Displaying items by tag: Peter Malone's Movie Reviews

THE WATCHERS

US, 2024, 102 minutes, Colour.

Dakota Fanning, Georgina Campbell, Olwen Fouere, Oliver Finnegan, John Lynch.

Directed by Ishana Night Shyamalan.

We are in the west of Ireland, an isolated forest, a young man stumbling through, climbing and falling from a tree, disappearing. Seems a reasonable start for an eerie terror film, drawing on some of the old tales of fairies, halflings, ancient folk living beneath the surface and emerging to frighten – even in the 21^st-century.

Dakota Fanning plays an American, Mina, working in a shop in Galway, running away from her sister and the memory of the death of her mother, full of guilt (shown later in the film with startling detail). When she drives to the edge of the forest, audiences will be, rightly, apprehensive. We have seen the signs, Point of No Return. Mina is lost but is urged by a strange old woman, Madeline (Olwen Fouere) to seek refuge in a mysterious concrete bunker there in the middle of the forest.

The film is based on a novel by A. M. Shine, from Western Ireland himself, intrigued by the stories of the strange folk, an academic who has pursued serious studies in writing on his themes. In fact, listening to Madeline explain herself and her research, instantly echoing the career of Shine. And, it emerges that there has been an academic investigating these themes, responsible for the bunker, leaving a lot of records of his research. In the flashbacks and videos, he is played by veteran Irish actor, John Lynch.

Mina finds two others in the bunker, the young man, Daniel (Oliver Finnegan) is one saw struggling in the opening and a young woman, Ciara (Georgina Campbell), who has been separated from her husband who keeps pounding on the door of the locked bunker. The four are trapped in the forest, cannot escape, forage in the forest, but also watch television programs in the bunker.

And, The Watchers themselves, eerie characters, sometimes glimpsed, skeletal, but frequently heard, especially when huge flocks of black birds fly overhead and swoop. And the drama as the audience sharing the mystery, the quest, the hopes for escape, with Mina.

For movie buffs and fans of writer-director, M. Night Shyamalan (remembering The Sixth Sense, Signs, The Village), he is the producer here and the writer-director is his daughter, Ishana Night Shyamalan, and she is certainly following her father’s lead, atmosphere, tone, mystery, suspense, and twists in final explanations.

1. Title and expectations? Eerie? The screenplay based on the novel by A.M.Shine? Themes and atmosphere?
2. The work of the director, in the footsteps of the career of her father?
3. Irish folklore, over the centuries, the strange people, fairies and variations, legendary stories, ghostly, frightening people, appearances and disappearances…?
4. The opening, Daniel in the forest, his age, alone, the Point of No Return signs, the night, as stumbling, climbing the tree, falling, the huge flock of birds? His disappearance?
5. Mina and her story, American, in Galway, running away, the later flashback of the drive, the girls, her wilfulness in the car, her mother, the crash and death? Phone calls from her sister? Working in the shop, going out on the town, the black wig, flirting? Job, the bird, the cage? Relationship with the bird? Driving through the forest?
6. The car breaking down, the signs, wandering, getting lost, the disappearance of the car, encountering Madeline, her urgency, the warnings? The audience sharing Mina’s bewilderment?
7. The bunker, finding Daniel, Ciara and the disappearance of her husband, the explanation of their being trapped, The Watchers, stage, the glass, the Watchers outside, observing the humans – and the motivation? The humans and their performance?
8. Beginnings of explanations, Madeline telling the stories, life in the bunker, hunting outside, food, and the irony of the television with the reality shows? Time passing? Discussions of escape?
9. John at the door, voice, the plea, resisting? The Watchers and their taking over the humans like John?
10. Mina and her daring, going down the hall, the rope, finding the bicycle and other equipment? The threats and destruction with the cycle?
11. The discovery of the basement, the technology, the computers, the files, the videos with Kilmartin explaining, his obsessions, research?
12. The escape plan, Madeline leading, running through the forest, the pursuit, getting out?
13. Mina and return to her flat, the escape, having Kilmartin’s files, going to the University, going to his office, taking the material, going to see Ciara, Madeline, the Watchers and their attempts to take over?
14. The explanations, Kilmartin, Madeline, part human, part Watches, the plan, on the women, the taking possession of the young girl, wandering the city of Galway, taking her stand outside the window? But Mina reunited with her family?
15. A film for the Irish audience, those intrigued by this kind of folk story and legend?

THE PEASANTS/ CHLOPI

Poland, 2023, 115 minutes, Colour.

Kamila Urzedowska, Robert Gulaczyk, Miroslav Baka

Directed by DK Welchman, Hugh Welchman

The Peasants is based on a novel of this name by Nobel prize winner, Władysław Reymont, it is set in a village in Poland set at the turn of the 19^th and 20^th centuries.

