Displaying items by tag: Peter Malone's Movie Reviews

MERCY

US, 2023, 85 minutes, Colour.

Leah Gibson, Jonathan Rhys Meyers, Jon Voight, Sebastien Roberts, Anthony Konechny, Patrick Roccas, Anthony Bolognese.

Directed by Tony Dean Smith.

Mercy is a brief action thriller, set in the American city. However, there is an introduction to the central character, a doctor serving overseas, the situation with the soldier struck with bombs, her husband, his excluding the bomb to save her. They have a son.

That the action takes place at the Mercy Hospital, sympathetic doctor, Michelle talented surgeon, pleasant domestic situation with her son’s birthday and the gift of a ball.

In the meantime, the FBI have arrested the presumed he had to a criminal gang, Irish background, who dominate in the city, led by the patriarch, played by Jon Voight, and his psychopathic son, played by Jonathan Rhys Meyers. The criminals ambush the FBI, the son shoots his brother who survives and is rushed to hospital.

Most of the action, familiar enough but always with some tension, is the patriarch and the members of the gang arriving at the hospital, the patriarch wanting a peaceful restitution of his son, the psychopathic son intent on covering his shooting his brother, and with some psychopathic henchmen.

The focus on is on Michelle, Leah Gibson, highly decorated military, martial arts expert, tactics, guns. While she is able to shield the wounded man with the help of a rookie FBI agent, she hides her son in a locker but, he is discovered and becomes the porn for an exchange.

It all builds up to 10 situations, the kindly doctor bomb strapped to him, to intervene with the FBI outside the besieged hospital, hostages, his setting of the explosion to save others. And, within the hospital, the fears, accreditation between father and son, building up to a confrontation between the psychopath and Michele, saved by a swift move by the son.

Brief, popular action.

1. American gangster thriller? The Irish background?
2. The title, the hospital? Themes of mercy and not forgiving?
3. The introduction, Michelle, overseas service, doctor, patience and trauma, her husband, the bomb, is detonating it to save her? At home, surgeons skills? Relationship with her son?
4. Quinn gang, the arrest of Ryan, interrogation, his silence, intended as the heir to Patty? The threats? The FBI? Transporting him, surveillance by the gang, Sean and his intervention, the pursuit, the ambush, the shootout, Sean and his shooting Ryan? The shooting of the agents? Taking the victims to the Mercy Hospital?
5. Dr Terrance, the hospital, friendship with Michelle? Will be on his birthday, the gift of the ball, the plans for the football match? The arrival of the victims? Michelle going to help? Bobby waiting, the encounter with Patty, the friendly talk? The setup for the ambush in the hospital, the siege, and Michelle hiding Bobby in the cupboard?
6. Patty, patriarchal status, favouring Ryan, his criticisms of Sean? The golf game, his associate, the hospital, the interrogations, wanting to find his son? Sean and the gang, the wild young man, his shooting the hospital clerk, and his severing his ear?
7. The contrast with the techniques? Patty, wanting his son, wanting no violence? Sean, covering himself for shooting his brother, his henchmen, the reactions to the shootings?
8. The rookie FBI agent, moving Ryan, Michelle and the treatment, her quick thinking, the attacks, her martial arts schools, and shooting, drawing on her military experience?
9. Confrontation between Paddy and Sean, the truth is told, the anger? The physical conflict, and he wounded, surviving and taken away in the ambulance?
10. The hostages, the threats, finding the clown and his group, joining the others? The security man, initially asking for parking fees, his being knocked out, Michelle want him to disconnect the surveillance? Her skills, hiding Ryan, attending him? The buildup to the confrontations, the deaths?
11. Finding Bobby, his being held as hostages, for the exchange? The final confrontation between Sean and Michelle, his holding Bobby, will be kicking him, Michelle shooting Sean?
12. Popular action material?

ATLAS

US, 2024, 118 minutes, Colour.

Jennifer Lopez, Simu Liu, Sterling K.Brown, Gregory James Cohan, Abraham Popoola, Mark Strong.

