Displaying items by tag: Peter Malone's Movie Reviews

A QUIET PLACE: DAY ONE

US, 2024, 100 minutes, Colour.

Lupita Nyong'o, Joseph Quinn, Alex Wolff, Djimon Hounsou.

Directed by Michael Sarnoski.

There is a dire meaning in the title, A Quiet Place. Monstrous creatures had invaded earth, lacking the power of site but hypersensitive to sound. The original film and its sequel had menaced humans desperate to be silent, avoiding any kind of sound to alert the roaming predators.

Which means that audiences for this contribution to the franchise, a prequel, go into the film knowing what the key issue is. Silence.

The film starts routinely enough, a hyperactive poet, Samira (Lupita Nyong’o), ill, in care, going to group meetings and being defiant, invited to go in to New York City to see a marionette show (a quite vivid interlude, in fact). She bargains with her nurse that they have to have a pizza in Harlem. This doesn’t quite happen.

When the creatures come, they wreak enormous devastation on the city, sometimes graphically filmed. The populace, taken unawares, easily become victims, and the mayhem in the city, crashed and crushed vehicles, buildings and ruins, are caught in an atmosphere of terror.

The filmmakers have decided to focus on the central character, her survival, her trying to get to her apartment, avoiding all sounds. Suddenly, emerging from the water is a well-dressed, suit and tie, Englishman, Eric (Joseph Quinn). He is more than shell-shocked, begins to follow for security, her urging him to get to a wharf because it emerges that the creatures cannot endure water. We do see barges on the New York Rivers full of refugees.

This part of the film has its moments of excitement, Eric venturing out to a pharmacy to get medication for the poet, increased menaces from the creatures – which, is probably why most of the audiences have paid for their tickets to see it.

The ending is not quite what we might have expected, moments of pathos and sadness, moments of rescue, moments of hope for survival despite everything.

If this film is popular, will there be Day Two?

1. The popularity of the first two films? prequel and explanations, origins, the audience presupposing details, especially about creatures, about silence in danger, from the original films?
2. The New York settings, the opening in the care home, the trip into the city, the marionette theatre, the audience, going to get pizza, and the attack? The vistas of the city, the destruction of the city, streets, cars, buildings? The musical score?
3. The visuals of the creatures, audiences appreciating them from the previous films? Monstrous, the detail, the attacks, stalking people? Noise and sounds and the attacks?
4. Sam as the focus, her physical health, in care, with Reuben, the groups, that she was a writer, her aggressive poem, persuaded to go into the city, wanting pizza in Harlem? Reuben, nurse, friendship, with Sam?
5. The marionette theatre, the skill of the puppeteer, the puppets, the balloon, flying? Audience response?
6. The sudden attack, the destruction, the creatures? The silence? Sam and Reuben, his death?
7. The importance of the cat, always with Sam, the trip, the theatre, throughout all the dangers, away, coming back? Companionship? A kind of guardian angel figure? Audience response to the cat – and more than nine lives?
8. Sam, the experience, bewilderment, determination, seeing so many people taken, in the streets, the helicopters flying overhead, the message for evacuation, to take to the water? Her wanting to go to her apartment?
9. Eric, emerging from the water, suit and tie, surviving, stunned, the encounters with Sam, silence, communication, her writing notes, his following her, the dangers, going to Harlem, her apartment, her book, sleep? Her urging him to go away? His personality, quiet, rising to occasions? Seeing the people on the boats in the middle of the river, being saved?
10. The refuge in the Church, peace, sanctuary and reflection?
11. The continued trek, Eric and his going to the pharmacy, getting the medical patches for Sam? Dangers, his being threatened, the cat?
12. Sam and her weakness, the daylight, going towards the boat, seeing the kindly man from the marionette theatre on the boat?
13. Sam, urging Eric to go, with the cat, her staying behind in weakening, Eric and the water, evading the creatures, onto the boat, reading Sam’s letter and the voice-over?

MR BLAKE, AT YOUR SERVICE/ COMPLETEMENT CRAME

France, 2023, 99 minutes, Colour.

John Malkovich, Fanny Ardant, Emilie Dequenne, Philippe Bas, Eugenie Anselin.

Directed by Gilles Gardinier.

This is a surprisingly nice French film. The French title is somewhat obscure. The English title much more indicative. And in some areas, there was a new English-language title, Well Done!

And the question, of course, who is Mr Blake?

In fact, we find at the opening of the film, that he is one of Britain’s leading business entrepreneurs, about to be given a significant honour at a crowded banquet, but not turning up, not feeling up to the occasion, really wanting to retire and disappear. And, he has been grieving for his deceased wife. So far, so intriguing.

But, for many filmgoers over the decades, the actor playing Mr Blake will be something of a surprise. At the end of the 90s, there was an interesting fantasy film exploring identity, actors and their characters, Being John Malkovich (and the actor himself contributing to the issues by appearing in the film). Mr Blake is played by John Malkovich.

Looking back over the career of John Malkovich, light comic touch is not a quality that immediately comes to mind. He can be extremely enigmatic. (A recent example would be his character in the television series, Ripley, with Andrew Scott.), He has a distinctive voice. It can sound menacing. And he has often been a sinister villain.

And, while he still looks the same here, and sounds the same, he is challenged to be a very nice person – and, surprisingly, he succeeds very well.

The story is somewhat tongue in cheek. Mr Blake decides to retreat from the world, return to the French château where he first met his wife, hoping to settle there quietly. The château, visually magnificent interiors and lavish grounds, is managed by a widow, played by Fanny Ardant (who has also played some serious, sometimes sinister, roles in her past but who is really charming here). Mr Blake thinks that rooms are available and would like to stay. This turns out to be a great misapprehension!