The characters and plot of the film are reminiscent of many of this kind of village story, a focus on a young woman, having an affair with the married son of the richest landowner who then decides to marry her, taking land from his son and daughter in law and bestowing it on his new wife. There are various family disputes and insults, the death of the old man as he goes out in the delusion to sow his fields, disputes with landowners about the cutting down of the forest, the intrusion of Russian troops.

The structure of the film consists of the four seasons, the sowing and harvest of the fields, with summer having a severe drought. There is a further complications between the relationships, the young woman more promiscuous, her lover turning violent against her, and the townspeople then turning against the young woman, humiliating her, banishing her from the town.

However, the most striking aspect of the film is its technique, the husband and wife team having use this technique for their documentary about Vincent Van Gough, Loving Vincent.

A Wikipedia description of the process: The film was produced using the painted animation technique over the production of five years, similar to the Welchman duo's previous film, Loving Vincent. Initially the film was shot with the actors, and then more than a hundred painters in four studios in Poland, Lithuania, Ukraine, and Serbia painted oil paintings based on the shots, which became frames in the film. Animators then worked to supplement the paintings to make the whole film seamless. The artists spent over 200,000 hours in total working on the project. The film features works from the turn of the 19th and 20th centuries, with an emphasis on Young Poland artists.

Which means that the dramatic and melodramatic aspects of character and plot are familiar enough but the film is often extraordinary to look at.

1. The Nobel Prize winning novel? What adaptation? The seasons? Life in the Polish village?
2. The impact of the technique, the live action, the oil paintings based on the shots? The overall effect?
3. The recreation of the village, costumes, homes, fields, the streets, church? Atmosphere?
4. The background Catholicism? Yet the behaviour of the citizens? The priest, the rituals, talk of confession, Easter celebration?
5. The focus on the four seasons, the light, the visuals, the fields and harvest? The musical score?
6. Jagna at the centre of the film, with her mother, her age, her cutouts and their skill, the relationship with Antek, his being married, his wife’s reaction, his father’s reaction? The furtive nature of the affair? Yet people knowing? The proposal by Boryna, widower, wealthy, relationship with his son and daughter-in-law, ousting them, giving the land to Jagna, the wedding, family resentments, the couple carrying on the affair?
7. The death of the old man, the fields, his funeral, the issue of the forests, the landowners, the Village people reacting, the intrusion of the Russian troops? Antek and his arrest?
8. The daughter-in-law, her strong mindedness, insulting Jagna, the return of her husband, his continuing the affair?
9. Work in the village, the farms, the carpenter and his attraction to Jagna, offer of marriage? Her reactions? The return of Antek, his violence, the rape?
10. The harsh summer, the reaction of the village, the young priest and her flirtation, his mother’s reaction, the people gathering together, the protest, the torment and torture of Jake and, ousting her, and tech not intervening for her, covered in mud, washing, and going out to her future?

DIVERTIMENTO

France, 2023, 110 minutes, Colour.

Oulaya Amamra, Lina El Arabi, Niels Arestrup, Zinedine  Soualem, Nadia Kaci, Laurent Cirade, Martin Chapoutot.

Directed by Marie-Castille Mention-Schaar.

A film for music lovers. And, for music lovers who might be intimidated, a great range of music throughout the film but some well-known pieces, Ravel’s Bolero, Prokofiev and Romeo and Juliet, Dvorak’s New World Symphony, Schubert, Mozart…

And music pervades the film. It is based on actual characters and events and, for those not aware of the characters, a recommendation to do some googling after watching the film to discover more about them and their huge musical achievement.

Divertimento opens with Bolero, a family which has migrated from Algeria to the Paris suburbs, watching television and a famous conductor conducting Ravel. Zahia, one of the couple’s twin daughters, her hand moving in the rhythms, some movements of conducting. 1985. Then a transition to 1995, the twins are 17, Zahia, the older by some minutes, studying music, the viola, even conducting a local suburban orchestra. Fettouma, the younger, is a cellist. And the father loves music.