Directed by Brad Peyton.

In 2001, Steven Spielberg directed the film, AI. While the reality of Artificial Intelligence was known, it was comparatively early days for the movies to explore the repercussions of AI, of robots, of collaboration between humans and artificial intelligence, conflicts.

This theme has continued very strongly through the following tickets.

In one sense, this is familiar material here. However, with computer-generated effects continually improving, this exploration has its spectacular moments, machines, robots, space travel, battles and conflicts.

However, this is a Jennifer Lopez film. She acts as Executive Producer as well as starring. While there are some supporting roles, especially from reputable actors like Sterling K.Brown and Mark Strong, the main focus is on Jennifer Lopez as a technology analyst, Atlas, is called on to confront a rebel robot threatening humanity through his knowledge, technological skills and the creation of a robot army.

While there is an introduction to the theme, especially the pursuit of a vicious robot, his being trapped and destroyed, yet his head surviving connected to machinery, challenging humans to confront his maker, Harlan (Simi Liu). There is a history between Atlas and Harlan, her mother having created him and the daughter feeling his being favoured over her and her resentment and action leading to potential disaster.

As an adult, Atlas is rather humourless, single-minded, agreeing to go on a mission to the planet where she has discovered Harlan is based.

The latter part of the film, Atlas is contained within the giant transformers -like robot was a very pleasant speaking voice (Gregory James Cohan) and a pleasant manner which she doesn’t respond to well. However, there has to be some kind of bonding for the success of the mission as well as for Atlas becoming more human herself. The interplay between Atlas and the transformer robot, whose name is Smith, bring some welcome lightness of touch to the serious proceedings.

So, a mission, a confrontation with Harlan, mission accomplished – and the world is saved until the next AI human-threatening movie.

1. The popularity of this kind of futuristic science-fiction? Advanced technology, space exploration? The development of AI, I created characters, skills and technology, overcoming humans, creating an army of robot warriors?
2. The photography, technology, space travel, the combat sequences, the transformer like armoured robots, the locations of different planets? The musical score?
3. The mood set with cascade, robot, confrontations, fight, destruction, Atlas confronting him, his body missing, but his head linked to the controls? His later reappearance, the multiple Cascas?
4. The credibility of the situation, the future, the scientists, creating the AI robots, the powers, codes, beyond human capabilities, the revolution, need for the pursuit of the Arch robot, the tactics, the expedition and disaster, at the centre survival, communication with Smith? Atlas and her background with Harlan?
5. The introduction to Gen Boothe, his plans, the discussion with Banks, the difference of opinion, especially towards Atlas? The decision for the expedition, the preparation of the Rangers? The issue of Atlas, her background, her mother is the scientist, her growing up with Harlan, her antagonism? Her role as an analyst rather than a warrior?
6. The introduction to the Transformer -like robots, the sequence with Zoe getting the cup of coffee? Importance of these robots?
7. The expedition, the flight, the attack, the disaster and destruction? Banks disappearing? Atlas, single-minded, humourless, being protected by Smith, Smith and his voice, programmed you human, the directions, wanted them to synchronise, her refusal, the searching of the remains, planning strategies, her being wounded, Smith’s methods of treating the leg? Language, humour, sarcasm – and Smith adapting?
8. There are ultimately bonding, working together, Atlas and her wariness, antagonism towards Harlan? The revelation of the background, her feeling neglected by her mother, her mother favouring Harlan, the antagonism?
9. Harlan, eventually appearing, his control, his abilities, his capture of banks, getting information after torture? Atlas captured, the collaboration with Smith, getting free, Banks and his help? The confrontation with Harlan and his robots, destruction?
10. Atlas, returning, mission accomplished, booths visiting her, her new robot protector – and the pleasant review acquaintance with Smith?
11. The popularity of this kind of futuristic AI scenario in the movies of the 2020s?

THE BEAST/ LA BETE

France, 2023, 146 minutes, Colour.