The housekeeper, a Odile, very strong minded and determined, has placed an ad for a Butler and makes the assumption… Mr Blake is given a pokey room, given the time of trial to see whether he is suitable as a Butler – and his big advantage is that he is English and therefore the possibility of being a proper Butler personified.

So, the enjoyment of the film is seeing Mr Blake becoming the Butler and how he handles the expected routines. After a rifle being pulled on him, he befriends Magnier, one of the workers on the estate (who actually is very shy but is attracted to Odile). And, there is the maid who comes in regularly and is now pregnant, the father of the baby vanished. Mr Blake has to be something of a Fairy Godfather, so to speak, listening to all the characters, providing opportunities for them to develop and flourish, trying his best to help the owner of the château who is trying to manage the finances, being forced to sell the château.

And, at one stage, who should turn up but his close friend from England and his wife, enjoying ribbing Mr Blake about his new status and his serving drinks…

It is amazing how John Malkovich embodies Mr Blake, being kind, helping, some comic moments (the wig and lipstick so that Magnier might polish his table manners and learn how to speak to Odile), the robbing of a hoity-toity so-called friend of the owner of the ring, the complicated way to help the owner and her resistance.

And, nice romantic touches, the visit to the Cemetery, the sad truth about the owner’s marriage.

For audiences, probably older rather than younger, who would like a very pleasing film night out, Mr Blake is definitely at your service.

1. The title, French and English? The focus on Mr Blake?
2. The settings, London, the banquet, flat? Transition to France, the countryside, the château, interiors, the grounds? The musical score?
3. John Malkovich is casting as Mr Blake? Against type? His success?
4. The introduction to Mr Blake, the banquet, the crowd, announcements, the award? The phone call, his not wanting to go? Richard and his reaction?
5. Mr Blake, leaving London, going to France, arrival of the château, his expectations of a room, memories of his first meeting his wife, meeting Odile, the reaction, her ad for a butler, his shock, the pokey room? On trial? His agreeing to the situation? The perfect English butler?
6. Nathalie, her situation, the death of her husband, financial, the plan to rent rooms, renovations and expenses, the pressure to sell the château? Her personality, her response to Mr Blake, as butler, busy with her expenses, talking to the mannequin of her husband, the later revelation of the truth about his mistress, the is to in the grounds but no words? Her manner, towards Magnier, compassion towards Manon and the pregnancy, allowing her the room and the château? Working with the Odile, housekeeper, maid? Not wanting Mr Blake to interfere, underestimating him?
7. Mr Blake adjusting to the situation, the dress, the routines of the butler, service, trays? A Odile and her demands? The mobile phone, Magnier and his rifle, they’re talking, friendship? His attraction to a Odile, the loner, awkward? Helping with the video of the gate? Other jobs? Mr Blake and the wig and lipstick, the rehearsal for good manners, talking to women, the effect on Magnier, Mr Blake softening Odile, her response? Manon, the pregnancy, the father going off, sleeping out, her mother rejecting her, Mr Blake getting the room, Nathalie and her permission? The household? Mr Blake having to be a kind of Fairy Godfather?
8. The obnoxious visitor, the chat, disdain towards the butler, Nathalie selling her ring, the decision for the robbery, masked, frightening the woman, giving it up, the restoration?
9. The visit of Richard and his wife, the pretence, enjoying having Mr Blake serving drinks as the butler? The later return, the negotiations for the finance?
10. Mr Blake ending the tenure, staying on, the personal relationships, the relationship with Nathalie?

The revelation of who he was? Support – an

UN SILENCE/ A SILENCE

Belgium/France/Luxembourg, 2023, 99 minutes, Colour.

Daniel Auteuil, Emmanuelle Devos, Mathieu Galoux, Jeanne Cherhal.

Directed by Joachim Lafosse.

By the time we watch the final credits of A Silence, we realise that there are many silences that we have been made aware of.

This is a serious film with serious themes. There is an immediate intimation as the camera focuses at great length (and this will recur throughout the film) in close-up of the face of the key character, Astrid (fine performance from veteran actress Emmanuelle Devos), travelling in a car to a police station. There are some suggestions as to what is going to develop, suspense and questioning on the part of the audience.

Astrid’s husband, François (also a fine performance from veteran actor Daniel Auteuil) is a celebrated lawyer, prosecuting a sexual predator who has victimised two young girls. François is passionate about his cause, giving interviews, an eager press often camped out at his house. And the house is quite a mansion, comfortable, large swimming pool. The couple has a daughter who is married with a child. Their 17 year old adopted son, Raphael, is at school, living at home.

The film is based on actual events and actual characters. In Belgium, 1995, a serial predator, Marc Dutroux, is revealed as acting his victims and imprisoning them, abusing them. A Silence is based on the lawyer who defended him and Astrid on his wife.

There is great complexity in the development of events, a situation of abuse in the past, attempted therapy and the questions of how therapy is long-lasting or not and one of the particular silences, that of those who are aware of the abuse and did not speak up at the time.

Another aspect, is that of the silence of someone who has been abused, unable and unwilling to reveal the truth at the time, silence for decades, then, in the current atmosphere of revelations and prosecutions, speaking out and searching for justice.

And, while the theme is of sexual abuse, there is also the 21^st-century reality of on-line pornography, accessibility to the young on their computers, international markets on the black web and networks of photos/video of abused children.

Which means that this is a film of significant contemporary issues, the reality of the abusers and their lives and concealment, issue of those made aware of the issues but who do not understand them, or did not appreciate their severity in the past, and the consequences as time has gone on.