The film focuses on a short period, the two sisters going into Paris to a Conservatorium, but immediately looked down on, mocked by wealthier students (who may not even want to be professional pianists just pleasing their parents), racial insults, poverty insults, suburban insults. And, when it quickly emerges that Zahia wants to conduct, ridicule about female conductors, so few in the world, so poor in their profession…

Zahia is strong-minded, strong-willed, to say the least. Not only does she persevere, standing up to the star conductor student but eventually falling victim to preference for male conductors, she asks a question of a celebrated conductor, Sergiu Celibidache (veteran Niels Arestrup) who makes comments about female conductors not persevering but shows great interest in Zahia, inviting her to his ensemble, critical, humiliating, yet encouraging, explaining…

Part of the drama of Zahia’s enthusiasm is her wanting to have her own orchestra. She is only 17 and receives a great deal of criticism. But, she perseveres, practising conducting Prokofiev with a piano student, then persuading some of the Paris students to come out to her suburb and be part of the orchestra, preparing for a competition, playing Saint-Saens’ Baccarole. But, she is depressed when her sister is not awarded a gold medal at her exam (though there is a pleasing sequence when her critic presents her with a marvellous cello) and she herself is defeated by the male student in the conducting exam.

The sisters call their orchestra Divertimento – and it is a commitment to their suburban community, especially with children, and a Down Syndrome girl learning to cello strings I use of colours on each string, and colours on the music sheet.

Some emotional scenes, a clash with her father, support from her sister, a challenge from the veteran conductor, his urging her to not isolate herself but to be one with the orchestra. The ending might seem over happy – and it certainly is happy, conducting, the orchestra in the Street, suburban onlookers, and a vigorous rendition of Bolero.

Which is not a fanciful ending at all when one knows about the success of the two sisters, their orchestra, divertimento - and, once again, the recommendation to do some googling to find out what they have achieved.

1. The title? Two sisters, their orchestra, the film and the establishing of the orchestra, the aftermath, the great success, music, charity support?
2. A true story, the two sisters and their family, Algerian background, in Paris, the suburbs? Local music education, orchestra? Paris and the Conservatorium? The world of music education?
3. The musical score, opening and closing with Bolero, the New World Symphony, Bacarolle of Saint-Saens, Prokofiev, Schubert, the range of the musical score? The music lovers? For those not so familiar with classical music?
4. 1985, the family, television, Bolero, the conductor, Zahia and her hand movements?
5. 1995, the suburbs, the family, the father and his love for music, the encouragement of the mother, Fettouma and the cello, Zahia conducting, the viola, fellow students, the social work and supporting the families, the children, the Down syndrome girl and the colours for the strings and the musical score?
6. The transition to Paris, students, wealthy, arrogant, this sneering at the girls, the response of the class? The lead conductor and his skills, rivalry with Zahia, have you been given opportunity, conducting, the mockery?
7. The visit of the conductor, his reputation, age and experience, his commentary, criticising the conductor who is not friendly with the orchestra, Zahia her question, his interest, his comments about women conductors, few and not persevering? Her going to the orchestra, his interest in her, the criticisms, humiliating, challenging, in private? His continued challenge and support?
8. The exams, the critical supervisor of Fettouma, her skill, not getting the gold medal? Zahia, her practice with the Prokofiev, the pianos, conducting, the exam, her losing out to the young man?
9. Her disappointment, reaction to her father, sulking? The challenge from the conductor?
10. Forming the orchestra locally, going to Paris, the students getting the train, the challenge of going out into the suburbs, eyes opening, performance, practice?
11. Zahia giving up, the challenge to move on, the orchestra in the street, all the students, the neighbours watching, Bolero, her coming out, conducting, achievement?
12. In the aftermath of the sisters and their career?

BAD BOYS, RIDE OR DIE

US, 2024, 115 minutes, Colour.

Will Smith, Martin Lawrence, Vanessa Hudgens, Alexander Ludwig, Paola Nunez, Eric Dane, Ioan Grffud, Jacob Scipio, Melanie Liburd, Tiffany Haddish, Joe Pantoliano..

Directed by Abdil el Arbi, Bilall Fallah.

Quick review: probably want everybody was expecting. So, it all depends on audience expectations!

Young audiences who enjoyed the original Bad Boys movie in 1995 are now approaching 50 (or have reached it). Audiences enjoyed a sequel in 2003 but there was a 17 year gap before the third Bad Boys movie in 2020. And, here they are again, Martin Lawrence a bit larger than life, playing a grandfather, Will Smith having an adult son, Armando, in prison for murder and drug dealing, who appeared in the third film.

So, that is the setting and the expectations – and, quite a number of the cast of Bad Boys 3 reappear, including Joe Pantoliano who has been in all four films as Captain Howard, who died in the previous film, is still dead but appearing in videos he had made as well as in some near death experiences for Martin Lawrence’s Markus.

In the middle of the film, Will Smith’s Mike has a panic attack and Marcus slaps his face, vigorously. So, reference to the famous Oscars slap by Will Smith on Chris Rock. Clearly, it is now time to look at the slap in perspective, an acknowledgement, some rehabilitation.