Lea Seydoux, George Mackay.

Directed by Bertrand Bonillo.

Quite a number of reviewers and bloggers who admire this strange and unusual film state that it is “not for everyone”. And, as this reviewer watched the film, a greater realisation that this time he was part of “everyone”.

On the one hand, writer-director, Bertrand Bonillo, has been very ambitious in the his intended themes as well as in their execution. And, while so many have been intrigued, this reviewer felt rather detached while watching, not drawn into the themes, interesting as they are, and not attracted by the characters and the situations in which they find themselves.

The film opens, in fact, quite arrestingly, the central actress, Lea Syedoux, standing on a plain film set, table with a knife, and the voice-over of the director coaching her for her performance. Then, we are in 1910, an evening in a French salon-gallery, echoes of the Gilded Age, elegant costumes and decor, behaviour, some bizarre male paintings, conversation, and introduction to the musician, Gabrielle (lea Syedoux), happily married, but being shadowed throughout the evening by Louis (in a role originally for French actor Gaspard Ulliel, killed in an accident but now taken by British actor George Mackay, speaking in both French and English).

And then we are in 2044, memories of a disaster in 2025, now a world of AI, taking over the workplace, and a taken-for-granted program whereby humans submit themselves to a process, even just the shutting of an eye, quietly eliminating anything passionate in their nature and they will become calmly and contentedly subservient. Louis is there for an interview. Gabrielle is a strong personality, reluctant to let go any passion.

There is talk of previous lives, their influence, then needing to be remembered, examined, purged. Which means that the other time era in The Beast is 2014, in the US, Gabrielle intending to succeed in a modelling career, house sitting at the time of an earthquake. But the focus now is on Louis, obsessed, photographing himself, an egocentric voice-over, lamenting his inability to relate to women, Savage repercussions on his psyche, an encounter with Gabrielle, a kind of surrender and shocking consequences.

So, another exploration of the consequences of AI and its power for dehumanising. The 2044 era highlights this futuristic science fiction. The 2014 episode is jolting. The 1910 era, which does constitute a major part of the film we have seen many times before.

1. The title, the unseen beast, the beast within? AI and its beastly qualities?
2. Blend of drama, historical drama, contemporary drama, futuristic scenarios, the rule of AI, control of human life?
3. The intentions of the writer-director, the future and AI, the present, the influences on past, previous lives, the influence of the past and the present? Continuity? Differences? The future situation, AI in control, doing the work, the unemployed, the effect of brainwashing, purging the memories, purging emotionality, human behaviour but robotic?
4. The time eras, the opening with the actress being directed, playing, the green screen background, the table with the knife, the voice of the director, the response of the actress, her performance, dramatising, the beast, the knife? The later reference repetition of this scene?
5. The 1910 sequences, elegant society, socials, costumes and decor, formalities, the gathering, the conversation, the art exhibition of the artist, the naked man, the comments? The repetition of these sequences throughout the film?
6. The introduction to Gabrielle, musician, her husband, the relationship, devotion? The encounter with Louis, his age, in comparison with Gabrielle, his following her, the conversations, memories of Rome and Madame Butterfly, or Naples, or their never having met? The range of the conversation, the attraction? The development of the relationship in later sequences, going to Madame Butterfly, leaving early, the discussion about the dolls, Gabrielle’s impassive face as the model for the dolls, the symbolic dolls and human creation? The factory, the floating, the images of Paris being flooded, Gabrielle and Louis together, her husband and his business, the spark, the fire, the attempts to escape, the locked exits, the couple drowning?
7. The 2014 sequences, Gabrielle in the US, modelling and sessions, her minding the house?
8. Louis, more prominent in this sequence, his image of himself, photographing himself, his explanations of himself, self-importance, relationship with others, his lack of relationships with girls, a virgin, upset? The earthquake and the consequences for Gabrielle, the owner phoning and broken vases? Her going into the street, wanting companionship, talking with Louis, his resistance, the man in the street, the sexual encounter, her imagining Louis, ousting the other man? The buildup of the relationship? The pool, Louis talking Gabrielle, the shooting?
9. 2044, the modern mansion, the pool? Gabrielle and her work, touching the monoliths for temperature? Her interview, wanting something more? The situation, AI and control, the anonymous voice and interview, the process of eliminating the memories and their influence? The passion? The interview sequences, Gabrielle and going to America, the Civil War, 1910, 2014? The process of elimination not working? Her strong feelings? The encounter with Louis, ordinary, going to the interview, the later meeting, in love, passion, the possibilities, Louis manifesting that he had gone through the process, working for the State, loss of passion? Gabrielle in collapse and usually distress, her being the exception, the prospect of her future?