The treatment is sombre, the photography often dark, the great use of extreme face close-ups to focus audience attention on each of the characters.

For audiences who belong to churches and religious denominations, who have experienced the revelations of church leaders and abuse, cover-ups and/or ignorance and lack of awareness, this film has no ecclesiastical connections which means that the audience can look at these situations much more objectively and assess the gravity, and appreciate the pain of survivors.

1. Based on actual characters and events? The case in Belgium, the prosecutor against the serial killer, Marc Dutroux, the investigation, child pornography on the Internet, trial and sentence, and the wife sentenced for negligence?
2. The fictionalising of the case, the parallels, the lawyer, his family, his prosecution, the expose an investigation, the establishing of the family, the past sexual abuse, addiction, therapy, not effective? The family, the daughter and her marriage, the son at school and his problems, the abused uncle?
3. The city setting, offices, police precincts, the mansion, the interiors, the grounds, the swimming pool? School? The streets? The paparazzi? The final courts? The musical score?
4. The style of the film, comparatively low key, intense and interior, the focus on Astrid, the many close-ups, the face, profiles, in the car, in the car mirror? Audiences identifying with her, sympathy, but learning more about the past, her relationship with her husband, her brother, the abuse, keeping silent, hoping her husband had benefited by therapy? Her love for her daughter, the tension because of the case and the daughter urging the uncle to prosecute? Her love for her son, his problems, expulsion from school, supporting him? Audience sympathy for her character, her experiences with the secret, the prospect of prosecution, relationship with her daughter and grandchild, urged to reveal the truth to her son, her telling him, the tensions with her husband, looking at his computer, the police, the search of the house, moving with her son to the hotel, his leaving?
5. The screenplay, indicating the basic elements and the police interview with Astrid, then the audiences further discovery, emotional complexities, moral issues?
6. François, his reputation, the prosecution of the sexual predator, sympathy for the abused daughters, contact with the parents? Press interviews, television, his taking a righteous stand against the abuser? At home, relationship with his family? The gradual revelation of his personal life, going to his computer, the audience just hearing sounds rather than visuals of the pornography? Relationship with his son, watching the tennis, tensions? The paparazzi and his forbidding photos, their waiting outside his home? The arrival of the police, the fact that they had been tracking the international pornographer, six months investigation François, the sequence where they were operating surveillance of his home? His realisation that he would be exposed, going out to the media, explaining that he was withdrawing from the case, politicising it, the media questions, his staying at home?
7. Raphael, his age, relationship with his father, his mother doting on him? Money for spending? His friends, missing from school for two weeks, the interview, the expulsion? The truth about his father? His father’s computer? His own computer? His growing anger, going to the exam, the sympathy of the teacher, presumption of father’s innocence? The search of the house, his computer? Going to the hotel, with his mother, leaving?
8. Raphael and his going to his sister, growing anger, drinking, confronting his father, the talking, the knife, the visuals of his father having been stabbed, the police arriving, rescuing François, taking Raphael?
9. The interrogations, Astrid and her giving information, but withholding the story of the past? Looking at her husband’s computer? François and his denials, looking at the websites for his case? The revelation about the peddler of child images, over 7000 hits, his addiction? The interrogation of Raphael, his story about looking at the computer, even when he was eight, looking at his father’s computer, the contacts on his own? His attack on his father?
10. The court sequence, the crowds, the court judgement, referral and the leniency, the condemnation of François, and the effect on Astrid?

TOTEM

Mexico, 2023, 95 minutes, Colour.

Naima Senties, Montserrat Maranon, Marisol Gase, Saori Gurza, Matteo Garcia, Teresa Sanchez.

Directed by Lila Aviles.

An engaging film full of humanity. It was the winner of the Ecumenical Prize (from a combined Catholic and Protestant Churches’ Jury) at the Berlin film Festival, 2023.

This is a Mexican film, written and directed by Lila Aviles with great sensitivity. The principal appeal is that the main focus is on a seven-year-old, Sol (short for Solecito). She is played so well by Naima Senties. We spend much of the film watching her, so expressive, so full of life, moments of happiness, moments of sadness, which means that we watch the adult world through her eyes.

Sol has a young mother, enjoys being with her mother, joking, making wishes – especially a wish that her father would not die. And this means that there is an air of melancholy underlying the good humour of the film. Tona, her father, has terminal cancer, is cared for at home by a maternal nurse, supported by his sisters and their children, and his elderly therapist father who needs an electro-larynx to speak and communicate and who spends his spare time with bonsai tree art.

In fact, the action of Totem takes place over a couple of hours. The plan is to hold a birthday party for Tona, one sister, Nuri, cooking, baking and decorating the birthday cake, wonderfully caring for her little daughter, Esther, who can be full of pleasant mischief, but also drinking. The other sister, Alejandra, with two older children, is bossiness personified, even spending much needed money for Tona’s medical care, to invite in a woman who will go through rituals to cast out any evil powers.

We get to know so many of the members of the family rather well, liking some, wary of others. But, all the time, we are with Sol, wanting to see her father but his not being ready, so frail, struggling at times to walk, needing constant attention. When, eventually, she goes in to see her father with her mother, there is such joy for all of them.

Sol is an intelligent little girl, able to comment on adult themes about how the world ticks. She knows about birds (and her father gives her a beautiful gift of a large painting of her favourite birds), she plays with the insects, snails and ants, is observant.

Then the guests arrive for the party, so many of Tona’s friends from school days, extended family, Latin American party full of verve. There are some performances, some joking, and a wonderful scene where Sol is on her mother’s shoulders, a large cloak concealing her mother and Sol lip syncing and gesturing to an operatic aria – to the delight of all at the party and to the cinema audience.