So, we get to know the Bad Boys once again, the jovial repartee and banter. Marcus has a heart attack, near death experience which convinces him that he cannot die now. And it happens at the wedding when Mike surprisingly becomes a husband again. But, we get into a whole lot of drug dealing, cartel brutality, the framing of the dead Captain Howard, his police daughter angry with the Bad Boys, their being targeted by her as well as by the cartel leaders, especially the ruthless Joe McGrath, played with sinister relish by Eric Dane.

As expected, there is a lot of action, helicopter action and crash, small plane crashing through an abandoned amusement park building, lots of shootouts, lots of fights, lots of Bad Boys heroism.

And, there is quite some sentiment, nostalgia and memories, friendships, saving lives, and emotions all the next generations.

Audiences can congratulate themselves because as soon as a smarmy character steps onto the scene early in the film, we are sure that he is going to turn out to be the smarmy contact with the cartels. And, as the climax builds up and there is reference to a giant albino alligator at the abandoned amusement pier, we are sure that his villain is going to end up in the alligator jaws. Not a  spoiler because we can work that one out for ourselves!

With its immediate box office success and Will Smith restored to popularity, it looks as though this Bad Boys film was what worldwide audiences were looking for.

1. The popularity of the films and stars for almost 30 years?
2. The Miami settings, the police, the FBI, the Mayor’s office, the cartels, crime, framing, the criminal situation?
3. Audience respond to Mike and Marcus, over 30 years, their friendship, repartee, the decades, getting older, Marcus as husband and grandfather, the extended family, Mike, his relationship with a Mondo, as marrying Christine? Their police work?
4. The early part of the film, getting to know them again, Mike and his wedding, Marcus and the collapse, the near death experience, Captain Howard, believing he could not die? Walking through the traffic? The visions of Captain Howard? Reassurances? Reassuring Mike? Mike and his disbelief? Mike and his own panic attacks, Marcus and the slaps?
5. The Mayor, audience suspicions, too smooth? The relationship with Rita? His later dealings, smooth, his gradually being exposed, turning on Rita? His attempt at escape, the alligator?
6. The cartels, McGrath, the signing over the money in Captain Howard’s account, his being dead, named blackened, his daughter and granddaughter? The daughter and her blaming Mike for her father’s death? The revelation of the videos, his explanations, the clues, the clue about Fletcher, going to his club, the attack and the shootings, the image of his artwork, opening up the videos, Captain Howard and his explanations? His forgiving them?
7. The targeting of Mike and Marcus? Their own investigations, Armando in prison, the attack on him, the fight, the escape, the Mayor’s agreement, the helicopter, the information, the fight, the crash, teaming up with Dorn and Kelly, the equipment, Armando identifying McGrath? His being on the helicopter?
8. The evidence, persuading Rita, her reaction against the Mayor? Howard’s a daughter, the abduction of his granddaughter, a relentless pursuit of the couple?
9. The buildup to the confrontation, the abandoned pier, the giant alligator, the mere trying to escape, the plane crash? Fighting, the shooting? Final confrontation with McGrath?
10. The happy ending, the barbecue, the banter, Reggie and his heroism in saving the family, and his getting to grill chicken?

THE STRANGERS: CHAPTER 1 

US, 2024, 91 minutes, Colour.

Madeleine Petsch, Froy Gutierrez, Ryan Brown, Richard Brake, Ema Horvath..

Directed by Renny Harlin.

Already in 2008, with a sequel in 2018, this story of home invasion, The have strangers, created by Bryan Bertino, had become a small successful franchise about home invasion, terror from masked  intruders – with a touch of slasher.

The story is reprised here, allegedly based on a true story but the writer indicating that he was drawing on episodes from his town while growing up. This time the decision was made to make three films, three chapters, somewhat akin to a miniseries on television but several months in between release.

Even to those who have not seen the original films, the material is fairly familiar, a young couple celebrating five years together, travelling through Oregon to a job appointment, on a side road, a small town with some suspicious if not sinister characters, a diner, a garage manager, their car breaking down, accommodation giving them in an empty house in the woods. Just the setting for home invasion!

The masked intruders are direly sinister, grimacing smiles on their masks, suddenly appearing and disappearing, and increasing menace, the couple escaping out into the woods but being caught, some vicious torments, death…

And the young woman finally seen in hospital recovering… And the audience deciding how much they want to see the next chapters when they are released. For terror fans, always interesting. But for the wider audience, something of a take it or leave it attitude.