CANNES UNCUT

UK, 2023, 90 minutes, Colour.

Thierry Fremaux, Lea Seydoux, Tilda Swinton, Juliet Binoche, Sharon Stone, Quentin Tarantino, Mike Leigh, Ken Loach, Mark Cousins, Lynne Ramsay, Wim Wenders, Sean Baker, Mark Adams, Chris Pickard.

Directed by Richard Blanshard, Roger Penny.

For those who love the movies, who are fans of the stars, those interested in International film festivals, this is a very enjoyable 90 minutes. While there is the focus on fandom, the range of talking heads chosen gives a great deal more substance to this documentary than might have been expected.

The Cannes film Festival is the most prestigious Festival in the world, followed by such festivals as Berlin and Venice, and an increasingly wide range of international and local festivals.

The documentary offers an overview of the development of the festival, Mussolini’s initiatives in the 1930s to create a festival in Venice but, by the end of the decade the festival becoming an instrument of promoting films approved of by the government. As a counterbalance, the film industries decided to create a free festival in Cannes, but its first session at the time of the outbreak of World War II and its being cancelled. Discussions after the war led to the new establishment of the festival on the French Riviera, the selection of films in 1946 indicating prestige, the several hundreds who attended the festival in its earliest years, the increasing prominence, the crowds, the glamour, Hollywood presence, the campaign in 1968 to stop the festival because of social upheaval, the continued history of festival highlights leading to the early 2020s.

At the centre of the film is the longtime director, Thierry Fremaux, offering a great deal of commentary throughout the film, the history, the ups and downs, the controversies including the issue of the eligibility of Netflix and streaming features for the competition.

While there are constant visuals that hold the attention, the glimpses of styles, the glimpses of stunts (and quite elaborate stunts at the Festival (Jerry Seinfeld and the cable for The Bee Movie rather surprising, Jack Black photographed falling into the water for Shark Tale), a great deal of the walking up of the red carpet, the photographers, the posing, the celebrities…

Quite a number of significant directors and actors speak to camera, prominent are Tilda Swinton, Lea Seydoux, Mike Leigh, Ken Loach, the film historian, Mark Cousins, Lynne Ramsay and with the two writers of the film, Mark Adams and Christopher Pickard. Oliver Stone has many observations about being rejected by the festival, especially by previous director, Gilles Jacob, his experiences of the 1980s and 1990s. There are scenes with Juliette Binoche when she was younger, praise of Sharon Stone, something from Wim Wenders and Sean Baker.

Certainly not definitive but, just as certainly, interesting, some issues for thought, and entertaining.

THE ZEN DIARY

Japan, 2022, 111 minutes, Colour.

Kenji Sawada, Fumi Dan.

Directed by Yuji Nakae.

This is a film adaptation of 1978 book, part fact, part fiction. Its central character, Tsutomu, ageing, widowed, but not having buried his wife after two years, lives alone on the mountaintop, cultivating vegetables. In his young days, he had been committed to a Buddhist monastery but had left at the age of 13. However, a lot of Buddhist principles and practice have remained with him.

While there is the Buddhist influence, the focus here is very much on the cultivation of vegetables, growing, picking, processing, preparing them with accurate in minute detail for cooking. For audiences who enjoy watching food films, there is a great deal of interest in the preparation, the cooking, the serving, the eating, and the explanations for the nourishment.