While the film is something of a joyous hymn to life, it faces squarely the realities of illness and death. And we, the audience, respond to both but our awareness enhanced by our liking for and our sympathies with Sol and her childlike responses.

1. Mexican life? The middle class? Families, friends, the party, illness and death?
2. The Mexican settings, the opening in the toilet, driving the car, under the bridge and the wishes, arriving at the? The house, the rooms? The kitchen? Tona and his room? The celebration of the party? The musical score?
3. Sol and her mother, the toilet intimacy, under the bridge, the wishes, Sol wishing her father not to die? Sol, at seven, the bond with her mother, the love for her father, close-ups, her perspective on everything and everyone, the audience sharing it, charmed by her, interpreting people and events through her?
4. The household, the house, the rooms and corridors, the kitchen, common rooms, the outside for the party? And his illness, his room, his weakness, Cruz and her care for him, gentle, and not being paid on time, salvaging his paintings and smuggling them out? His struggles, walking, shower, getting dressed? Constant care?
5. The household, the sisters, Nuri, short hair, severe, yet loving with Esther, her treatment of her? Doing the shopping, banking the cake, the fire? Her drinking? Awkwardness, not going to the party, staying in the kitchen?
6. Alejandra, husband, the kids, the phones, getting them to work, cleaning the carpet? Her bossing us? Getting the woman to cleanse the house? Using the funds Tona’s health? Getting the work done, organising, the clash with her sister, their fighting?
7. Sol’s mother, the theatre, her look, the nose ring, arriving, going to see Tona, Sol and her joy, the painting of all the birds, her explanations for her father, the embraces, happiness? Her gift and his response?
8. The father, age, loss of voice, electro-larynx to communicate, the therapy session? His working with the bonsai, trimming the trees? His talk with his son, working on the tree for years, the gift to his son? His retreat?
9. The crowd arriving, the elderly couple and the session with the visitor, the psychic communion? The friends from school days, extended family?
10. The joy of the party, Tona eventually arriving, his having to go back, toilet, but his joy with the crowd, their acclaim, their happy memories, his winning the contest at school as the most handsome?
11. The performances, the singing and dancing, the speeches? Sol, the preparation with her mother, on her mother’s shoulders, the cloak covering the mother, lip syncing, the gestures, everyone enjoying the performance?
12. The audience being with Sol, her play, with Esther, with the aunts, playing with the snails, on the picture, the ants, her knowledge, the question about the end of the world, her father’s gift and her being with him? Her observing the guests?
13. The finale, indication of death, acceptance of death, the credits glimpse and the aftermath, the empty bed, the scorpion…?

BIRDEATER

Australia, 2023, 113 minutes, Colour.

Mackenzie Fearnley, Shabana Azeez, Ben Hunter, Jack Bannister, Clementine Anderson, Alfie Gledhill, Holly Wilson, Carolyn McQuade.

Directed by Jack Clark, Jim Weir.

Birdeater is a first feature film by Jack Clark and Jim Weir, story by Clark, the writing the screenplay together and directing together. The film has received quite some acclaim from festivals, in the United States, Best Narrative feature at the Sydney film Festival, 2023.

There is a clue early in the film for audiences who notice posters on walls. The poster is for the 1971 film, Wake in Fright, set in Broken Hill, story of aggressive men, bonding, drinking, kangaroo hunts… And, the question of many about the title – and the suggestion of birds attacking birds, predators.

This is a story of men and their treatment of women. Three of the central male characters were at school together, aspects of privilege in that background. The main focus is on Louis (Mackenzie Fearnley) seen initially at the beach gazing at a young woman, Irene (Shabana Azeez). Then we see them together, living together, her suffering from anxiety, on medication, he solicitous about her, their love for each other. And he proposes a Bucks’ party, planning with his friend Murph to officiate at a wedding ceremony during the party. He invites Irene to come, she at first reluctant, consenting.

The main part of the film focuses on the party itself and the behaviour of each character. It is interesting to note that in the many articles and reviews about this film, everyone uses the word “toxicity”, “masculine toxicity”. The clue from Wake in Fright is significant.

Charley is another friend of Louis from school days. He comes with his partner, Grace, both of them with a Christian perspective. There is an unexpected guest, Sam, a friend of Irene, not quite fitting into the group but participating in the party.

But the most significant guest is Dylan (Ben Hunter), friend from school, living a wild kind of life, recently travelling in Mexico. He is macho, aggressive, expectations of the party, surprised at the women being there, putting pressure on Louis, forcing him to drink, making a speech which starts with praise and then degenerates into an attack, forcing them to play a game, Paranoia, which targets Louis.

There is drinking, there are drugs, and move into strange memories of the past, and some hallucinatory experience, especially for Louis. And, out in the bush, there is a stripper with her chaperone, taunting the men – especially Charley and the repercussions for him.

Sequences are quite vivid but it is over to the audience to piece them all together, the chronology, the reality and the fantasy, evaluate how the men treat the women, Louis’ treatment of Irene, the relationship between Charley and Grace, the dominance of the men, their presumptions, expressions of love but also behaviour of control, psychological violence.

Birdeater is meant to be provocative and it is, meant to be uncomfortable a challenge for the audience to test its own attitudes, especially about current behaviour and masculinity and power.