1. The stories previously filmed, successful? Remakes? In three parts?
2. A terror story rather than horror?
3. The opening, the businessman, in the wilds, the attack, axe wielding, his death?
4. Maya and Ryan, five years together, driving through Oregon, to Portland, her job? Their chatter? Audience interest in them? Off the main road, the kiss and the near accident? Arriving in Venus, the garage, the diner, Ryan and his superior manner, Maya making peace, Shelley and her giving them the lift, the manager of the garage, the car not starting, Ryan saying it was a scam, Maya’s reaction, the information about the B&B?
5. At the B&B, content, the knocking on the door, and in shadow, the further noises, Ryan taking the bike to the diner to get food, the reaction of the locals? Maya, having the shower, the noises, the woman at the door, sense of presence, seeing a person in a mask, Ryan returning?
6. The buildup of atmosphere, sudden noises and shocks, people in the house, Ryan, the gun, shooting the electrician by mistake, the reaction, the men, the women all with masks, capturing Ryan and injuring him, his telling Maya to go into the woods, her hiding, the pursuance, catching her, tying her up, Ryan stabbed, her being stabbed?
7. My having called the police, the three strangers disappearing in their car?
8. Maya, recovering in hospital? Sufficient audience interest to want to know what happened?

MONSTER

Japan, 2023, 127 minutes, Colour.

Sakura Ando, Soya Kurokawa, Eita Nakayama,.Hinata Hiiragi.

Directed by Kore-eda Hirokazu.

A Japanese film with a title like Monster might seem to indicate another Godzilla confrontation. But, no, the monster of the title is the monster in each one of us and its dire effects on ourselves and on those around us.

In fact, this is a film which can be highly recommended. And, it might bring to the minds of those who value Japanese cinema, Akira Kurosawa’s film Rashomon, with its technique of telling a story from the different points of view of the central characters, some perspective shared, other perspectives very different.

Monster opens with an apartment block on fire, a young boy, Minato, watching with his mother, Minato intrigued by the death of his father and his belief in some kind of reincarnation. As the drama unfolds, we find Minato bullied by a teacher, friendly with another young student, but then the focus on his mother and her complaints to the school staff, their seemingly detached apologies, her threatening lawsuits. Already, plenty of themes, family, school, education…

And then we return to the fire, this time focusing on the school teacher accused of bullying and retracing of some of the events with which we are now familiar, but seen from the teacher’s point of view, a different perspective on the school staff and their handling of the situation, especially the principal’s granddaughter has been killed in a home car accident. And, a different perspective on the bullying.

With a return to the fire again, the screenplay has become quite intriguing, a puzzling over the teacher and his behaviour, allegedly stating that Minato had a pig brain – but this harshness actually spoken by Minato’s little friend’s father about his son, a demanding man who wants to make sure his little son is truly a man. So, this part of the film focuses on the two boys, their friendship, taking refuge in a converted railway car, enjoying each other’s company, and a nice scene between the school principal and Minato, her trying to heal his anxieties.

And, we realise by the end, that this is also a film about friendship, the friendship between the two boys, the emphasis on being masculine, the possibilities of an incipient gay relationship and a dramatic climax in which the teacher and the mother search for the boys in an intense storm and landslide.

We often say that there are many facets to the one story – and Monster persuasively reminds us of this.

The director has made a succession of fine films over the decades, frequently focusing on family relationships, sad relationships – and even the bizarre family in his Shoplifters.

1. The title? Misleading – audience memories of Godzilla? Monster here and its symbolic meaning?
2. The Japanese island, the views, mainland, the sea, the skyline, the burning building? Homes, school? The hiding place, the reconditioned carriage? The countryside, foliage, waters? The musical score?
3. The complexity of the plot, in three acts, the different perspectives on the same story and characters – and memories of Kurosawa’s Rashomon.
4. The first act, the opening with the fire, mother and son watching, the conversations, moments of suspicion about the cause of the fire? Minato, his age, the dead father, his preoccupation about reincarnation, speculations about animals and creatures in return, the teacher’s comment about having a pig brain instead of human? A troubled boy? At home with his mother, the scenes of her at the drycleaning business? Minato seeing the teacher who had told him of the pig brain? The mother, going to the school, demanding a meeting with the principal, the impact of the various meetings with the staff, the principal mourning the death of a grandchild, stern, immobile, the accused teacher and his apology, courtesy and bowing, the other teachers? The mother and her dissatisfaction, legal action? The boy in the car, his getting out, her concern, his not coming home, finding the bike, the search in the drain, hearing Minato asking who was the monster? The boys at school, the teacher, the scuffle, injury to his ear? His friendship with Yuri?
5. The second act, the return to the fire, the point of view of the teacher, new to the school, his age? The comment about his relationship with the escort? The audience seeing his relationship? His apartment? Seeing him at the school, the scuffle with Minato, the situation, the pranks, Yuri as victim? The different perspective on the staff, suspicions about the principal and her husband take their place in prison for the accident? The school’s reputation? The staff meetings, the planning of the meeting with the mother, planning the apology, the stonewalling?
6. The third act, the focus on Yuri, his age, size, the scenes with his father, his father wanting him to be a man, the tough father and his brutality? His being the origin of the comment about pig brain, accusing his son? The boys at school, small, picked on, the pranks, Minato defending him at school, the true nature of the scuffle with the teacher? Minato lying? His friendship outside school, Yuri showing him the courage, the carriage done up, pretending to drive it, their enjoyment together? The surfacing of the relationship, the age, changes of puberty, sexual attraction, Yuri, the expectations of being a man? The storm, the amount of water, the mother combining with the teacher, their search?
7. The principal, the encounter with Minato, her sympathy, the musical instruments, her past, blowing out the worries? Helping the boy to understand himself better?
8. The audience putting the different perspectives together, the focus on the night, his preoccupations, father and reincarnation, relationship with his mother, with a teacher at school, with Yuri, to acknowledge the sexual attraction? Yuri, his father, allegedly curing his son, Yuri saying he hadn’t, the companionship and the courage? The truth about the incident at school, the teacher, the staff?
9. Going back to the title, the nature of a monster, imagery of the pig brain, the macho demands of the father, each of the characters with the touch of monster?