The film is quietly-paced, the routines of Tsutomu’s life, especially as the emphasis of the screenplay is on the changing seasons in Japan, the particular features, contributing to sowing, growing, harvesting.

Tsutomu is visited by a young woman, a publishing house agent, with whom he is in something of a relationship. Enjoys the visits, as does she, urging him about his writing but also sharing in the preparation of the meals and enjoying the.

He also visits his rather isolated and crusty mother-in-law, friendly, comparing notes, cooking, and listening to her complaints about her other family connections. And is visited by his in-laws who want to offload the problems with the crusty old lady on to him.

There is also the issue of his health, closeness and possibilities for death, his response to them.

The film is an invitation for audiences to enter into Japanese consciousness, Buddhist religious and cultural traditions, courtesies and respect, and the significance all some food and preparation and the effect for a healthy and prosperous life.

BL METAMORPHOSIS

And, 2022, 115 minutes, Colour.

Mana Ashida, Nobuko Miyamoto..

Directed by Shunsuke Kariyama.

Sometimes we miss out on trends in various cultures. In coming across the title of this film, the question was: what does BL stand for?  A quick trip to Google: BL, also known as boys' love and its abbreviation BL (bīeru), is a genre of fictional media originating in Japan that features homoerotic relationships between male characters.

Apparently, it became popular in the 1970s in Japan, script to Thailand and other Asian cultures, featured in Manga stories and in Anime. And there was a dominance of women authors. So, an opening inquiring attitude as the film begins.

In fact, the main feature of the film is a friendly relationship between a lady in her 80s and a young teenager. Yuki, is seen looking for a cookbook and attracted by the cover of one of the BL groups that she sees on the shelf. She buys it, to the apparent concern of the young teenager serving in the shop. Yuki returns for more, befriends the young girl who, herself, is a fan of this kind of book, has a whole collection home, eventually lending some to Yuki.

They chat, they visit, there is a young man friend, discussions of the story, the style, the illustrations, the relationships between the young men, the young woman deciding to create a booklet, its being published by a publisher and his son who come to Yuki who has calligraphy lessons.

There is an chance encounter with the author of the first book – and happy connections, affirmations, friendships.

It still leaves the audience wondering about BL stories but in a very happy frame of mind.

1. the title? The history of Boy Love in Anime Manga, from the 1970s, Japan, Asia? Female authors? Boy Love characters?
2. The Japanese city, homes, bookshops, Manga conventions, the overall views and impressions of the city? The musical score?
3. The opening, the heat, behaviours, the people crossing the street, Yuki and her hurry, looking for cooking books, discovering I Have had eyes Only for You, the attraction of the art, buying the book, you were at the counter, her surprise, the beginning of a friendship, a gentle encounter?
4. Yuki’s story, age, two years widow, her prayer remembering her husband, her calligraphy classes, the printer and his son, keywords in calligraphy throughout the film, a reading the books, the surprise about Bully Love, her liking the drawings, the characters and their interactions? Buying more books, discovering the magazine? Her relationship with her daughter, the daughter’s visit, talk, drink, the possibility of moving in with her daughter?
5. You are a story, her age, at school, 17, at home with her mother, her mother’s ambitions for further study, classes, the help from the boy, their friendship for many years, observing him with the girlfriend, the tensions with the girlfriend, the encounter with the Yuki, Yuki’s return, finding her more books, lending her own, reading her own quietly at home, a collection?
6. The visits, the friendship, the kindliness, the discussions, you were and her loneliness, finding a friend? Her studies? The two love for Mango, you were and her ideas, sketching, school, the boys seeing them, encouraging her? And his later reading her book?
7. The plan to go to the convention, you were and her studies? Meeting up again, the plan for the Manga book, the process for you were in drawing and writing it, encouraged to go on? The pressure of the dates? The self-publishing, Yuki and her encouragement, the printer and his son, the production of the book? You were and her shyness, not going? Yuki, unwell, the printer helping her, the breakdown of the car, the encounter with the author, the conversations, the author buying the book? Yuki not recognising her?
8. The scenes with the author, who work, friend, discussions, her themes? The encounter with Yuki, buying you were this book? The buildup to the signing, you were and we, his dilemma about seeing his girlfriend off at the airport, asking you were to decide, their going to the airport, her hurrying back, in the queue, eventually getting her book with the sketch and autograph?
9. Yuki, going to the signing, the conversation with the author, the drawing, the author recognising Yuki and telling her how the self-published book encouraged her? Yuki then telling you were, the joy?
10. The finale, the happy achievement, the portrait of an unlikely lovely friendship, the sensitivity of the film, the builder, repairing the house, the curry…?