1. The title, suggestion of birds of prey? Predators?
2. The Australian setting, universal themes? The city, the beach, apartments, countryside, the river the fairy, the setting for the party? The musical score?
3. Comments that the film attacks “masculine toxicity”? The men, their age, backgrounds, education, styles? Attitude towards women? Exercises of power? The Bucks’ party, behaviour, drinking, interactions, secrets, revelations?
4. The different time periods, the opening with Louis and his seeing Irene? The relationship, time together? The plan for the wedding? The party, the invitations? The behaviour at the party, drugs, hallucinations, memories, the audience putting the pieces together?
5. Louis and Irene, her being British, the Visa issue, marriage? Louis, his life, the scar on the side of his face (and the later visuals of his being run down)? The attraction to Irene, the living together, her anxiety, medication, the love, his going out, her being sedated, his being with his friends – and the Betty Boop cartoon? The plan for the party, inviting Irene, asking Grace to come to support Irene?
6. Irene, her personality, relationship with Louis, her past, British, her anxiety, medication? Wary about the party, travelling with Louis?
7. Charlie and Grace, together, Christian background, Grace and their attitude to the party, knowing everyone, interactions with them, support of Irene? The issue of drugs? Charlie and his friendship with Louis, from school days, his behaviour at the party?
8. Murph, friendship with Louis, his wedding licence, the plan for the marriage? His behaviour at the party?
9. Dylan, on the road, the breakdown, his appearance, manner, the past in school, his travels to Mexico, a wanderer, the relationship with Louis, at the party, wanting to force the beer on Louis, his behaviour, a touch feral, his speech the party, benign start, aggressive ending, playing the Paranoia game, tossing the coin, cheating, questions and answers? Drinking?
10. Sam, knowing Irene, the relationship between them, an outsider, participation in the party?
11. The atmosphere and the drinking, the drugs, the driving, going out to the countryside, the stripper and her caravan and protector, the taunts, the effect on Charlie, becoming him? His protesting that he had been a virgin, the issue of rape, Dylan’s sister? His shame, driving away with Grace, confessing, the beginning again?
12. Dylan, in the countryside, the stripper, the return, talking with Murph, Murph and his behaviour during the party, the drugs, sexuality? Lift from Dylan, Dylan abandoning him?
13. The morning after, Louise experiences during the night, memories, hallucinations, memories of meeting with Irene, the accusations she was drunk, targeting her? The drive, his being knocked down, his injuries? The consequences for his relationship with Irene?
14. The driving away, her sleeping, the issue of the medication, his putting it in the bottle of water, the ferry, his going to the toilet, the keys in the car, the ferry arriving – and the film ending? What might happen?

HORIZON. AN AMERICAN SAGA, CHAPTER 1

US, 2024, 181 minutes, Colour.

Kevin Costner, Sienna Miller, Sam Worthington, Jena Malone, Michael Rooker, Danny Huston, Owen Crew Shoe, tatanka Means, Ella Hunt, Tim Guinee, Giovanni Ribisi, Scott Haze, Tom Payne, Abby Lee, Will Patton, Jim Lau , Georgia McPhail, Luke Wilson, Angus McFadyen, Isabelle Fuhrman, Hayes Costner, Michael Angarano, Jeff Fahey, Dale Dickey, Jamie Campbell Bower, David O'Hara and James Russo.

Directed by Kevin Costner.

Kevin Costner has had a long screen career, over 40 years, winning an Oscar for Best Director in 1994 Dances with wolves. Apparel for at relations between Native Americans and those who have come from beyond America. He is a low-key film, Open Range, was praised for its picture of the American West.

For 20 years, Costa has been working on an ambitious project, Horizon, An American Saga, creating an epic story, collaborating with writers, discussions with studios, financing. Finally, the first two chapters have been made, Costner investing his money into his project. At the time of release of this chapter, the third chapter has begun filming for 2025 release.

As might be expected, the saga is vast in scope. It begins in 1859, a printed poster advertising Horizon, an entrepreneur encouraging the building of towns in the West. And this motif, as well as the printing of the poster, recurs during the film. There are many strands of narrative, and’s for a while and audiences wondering how the strands connect. But, as the narrative progresses, we discover the links and connections.

The principal focus is on a settlement in the San Pedro Valley, a father and son taking out acclaim but then killed by the local Apaches. Horizon offers a great deal of focus on the Native Americans, the traditions and beliefs, the invasion/intrusion by the settlers, the feeling of threat, the violent responses, indeed visualising here a massacre and conflagration of a settlement, and the various responses of the white community, the role of the military, independent scouts and trackers, those with a vengeance against the Indian attacks. There are scenes of Native American community life, and the clash between leaders who accept the inevitable incursions of the settlers and those who want to cut them off.

After the massacre and Fire, survivors moved to a fort, the film showing details of life fort, the commanders, working with the settlers, touches of ordinary life, within the outbreak of the Civil War and the young soldiers having to go off to fight.

Audiences may have forgotten about a Montana sequence so early in the film, a woman who shooting old man, her fleeing with a child, the family of a man who shot and who survives, rugged settlers, bound on vengeance, sending the two sons to search for the escape woman and bring back the child.