THE GARFIELD MOVIE

US, 2024, 101 minutes, Colour.

Voices of: Chris Pratt, Samuel L.Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillen, Snoop Dogg.

Directed by Mark Dindal.

Garfield the cat.

Once upon a time, the 1970s, Jim Davis created the cartoon, soon on television, computer games, Garfield. Then upon a time, 20 years ago, two feature films with Bill Murray as the voice of Garfield. Now upon a time, 2024, a big budget animated feature with a strong voice cast led by Chris Pratt as Garfield.

Garfield has been described as “greedy, but with a heart of gold”. On the evidence of this film, “gluttonous” (and the fastest gluttony we have ever seen on screen) would be more appropriate. And, as regards the heart of gold, this is not immediately evident, Garfield being very smug and self-satisfied – though, a bit of a spoiler, he is finally redeemed, glimpses of his potential heart of gold.

The story does go back to Garfield when little, abandoned by his street-cat father, Vic (Samuel L.Jackson), and the hungry little creature plaintive at the Italian restaurant window where his about-to-be strong friend, Jon (Nicholas Hoult) is having a lonely meal, opens the window, in comes Garfield and the pizza immediately and instantly munched! The beginning of a beautiful friendship.

Jon and his engaging little dog, Odie, have long been popular in the cartoons. Jon, is the most tolerant of owners, and Odie the most generous of friends, setting up Garfield with heaps (understatement) of food, comfortable armchair, watching Catflix, not a care in the world.

Where could this story possibly go – actually, into quite a lot of action and plot, the story Vic and his entanglement with a British vanity ring cat, Jinx (Hannah Waddingham), a plot to steal a milk truck, a tough police chief called Marge Malone (Cecily Strong), a bull in love (Ving Rhames) and Jinx’s thugs. In fact, plenty of action, the truck getaway, police pursuit, and everyone on a train hurtling towards a bridge.

The emotional key to the story is Garfield’s resentment towards his father leaving, his discovering more of the truth about Vic, reconciliation and happiness – and plenty of food with Jon discovering that he had paid thousands of dollars for drones with food to repel the enemy on the train!

(Which means that this reviewer enjoyed a lot more of Garfield than anticipated!)

IN RESTLESS DREAMS: THE MUSIC OF PAUL SIMON

US, 2023, 209 minutes, Colour.

Directed by Alex Gibney.

With the title quote from Sounds of Silence, and Paul Simon immediately named, and with directors, Alex Gibney (more than two decades of outstanding documentaries), we know where we stand and what we want to see and hear. Actually, that may be true of older generations (this reviewer included and overhearing on entering the cinema someone noting that he was the only one under 50!). But, this is an opportunity for younger audiences to get to know and appreciate Paul Simon and his music.

And, we get our money’s worth, music, lyrics, career and life, and the film runs 3 ½ hours.

Alex Gibney opens his film in 2021, the year that Paul Simon turned 80, visiting him at his home and studio in Texas where he lives with his wife of over 30 years, Edie Brickel, support and collaborator. Simon explains that he had a dream in 2019 which had influenced him to work on a poetic ensemble of songs, Seven Psalms – the film returning throughout the history of Simon’s career to the studio, to the presence of trumpeter Wynton Marsalis, friend and collaborator, the creation of the lyrics, the ways of creating the music, specific sounds, a choir, so that by the end of the film, this work is complete.

