkeepers. He also made a revenge Western, In a Valley of Violence, 2016, with Ethan Hawke and John Travolta. Then he made X, something of an exploitation film at a mansion out in the countryside of the Midwest. It featured Mia Goth. And it was a commercial success.

West then decided to go back in history and make a period piece, again about an ambitious actress, again played by Mia Goth, Pool. And with the same somewhat sensationalist themes and treatment.

This is the third film in his trilogy, this time set in 1985. And the audience is taken to a version of Hollywood of that period, a style of cinematography that is garish and sometimes lurid, as a symbol and as a location for part of the climax. West is enthusiastic about this portrayal of Hollywood, emphasising the seedy side, cheap apartments, video stores which were becoming popular at the time, the adult movie industry, sleazy agents in their offices. There is also the world of filmmaking, auditions, the movie lots, a visit to the Psycho motel as well as action there, sinister mansions in the Hollywood Hills. Very strong on atmosphere – and with many of the songs of the period, as was all kinds of in the occasions, billboards, almonds theatre, the stars on the walk of fame, cinemas showing St Elmo’s Fire.

Once again, this is a showcase for Mia Goth who seems to relish her performances as actresses who have more than relish and ambitions for their careers. And the supporting cast is more notable, Elizabeth Debicki as a somewhat pretentious and ambitious director, filming a sequel to The Puritan with all kinds of religious right protesters outside the studio with their placards. Kevin Bacon offers something of an absurd private eye who gets a dreadful comeuppance. Bobby Cannavale and Michelle Monaghan are the investigating police, he a would-be actor, she rather stern and critical. Lily Collins has a cameo as a British actress, Giancarlo Esposito is the agent, and Simon Prast who was a religious fanatic in X is even more terrifying here as Maxine’s avenging father.

So, a mixture of exploitative ingredients, sex, violence, ambition, religious intolerance.

1. The work of the director, his trilogy, themes, moviemaking, collaboration with Mia Goth?
2. The relationship of this film to the other two? Characters, themes, movies, sexuality and exploitation, violence and murder, ambitions and ruthlessness, religious fanaticism?
3. The title, Maxine, from Miller to Minx, adding the Xs to her name? Her car number plate? And the way that she ruthlessly drove her car?
4. The prologue, the little girl, dancing, the interview with her religious father? All of this sequence in the revelations of what was happening?
5. 1985, Hollywood, the sign and symbol, the streets, the stars and Grauman’s theatre, garish look, lurid touches? The streets, the motels, the studios, legal offices, Universal lot, the motel from Psycho, exteriors and interiors? The musical score, the range of songs from the 1980s?
6. Maxine, in Los Angeles, the move from Texas, ambitions, to get the life that she deserved, her intensity, the adult movies, pornography, her reputation and people recognising her at the studio? Her friends, performance? The apartment, moving from job to job, the video store, the owner, conversations, watching videos with him, enlisting his help to identify the mysterious video and its origins? His relationship with Maxine, exasperation with her? The brutality of his murder and her response to his being carried out?
7. The audition, the film, The Puritan, the sequel? The director, imperious presence, height, not American accent, expectations? The interview, her being in adult movies, her body? Her getting the part? Going back to the studio, the interviews with the director, her demands? The scene of making the cast of her head, the past memories, her panic? And the later final sequence with the cast of her head in the glass? The background of the, Night Stalker the many deaths, and her friend, their discussions, the discovery of the two dead bodies, the symbolic mark?
8. Mysterious video and her watching it, her panic? The address of the windscreen? The encounter with John, Kevin Bacon and the satiric performance? Confrontations, pursuit, his threats and self-confidence? Not identifying the employer? The drinks and conversation? Is appearance at the studio, the pursuit and chase, the weapon and her wound in his nose? The later encounters, the Psycho motel? Her explaining this to her agent, Ted and his personality, manner, sleazy? The confrontation with John, and the brutal crushing of the car and him?
9. The police officers, the would-be actor and his performances, the tough woman in charge? Confronting Maxine, with the death of her video store friend, the continued interrogations, her refusal to answer, the threats?
10. Demonstrations, against The Puritan, the religious right? Protests and placards?
11. The buildup to the climax, Maxine and her fears, the decision to go to the address, the detectives deciding to follow her, her entering the house, eerie, discovering her father, his speeches, showing her the video from her childhood, the massacres in Texas, fleeing? Her father, religious fanatic, his campaign, stamping Satan out of Hollywood, his followers and the ritual, the attempt to exorcise Maxine, tying her up, close-ups of his face, the arrival of the police, the shootout? Maxine free, confronting her father, eventually shooting him? The detectives, shot, wounded, dead? The hovering helicopter?
12. The aftermath,, Maxine as a celebrity, the interviews, the director and her advice? Set, her becoming respectable, the plaster cast of her head?

EZRA

US, 2023, 101 minutes, Colour.

Bobby Cannavale, William E.Fitzgerald, Rose Byrne, Robert De Niro, Whoopi Goldberg, Tony Goldwyn, Rainn Wilson, Vera Framiga, Matilda Lawler.

Directed by Tony Goldwyn.

While there have been a number of films dramatising autism and its effect on those on the spectrum (for example the very striking Temple Granted with Claire Danes), this is very audience-friendly look at an autistic boy.

Audiences will be sensitive to the issues, the emergence of awareness of autism in more recent decades, consequences for family life and parenting, for education opportunities whether in the community or specialised schools, the issues of medication for “normalising” the autistic person.