Enter Kevin Costner himself, riding into the fort, doing business, but encountering a young prostitute who is also a babysitter for a couple in the fort, eager to do business’s

1. An ambitious project? The work of Kevin Costner? 19^th century American history, the American West?
2. The scope of the project, this first chapter, three hours, the introduction to the themes, the range of stories and characters? 1859 into 1863?
3. The cinematography, the landscapes, the deserts, the mountains, the mesas, encampments, the towns, the seasons, the rail links, the Apache communities, dwellings? The epic musical score?
4. The introduction, the title, the advertising for Horizon, settlements in the West, the towns? The opening, father and son, taking the site, observed by the Indians? The arrival of the missionary, the derelict man the ruins, the discovery of the graves?
5. The transition to the settlement, the establishing of a town, perhaps, tense, the community hall, the dance, the characters, the Kittredge family, the return home? The attack by the Apaches, the fights, the deaths, the fire and the conflagration, surviving citizens, the African-American couple, the attack on the home, mother and daughter in the tunnel, the rifle barrel for breathing? Young boy, his behaviour at the dance, not dancing with his mother, staying with his father, sent away to scout, surviving?
6. The arrival of the military, Gephart has commander, age, personality, command? Riordan, his personality, work? The other troops? The burial of the survivors? The rescue of mother and daughter? Moving out to the fort? The establishing of life at the fort, protection,, the mother and daughter, the accommodation for them, the episode of Riordan organising the event for Elizabeth, the mother and her reactions? Signs of settlement?
7. The introduction of the episode in Montana, Lucy and her shooting Sykes, her escape, the family gathering, Mrs Sykes is tough, her sons, serious, yet Caleb and his talking, intervening, erratic? The setting out on a mission to find Lucy? Of the plot left in abeyance for quite some time? Resuming the theme, Lucy becoming the villain, her relationship with Will, Mary (Marigold) a local prostitute, living with them, babysitting? Will and his eagerness to promote Horizon towns, the plan to meet the visitors? Lucie/Ellen and her personality, tough, the encounter with the men, the realisation of the truth, the interactions, realising what was happening, his death? Caleb going into the town to get the baby?
8. The introduction to Hayes Ellison, Kevin Costner character? Riding, his work, into the fort, the encounter with Marigold, her place in the town, with a woman Will, the baby, her flirting, approaching Hayes, the glimpse of the other prostitutes in the town, the hard women of the town, accommodation? Hayes, the baths, following Mary’s invitation, the encounter with Caleb, the to-ing and fro-ing, Caleb and his taunts, the gun, the shootout? Hayes taking Marigold and the baby? Their travels together, the winter, camping, seeing the searches at the rail head, going into the town, possible settlement, Marigold and her note, on the Horizon paper, giving the child to the Chinese? Leaving the note for Hayes?
9. The portrait of native American life? The scouts, the leadership, observing the settlers? The screenplay explaining their stances, the long heritage, the bond with the land? The customs, beliefs? The attack on the camp, the destruction? Is conversation with the chief, differences of opinion, to repel the invaders, the chief realising that they would continue to come? The camps, the women, mothers and children? The group leaving?
10. The group searching for the child, going to the store, the Native American and the boy, Nathanial kept Rick and his presence, the group of trackers, the discussions about scalping Indians and payments? The confrontation in the store, wanting Nathanial to shoot, his refusing? Letting the man and the boy go? The range of personalities, the mediator, those knowing the Apache language? The continued trips, the pursuit of the Indians, the shootout, Nathanial as Lookout, his reactions, shooting in defence, the men and the scalping is, sitting together, the payments hoped-for?
11. At the fort, Riordan and the working in the fields with the others, Frances and the approach of Gephart, is statements, her response, romance? The Civil War, the young recruits, Elizabeth and her sadness of the going, giving them the material is keepsakes, Riordan and his explanation of their importance for the young men when they were being killed? The troops leaving?
12. Col Horton, in command, policies, the discussions with Giffard and Riordan? Staying behind the fort, the military command, watching the troops go to the Civil War?
13. The return to Montana, Caleb’s body, the reaction of the Sykes couple, hard? Still wanting vengeance?
14. The story of the wagons going through cancers, observed by the Indians? The leaders, the range of people, men and women, old and young, the hardships, the slow travel? The proctors, arrogant, his sketching, bespectacled, and her manner, the mug of water, their being rebuked by then we can, the episode with Juliet washing, the leering couple, the rebuke by van waiting, their arrogant response, the drenching rain, the continued travel? And the other members of the contract family in the wagon train?
15. The end of the first chapter, the collage of the various strands of the story, summing up, serving as a preview for the next chapter?

BEVERLEY HILL COP-AXEL F

US, 2024, 118 minutes, Colour.

Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Judge Reinhold, John Ashton, Paul Reiser, Bronson Pinchot, Kevin Bacon.

Directed by Mark Molloy.

Older moviegoers remember and realise that they first met a young 20 something Eddie Murphy as Detroit Cop operating in Los Angeles, Beverly Hills, Axel Foley, and the first Beverley Hills Cop, 1984. There was a sequel. And the third film was released, in fact, 20 years ago, 1994. Could the franchise be resurrected after 20 years? What is the status of Eddie Murphy and film roles by 2024?

The quick answer is that the older fans are very happy to see Axel Foley again, enjoyed Eddie Murphy screen presence, his grin, brashness, ability to take on major criminals. So, it looks as if he will be welcomed by the younger film fans.

In many of the comments, the word nostalgia is used. The first film was such a hit and Eddie Murphy went on to make such engaging films as 48 Hours, Trading Places, Coming to America… As well as having a very successful career with such franchises as Dr Dolittle and the Nutty Professor. But, in more recent times collapse in popularity but a revival within the last 10 years on screen in cinemas and television.

Watching this film, we would think we were back 30 years, Eddie Murphy just the same, absolutely self-confident, grinning and laughing, wisecracks, willing to take on the world, crusading against the criminals. And, for nostalgia so, three characters from the original films return, the police chief played by John Ashton, the partner played by Judge Reinhold, the eccentric manager played by Bronson Pinchot.

But, this time there is Axel Foley’s daughter, estranged from her father, a lawyer in Los Angeles, taking on a client who has been framed by powerful drug dealers, even pushed from a top story garage and her car dangling high above the street. And Axel gets a phone call from Rosewood, Judge Reinhold, which sets him on the course for Beverly Hills, reconciling with his daughter, getting the criminals – headed by a rather sinister -looking and smug-sounding Kevin Bacon.