And, of course, throughout, we are returning to the chronological development of Paul Simon’s life and career, from Queens, New York, Jewish background (though, interestingly, no religious influence specifically on his lyrics all music), a friendship from school days, aged 10, with Art  Garfunkel, the early singing together, his early songs, not entirely successful, his going to England and singing in clubs in London, and in his first failed album, Sounds of Silence.

In fact, the first half of the documentary covers the period from 1963 to 1970. And, one of the values of Paul Simon being in show business, there is an abundance of photos to draw on, an abundance of television appearances and interviews, interestingly incorporated throughout the film. And, those popular songs of the time, Feelin’ Groovy, I am a Rock, Scarborough Fair (and a glimpse of Simon accompanying a screeching Miss Piggy on the Muppet Show), and some detailed explanations and visuals of creating the score for Mike Nichols The Graduate, and some detail about Here’s to you, Mrs Robinson.

Then, the break with Art Garfunkel, Garfunkel not being interviewed for this film but the director able to use a great deal of radio and television footage. The reasons, personal, professional, the later reuniting, successful concerts in Central Park.

The film also explores Simon’s solo career, Bridge over Troubled Waters, El Condor Passa, as well as many appearances on television shows, especially Saturday Night Live (with George Harrison, with John Lennon…). And this into the 1980s, although the 1980s were difficult, the failure of his semi-autobiographical film with his son, One Trick Pony, a failed album, in the background to his marrying Carrie Fisher, the collapse of the marriage, Carrie Fisher’s explanations.

The second part of the 1980s was highly significant, a visit to Jamaica, discovering reggae, but also a visit to South Africa, working with black musicians, the creation of the Grammy-winning album, Graceland, and the subsequent criticism of his working with the Africans, arguing that he was not critical enough of the apartheid regime. However, his work was honoured, massive concert in Zimbabwe with prominent exiles, Lady and Hugh.

Listening to Paul Simon’s lyrics, watching them written on the screen, we realise how poetic he was, popular, existential, probing, deeply humane, the touch of the mystical, which is communicated very movingly in the creation of Seven Psalms.

Simon was greatly honoured throughout his career, music awards, humanitarian awards. He is considered one of the greatest of popular American songwriters. And the great value of this film is Simon’s own appearance throughout, vigorous in his 80s, an experience of deafness in one ear, seeing and listening to him in constant close-up, seeing him in action, relating to people, creating in 2021 and the following years. Not exactly warts-and-all, but some warts and limitations. But, seeing him creative, peaceful, agreeable, means a happy ending for him and for us.

TURTLES ALL THE WAY DOWN

US, 2024, 111 minutes, Colour.

Isabela Merced, Cree, Judy Reyes, Felix Mallard, Miles Ekkhardt, J.Smith-Cameron, Pooirna Jagannathan.

Directed by Hannah Marks.

Older reviewers need to hold back! This is a film version of a is to Adult (very young) by prolific author, John Green, versions of his novels include The Fall to stars, Paper Town, Looking in Alaska, Let it Snow.. Green, along with his brother, has been a long term Vlogger, using You Tube for video blogs, more than 1 million followers. Presumably, the older reviewers are not part of this region of followers.

This film has been very well received by its target audience, praise for the film keeping close to the novel, focus on characters and their issues. The depiction of the characters, their language, behaviour, is very much that of senior teenagers at school, and here the focus on girls..

For those who are wondering about the title, googling offers an answer: The saying holds that the world is supported by an infinite stack of increasingly larger turtles. Turtles all the way down" is an expression of the problem of infinite regress. The saying alludes to the mythological idea of a World Turtle that supports a flat Earth on its back. It suggests that this turtle rests on the back of an even larger turtle, which itself is part of a column of increasingly larger turtles that continues indefinitely.

This comes up because the central character, Aza, is OCD (channelling the author’s past experiences), beset by self-consciousness about bacteria, infections, what is happening to her inner self, able to communicate with others but always preoccupied, helped by her mother, visiting a therapist, getting some encouragement when she attends a lecture in Chicago by an author she has been following and the two have an encouraging conversation.

But, ordinarily, Aza is at home and at school, always with her best friend, Daisy – a lively screen presence by actress, Cree. There is something of a plot when a local millionaire disappears and a reward is offered, Daisy eager to get the money, urging Aza to investigate because she has known and likes the son of the man who has disappeared.

Sounds like a murder mystery but it is merely an occasion to get to know Aza and Daisy better, for her to get to know the son, Davis (Australian actor Felix Mallard) who in a generous gesture uses the family plane to whisk Aza to that lecture in Chicago as a gift.

So, for the target audiences, no need of a review, just shared texts and blogs between themselves. For parent and grandparent generations, for older reviewers, an invitation to sit back – and show empathy and learn.