The screenplay for this film was written by Tony Spiridakis, based on his own experience with his son and, as he has noted, his learning how to finally step back from trying to control his son’s life. He has been a long-time friend of the actor-director, Tony Goldwyn, and Goldwyn has directed this film as well as taking a small role.

‘The film also had multiple autistic crew members on set to ensure its authenticity. Other cast members were directly related to a family member who has autism. Throughout the production, the creators screened different versions to the autism community for feedback.’ (Wikipedia entry on the film.) This is the case with Robert De Niro who plays the grandfather here.

Film opens with Ezra aged about 11, having great difficulties at school, fighting, on the verge of being suspended. Young William A.Fitzgerald is very convincing as Ezra. His parents are divorcing. He lives with his mother, Jenna, Rose Byrne, devoted, anxious, supported by her lawyer, Tony Goldwyn. But there are frequent visits from his father, Max, Bobby Cannavale very powerful and emotionally-charged in perhaps his best screen performance. He plays a stand-up comic and writer, taking his son to the performances as his supportive Mojo. However, he wants his son to be “normal”, in ordinary school with ordinary students, and is highly suspicious of any medication for the autistic condition.

Max lives with his father Stan, De Niro, asserted past which need some kind of resolution and apology.

The film dramatises the plight of the young boy, determined, sometimes fixated in autistic mode, devoted to each of his parents.

After an incident, almost an accident with Ezra being injured on the street, Max’s tension becomes even higher, assaulting the doctor in the hospital, arrested, a restraining order, becoming desperate and kidnapping his son, intending to travel to Los Angeles for a spot on the Jimmy Kimmel show, organised by his agent, played by Whoopi Goldberg.

With police intervention, Max takes refuge in the home of an old friend, a sympathetic Vera Farmiga, whose daughter involves Ezra in play, and introducing him to a horse, patting it, befriending it, some moments of freedom and joy.

The climax occurs in the Jimmy Kimmel studio, Jenna arriving with Max’s father, the police and the authorities, clash, Max arrested.

However, there is a more peaceful ending, Max calming down, Jenna and caring for Ezra – and an enjoyable Jimmy Kimmel show postscript.

An audience-friendly film on issues of autism.

1. The focus of the with police intervention, film on Ezra, age, autism, symptoms, behaviour, relationship with father, with mother, was grandfather?
2. The New Jersey setting, homes, streets, schools, police precincts, jails, comedy clubs? The American countryside, the journey to Michigan, the farm, the horses? The roads, diners along the way? The Jimmy Kimmel studios? The musical score?
3. The screenplay, Tony is very darkness and his experience with his own son, the cast with family connections to autism, autistic members of the crew? The testing out of sequences?
4. The audience entering the situation, Max and Jenna, marriage, Ezra, is autism, the years passing, is experiences at school, the parent being called in, the violence and his outbursts, expulsion?
5. Max, his devotion, taking Ezra to his stand-up comic digs, his Mojo? Ezra and his responses? The bond between father and son? Jenna, the day by day care, the divorce proceedings, a relationship with Bruce, lawyer, his advice? The scenes at home, care for Ezra?
6. William A.Fitzgerald and his presence and performance as Ezra? Manner, the symptoms of the spectrum, way of speaking, movie quotes, reactions, violence, not being touched, bananas, phobias? It shrewdness? At home, at school? His dislike of Bruce? Going to the club, the theme of the big Lebowski? Home late? Jenna’s reaction?
7. Robert De Niro is the grandfather, Pop-pop, the back story as it unfolded, difficult, cooking for the military, hard on his wife, her abandoning the family, Max thinking it was to blame? Living at home with his father, the memories of the past, his father’s severity, violence? His father as a doorman at the hotels? Max taunting him about his parking sign, his military service, cooking? The difficult relation with Jenna?
8. Max, relationship with his agent, Jane, her bookings for him, his performance after the experience of Macs, overhearing Bruce, interpreting literally, rushing out, the dog, taxi, hospital? Maxes hope reaction at the hospital, attacking the doctor, the arrest, the police, release, his doing a deal? The performance of the club and it’s sad ending, is talking about his doing the deal? The decision to abduct Ezra? Is being on probation with the law? Phoning his father?
9. It is, the discussion about medication, maxes hostility, saying the doctors were exploiting the drugs, political issues? Jenna finally desperate, calling the police, their upbraiding her because of the delay, the Amber Alert? On television, the roadblocks…?
10. Max and his friendship with Nick, Nick in the camp, the Senegalese nun, Ezra tantrums, metallic cutlery, the eating with their fingers…? Nick, support for Max?
11. The journey, Ezra and his reactions, returning to his roots, police cordoned, driving through the woods, stranded, Ezra running away, reconciliation, getting the lift, going to see Grace, who welcome, memories of the past, Ezra with Ruby, the other children, her helping him to befriend the horse and its effect on him? Running and playing? The police arriving, grease giving them the car, travelling to Los Angeles?
12. Jenna, desperate, trying to contact the grandfather, throwing stones at his house, at his work at the hotel, his finally telling her where they had gone, the drive, the attack on Nick?
13. Grandfather see father and son in the diner, relating will, talking with Max, his confession about the past and his sorrow?
14. Everybody in Los Angeles, the Jimmy Kimmel studio, the preparation for the gig, the police arriving, the Amber alert, Ezra and not wanting to be touched, the police, cuffing his father, Ezra’s attack, generally desperate?
15. The aftermath, Max on probation, working with Jenna, the school, his taking him? Possibilities for Max to accept reality, not wanting to control?
16. The credits sequence, Jimmy Kimmel, the return to the studio, the joke about being arrested, performance?