But, action sequences were the mark of the previous films and, of course, here they are. A robbery is going on at the ice hockey stadium, leading to pursuit, an elaborate car chase, motorbikes, a huge grader and the smashing of cars galore (which, while spectacular, does seem too much of a bad thing). And there will be chases naturally in Los Angeles. And quite a turn with a helicopter falling down, along the streets, a golf course.

In Beverly Hills, Axel makes such an entry, going to Rosewood’s apartment to find him, thugs ransacking the apartment, pursuit and subsequent arrest. Contacting his daughter, Jane (Taylour Paige) who does not want anything to do with him. And there is also her former boyfriend in the Department played by Joseph Gordon-Levitt. And his old boss, Taggart, John Ashton.

Not difficult to see where the plot developments will go – confrontations with the smarmy Kevin Bacon, his thugs, thwarting drug deals, rescuing Rosewood, and all the time the ups and downs with his daughter.

Which means then that this Axel Foley outing is what audiences were expecting, hoping for – and, most seem to be happy with the outcome. And another one?

HIT MAN

US, 2023, 115 minutes, Colour.

Glen Powell, Adria Arjona, Austin Amelio, Retta, Sanjay Rao, Molly Bernard, Evan Holtzman.

Directed by Richard Linklater.

With a direct title like Hit Man, we know what to expect. And, the expected happens, but, of course, with some differences.

This is a film by prolific filmmaker for more than 30 years, Richard Linklater, based in Austin, Texas usually, though this time in New Orleans. Linklater was able to explore relationships with his Before Trilogy, trace the development of a child to adolescence over 12 years in Childhood, and is always able to blend comedy with seriousness.

This time, in collaboration with his star, Glen Powell (emerging into prominence with Top Gun Maverick, Anything But You, Twisters), he has gone for offbeat comedy.

Powell is playing a character based on a real-life person (though Linklater emphasises that they have added the murders which didn’t happen in real life!). Gary teaches at the University, an academic who enjoys his work. However, he is also employed by the local police with their work in profiling as well as entrapment of a range of citizens who are searching to employ a hitman. He is open to change his persona, quite inventively, and an enjoyable collage of characters, men and women, old and young, rich and poor, make rendezvous meetings to hire him. Then the collage of them all being arrested, astounded, in prison.

But, this kind of story needs a femme fatale. She arrives in the form of Andrea Arjona, wanting to get rid of her obnoxious husband. Gary is in the character of Ron, tough, reliable hitman, but, he falls for her. Fans of crime writers may be on the alert, especially for film buffs, and though the work of James M.Cain and Raymond Chandler. Chandler adapted Cain’s novel, Double Indemnity, 1944, an archetypal story of the victim of the femme fatale.

This is all interestingly and entertainingly played out, scenes with the aggressive and jealous husband, a colleague of Gary who is not above some blackmail, some very pleasant police officers with integrity, and, then the death of the husband. Whodunnit?

Because of the complications when the wife he is the news of her husband’s death, when Gary has to unmask his hitman facade, will it be a happy ending?

That doesn’t happen in this kind of thing – but, spoiler alert, some unanticipated, surprising happy ever after!

1. The title? Expectations?
2. The New Orleans setting? Homes, police precincts, college? Clubs, the streets? The musical score?
3. The screenplay based on actual characters and events – but the screenplay adding the killings? Stability of the plot, the professor, schools in undercover work, consequences?
4. Gary, in class, the students, themes and studies? Is private life? His connection with the police? The set-ups, his skill in reading characters, the arrests?
5. The squad, setting up criminals, the variety of settings, the variety of characters, the collage of interviews, Gary and the various characters, the discussions, the entrapment? The consequences?
6. The squad, there were, confidence in Gary? Jasper, blowing his cover? Calling in Gary, setting up the character of Ron? Diffidence, his success, the performances, the affirmation? Jasper and his surliness?
7. The situation with Madison, his character, Ron, the meeting, listening to her, falling for her, her story? Giving her advice? The relationship? His cover? Do with her husband, the issue of divorce, his manic aggression, hatred for Madison?
8. The irony of his contacting Gary for a killer against Madison? The revelation? Jasper and his encounter, something of the situation, action, blackmail?
9. Madison falling in love with Ron, reaction to his being Gary? The death of her husband, Gary and his suspicions? The squad, the pressure on Gary to trap Madison? His going to the house, his double game, indicating answers for her, her getting away?
10. The epilogue, their being together, getting away with murder?
11. The blend of the serious and comic?

SIDONIE AU JAPON/ SIDONIE IN JAPAN

France, 2023, 95 minutes, Colour.

Isabelle Huppert, Tsuyoshi Ihara, August Diehl.

Directed by Elise Girard.

What happens when one visits a new country, experiences a different culture, brings one’s life experiences and discovers more about oneself and the need for change?

This is another star vehicle for Isabelle Huppert who has been top-lining films for almost 50 years, a great talent for embodying a variety of roles. This time she is a writer who has not written for some time but is invited by a Japanese publisher to come to Japan for a week to promote,  for interviews about the Japanese translation of her first book.

We see her late at the airport, but the plane delayed, uncertainty as to whether she should venture to Japan or not. She does, somewhat bewildered on arrival, her luggage examined, then met by the publisher himself, quietly imposing figure, Kenzo (an dignified Tsuyoshi Ihara) and her unexpected journey begins.

Despite her education, she is very awkward in the Japanese situation, exemplified by her uncertainty about bowing (and her awkward bowing), the fact that Kenzo took her purse as well as her suitcase, and her wanting the purse back… There is also the language situation, her not having any Japanese, some conversations in French, sometimes having to resort to English.