MY BROKEN MARIKO/ Mai burôkun Mariko 

Japan, 2022, 87 minutes, Colour.

Mei Nagano, Nao Honda, Masataka Kubota, Toshinori Omi.

Directed by Yuki Tanada.

A story of friendship and sadness. The central character is a young woman, Shiino, who gets news of the suicide of her close friend, Mariko. She is distraught, wants to find out what happened, visits Mariko’s abusive father, steals the urn with the cremated ashes, takes them to the seaside town which was significant in their past.

There are many flashbacks to childhood, to teenage years, to Mariko’s traumas, the support from Shiino, attempts of relationships, mental anguish and mental conditions…

The other main character is a young man who encounters Shiino murders/bag has been snatched by bike rider. He is kind to Shiino, encounters her in her troubles, tells his own story, but intervenes when Shiino encounters the snatcher pursuing another young woman.

There is an upbeat ending of hope despite the sadness of Mariko’s life – and the criticism of Japanese patriarchy and domestic abuse.

1. The title? Affection, suffering?
2. The Japanese setting, apartments, working places, schools, streets, travelling train and bus, the town, the coast and the cliff? The musical score?
3. The impact of the opening, Shiino, the meal, the news of Mariko’s death, the effect?
4. Shiino and her story, at work, the clashes with the boss, his being insulting, her responses, the news of the death, going to the apartment, news of the cremation, the impact? Going to the house, meeting the father’s second wife, his prayers with the ashes, her vicious denunciation, taking the ashes, leaping away, through the water, back home? Her decision to go to the beach, which Mariko had liked, trip, buses and train, reading Mariko’s letters, the bag snatcher, the encounter with the kind man, the money, drinking, sleeping the boat, the encounter with the man again, suicidal, the bag snatcher pursuing the woman, her hitting him with the ashes, is three floating away, her injury, hospital, crutches, the man again and his kindness, the letter from the rescued woman, back to work, her boss demanding she continue to work? And finding the letters – from the woman? From the man? The future?
5. Mariko’s story, her cruel father, abusive, sexually abusive, the effect? Her mother, exasperated, leaving? The impact of the flashbacks, Mariko at different stages of life, the physical bruises? The friendship with Shiino, at school, company, support, their friendship, the consolations, Mariko and her mental state, cutting her wrists, out with boys, liking one and his insulting her, continually confiding in Shiino, dependence on her, happy that Shiino accepted her? Her killing herself?
6. The young men, on the road, helping Shiino, giving her the money, going fishing, discovering her on the boat, giving her food, on the cliff, saving her, his reappearance, the story of his attempted suicide, a nice and good man?
7. The glimpse of Mariko’s father, the stories about him, seeing him praying with her ashes, Is Vicious response to Mariko? His new wife, her exasperation, leaving him?
8. This film for Japanese society, especially for domestic abuse, father’s abusing daughters, mental states, suicide? And consolations of friendship?

THE WAY, MY WAY.

Australia, 2024, 100 minutes, Colour.

Chris Haywood, Laura Lakshmi, Pia Thunderbolt, Jennifer Cluff.

Directed by Bill Bennett.