1. The title and its meaning? As discussed by the professor, as understood by Aza?
2. The popularity of John Green’s Young Adult fiction, wide range of readers, the various film versions and their impact?
3. The target audience, the younger Young Adult readership? Teenagers? At school? Young adults reflecting on their own team experiences? Older audiences having to adapt to the Young Adult mentality and concerns?
4. The story of Aza, her relationship with her mother, absent father, her voice-over and commentary? The introduction of the OCD themes? The author and his own experiences? Her understanding herself, the infections, her fears, bacteria, her liking herself to the layers of the Russian dolls? Her preoccupations, her fears and the manifestations?
5. Her mother, and soon, care, interactions?
6. Our friendship with Daisy, best friends, for a long time, the contrasting personalities? Audience response to Daisy, her vitality, extroversion, her talk, concerns, her support of His? Her relationships, eyes of the boys? The comedy and the realities of her buying the car? At school, the issue of the missing billionaire, the story, her wanting clues, to earn the reward money?
7. Persuading Aza to go onto the property? Looking for clues? The discovery of the coat? Aza and her knowing Davis from the past, meeting him, the presence of his younger brother, Noah, friendship, the bonding? Her revelation about her condition?
8. Davis, sympathetic, the missing father, the accusations? Is attitude towards his father, his younger brother? The bonding with Aza? Understanding her? The gift of the flight to Chicago, the lecture, Aza responding, her admiration for the lecture, her sitting on the garden seat, Davis encouraging her to talk, shared ideas?
9. Aza, the need for therapy, the sessions with the therapist and her explanations of herself?
10. The break with Daisy, Daisy hurt, but the coming together, bonding again?
11. The future, the discovery of the missing man, the impact from his family, then moving? Leaving Aza, with her mother, with Daisy, some sense of accomplishment, to overcome her OCD, her future?

MOTHER OF THE BRIDE

US, 2024, 88 minutes, Colour.

Brooke Shields, Miranda Cosgrove, Benjamin Bratt, Rachael Harris, Sean Teale, Chad Michael Murray, Michael McDonald, Wilson Cruz, Tasneem Roc.

Directed by Mark Waters.

After so many Father of the bride films, it seems only right to have, even belatedly, to have a Mother of the Bride. And the narrative attraction is always the wedding.

This is a brief, rather slight story, with some moments in London, some moments in San Francisco, but most of the film very attractively in Thailand, in Phuket. (And, the credits list shows that most of the crew for the making of this film were from Thailand.)

Audiences who enjoyed Julia Roberts and George Clooney in A Ticket to Paradise may find the plotline here rather familiar. The romance in the exotic setting, the preparations for the wedding, and tensions between the two central characters with reconciliation.

Brooke Shields served as Executive Producer of the film and it is very much hers, reminding audiences of her long career as a child star, films and television, author. And there is a range of predictable enough characters, the pushy best friend, the pleasant gay couple, the bossy marriage organiser as well as the central couple and their wedding preparations.

Nothing particularly startling, more of an easy, undemanding watch.

1. The title, expectations? Focus on the mother rather than the father?
2. The situation, Emily, in London, her talents, company and sponsorships, remains with RJ, the lavish proposal and setting, Emmy going back to inform her mother?
3. The portrait of Lana, Dr, on the phone, demanding, reassuring the staff, determined? Welcoming Emmy home? The comedy and drama of their interactions, the protective mother, the background of the long dead father, Lauren and her control, Emmy counterbalancing her mother? The information about the wedding in Thailand, all the organisation?
4. The attraction of the ties settings? Full cat?
5. The situation, R and her control, bossy, calling Lana Mumma Winslow, the timetable, the schedule, overriding objections, the location, the costumes and dress, the dancing rehearsals, putting Lana’s toast speech…?
6. The revelation that RJ was Will Jackson son? The meeting up of all the old friends and memories of studies at Stanford? Tensions? Janice and her interventions? The gay couple? The gradual revelation of the story of the past, will walking out, Lana changing her phone number, their marriages, children, 30 years of no communication?
7. Lucas, his presence on holiday, Dr, the contact with recruiting Lana? His romantic interest, stepping back?
8. The ups and downs of the moods, tension between Lana and Will, gradual mellowing, playing of the attraction to Lucas, the dense and Mona Lisa, the drive, stranded, the boat? The crisis and the behaviour at the wedding? The issue of Katrina, her arrival, with the ring, the proposal?
9. Emmy, doubts, discussions with RJ, his love for her, standing up for herself, confronting her mother, the ceremony itself, the pastor, the response, the aftermath, the tensions, the throwing of the bouquet?
10. Everybody watching Katrina’s arrival, the resolution of the situation?
11. The final credits and everybody happily dancing?