We’re not quite sure what to make of Sidonie, perhaps wondering what we would do in our first visit to a different culture. But, she manages the interviews, the revelation that her writing was promoted by her late husband, and her stopping writing the result of grieving at his death. And, she gradually gets to know Kenzo, step-by-step his revealing something about himself, non-communication with his wife, being busy, a loner. They go on tours around Japan – very engaging for an audience wanting to see more of the country and culture – the cities, temples, coast, the islands.

But there is a lot more to Sidonie’s Japanese experience. In Japan, there is a culture of ghosts, ghostly presences, the dead in some kind of communion with the living. Suddenly, Sidonie, glimpses her husband, smiling (August Diehl). He keeps appearing and disappearing, communicating with her, tantalising, sad memories, some jokes with her even laughing and giggling. And, she wonders, and we wonder, what this could mean.

What it does mean, of course, is that Sidonie is able to come to terms with her husband’s death, her grief, its paralysing effect on her life, the fact that she was encouraged by him to write, that she loves to write, that she can begin again. There is the intimacy with Kenzo but could it be something permanent? Or not?.

This is the story of Sidonie in Japan, and it is an invitation for us to travel into the meaning of our own lives.

1. The title focus? A portrait of Sidonie? Her experience of Japan, culture and traditions?
2. The focus on Japan, audience expectations, awareness of Japanese culture, the landscapes, the cities, the population? The opening visuals of the city, the skyscrapers? Then the move into the towns, the countryside, the sea? The beauty of Japan, the landscapes, the water, islands? The meetings, temples, Buddhist traditions? The musical score, the piano themes, pensive, excited?
3. The low-key of the film, pensive, meditative, gentle exploration of the awakening consciousness in Japan?
4. At the Paris airport, the plane delayed, Sidonie uncertain? The flight, arrival in Japan, feeling lost, the guards and directions, the luggage? Her meeting with Kenzo, quiet, dark glasses, somewhat remote, carrying her luggage, taking her bag, her trotting afterwards, taking back the bag? The awkwardness in bowing, his advice to not bow? arrival in the hotel, settling in? The prospect of her book tour?
5. Her background, the death of her parents in the accident, her survival and consciousness of this, her story of the meeting with Antoine, the bonding, love, marriage, the sadness of his death? His encouraging her writing, her first book, further writing, his death, not writing anymore? The Japanese translation of her first book, the invitation to Japan?
6. Sidonie and her getting used to Japan, French, English, translations, the interviews with the journalist, the questions, her responses about her life, surviving with her writing? The signing of books? Admiration for her?
7. The sudden appearance of Antoine, the searching for him, the mystery of the shop windows, the window open, the mess on the floor, her complaints to reception? His continued appearances, smiling, beginning to talk, their communication, her searching for him, not having dinner with Kenzo, wanting to go back to Antoine? The bonding, their talking, issues of ghosts and presents, death? His gradual fading? His mischievous behaviour, in the bath in the shower, and her giggling, the discussions with Kenzo, his explanation of ghosts in Japan, sense of presence?
8. Her coming to terms with his presence, with his death, with her happiness, the dream at her kissing him and Kenzo?
9. The travelling together, the islands, the exhilaration, the shared experiences, the bonding?
10. Kenzo, gradually revealing his life alienation from his wife, his working, admiration for Sidonie, being with her, the travelling together, the long close-up on their hands, touching, communication, the use of a succession of stills for the sexual encounter?
11. The effect on Sidonie, the six days in Japan, opening her eyes to different perspectives, cultures, spiritual beliefs, coming to terms with her life after death of Antoine, her beginning to write again?
12. The farewell at the airport, her going back to France – and the last close-up of Kenzo at her departure?

99 MOONS

Switzerland, 2022, 110 minutes, Colour.

Valentina D Pace, Dominik Fellmann, Danny Exnar.

Directed by Jan Gassmann..

A blogger wisely remarked that this film will get more favourable responses from film critics than from the average audience.

The 99 moons of the title indicates period of time over which the action takes place, 99 months, over 8 years…

In terms of plot, this is a story about a man and woman and the relationship, varying degrees, intensity, on-off, absences, encounter after a long time.

The writer-director has noted that this film came after his own personal experiences. At the beginning, it is a sex, sexual story, moving more into some personal encounters, touches of friendship, all the while erotic, but then it develops into relationship, some love, but the two people having completely different worlds and so separation.

While this is a film about a relationship and sexuality, it is also a story about power and influence. In fact, as the film begins, it is the woman who has the power. She is confident in her work, in disaster management and science at a world level. She hires men for violent and brief sexual encounters, his being masked, rough, and then she abruptly leaves. Later she encounters the man who works in a bar, serves is one socials. The same activity but it has more than effect on him than on her.

With the sexual beginnings, there is some kind of intimacy, some possibilities of friendship, he having the more needs – but her giving up an overseas appointment to be with him.

One of the difficulties for many audiences is that the two characters are quite unsympathetic, difficult to identify with.

And, so, the various moons pass. She continues her career but he finds a new life, active, out in the forest, working with his hands, some kind of fulfilment. Whether this means the relationship cannot last, it doesn’t.

The film focuses on the woman, her work, her colleagues, her competence, her marriage to one of the executives, the celebration – and the man appearing as a waiter. She makes contact, discovers he is married with a child, continuing his work with his hands.

And so, the question, will they meet again, make the sexual contact? They do – and the question of whether this is something of a new beginning or, more probably, it is the end.

The cinematography is very dark times, too dark – perhaps not enough moonlight!