It is amazing how well-known and popular the Camino di Compostela has become. Originally, a Catholic pilgrim devotion, it is now walked by a wide range of pilgrims, religious, spiritual, secular…

Already in 2011, there was a feature film, The Way, where actor Emilio Estevez directed his devout Catholic activist father, Martin Sheen. As expected, it followed a varied group along the scenic route as they discussed, pondered their lives, experienced some deepening of self-awareness.

It is

While The Way featured fictitious characters, in 2015, there was a documentary feature, Walking the Camino to Santiago, where the director of the film joined actual pilgrims, sharing the journey with them, giving background to the Camino, explaining some of the religious context as well as practices.

In 2013, Australian writer-director, Bill Bennett, who had been working in film and television since the 1970s, with films like A Street to Die, walked the Camino and published a book of his experiences. It has taken a decade for him to get his memoir to the screen. He has written the screenplay, has cast veteran actor, Chris Haywood, with whom he had worked long since, as a film-maker named Bill, married to Jen for 41 years. She is played here by actress, Jennifer Cluff, Bennett’s wife of the last 40 years, who also served as a producer.

Chris Haywood is a familiar figure from many movies since the 1970s. He is not exactly young to be setting out on the Camino. He is not a believer but, on a visit to Spain, sees the pilgrims, reminding him of lemmings on their way to the cliff edge. He chats. He asks questions. And returning home, this stays with him quite powerfully, curiosity, intrigued, obsessive and deciding to go himself. He closely studies the maps, descriptions, meticulous about his pack, the weight, relationship to his body weight, the possibilities for walking – and practising with long and longer walks in the countryside.

He is also grilled by Jen, trying to get strongly-felt answers from him. Then, an economy flight (and his complaints) to Biarritz, sharing a taxi with three others, beginning the Camino.

The screen informs us throughout which day it is, how many kilometres he has walked, how many to go, the 780 total.

For those who have walked, plenty of scenery, countryside, towns, hostels that they will remember. And there is a lot of information and cautions for those intending to walk. As expected, with Bill’s voice-over comments about the walk, his very bung knee, about fellow-pilgrims, invites us to share his experience, his moods, confusions. And there is his questioning and his personal self-revelation about simplicity in life, an apology to Jen, who admits he is a very difficult man but she loves him.

Also, as expected, Bill encounters nine pilgrims, older rather than younger, two exuberant men from Hungary, thoughtful direct Dutch woman, a sympathetic Italian couple, a sad Spanish woman who broods, a young Asian man, and a Scots former business CEO. As they walk, encounter each other at times along the way, share their lives, those great deal of warmth and friendship.

The pilgrims are ordinary people and Bill Bennett is telling his story for an ordinary audience, inviting them to identify with Bill and the others. There are some specifically religious references, especially a moving “confessional” sequence, some happy meditative moments in the Cathedral of St James.

The Way, My Way is an invitation to reflection for people of faith or not – an invitation to a spiritual experience.

The Way, My Way is an invitation to reflection for people of faith or not – an invitation to a spiritual experience.

1. The popularity of the Camino de Santiago? The long tradition, the Middle Ages, pilgrims, the Cathedral of St James and relics?
2. Audience knowledge, popularity in the 21^st-century, documentaries, films?
3. This film based on personal experience, the writer-director, his pilgrimage in 2013, the effect on him, his writing on the Camino, getting the film to the screen? The screenplay, the main character filmmaker, Bill, his wife, Jen, 40 years married? The parallels with Bill Bennett and his wife, Jennifer Cluff?
4. Bill, in Spain, seeing the pilgrims as lemmings, his curiosity, the questions, returning home, the secular perspective, puzzle, more and more obsessed, walking practice, meticulous preparation, maps and books, his pack and wait…? Jen and her questions and his answers?
5. Flying to Biarritz, complaining about economy class, meeting up with the Hungarians and the Dutch woman, the taxi, accommodation? Jen imposing a limit on his first day, his phone calls, dilemma, breaking the resolution?
6. The film detailing which day, distances from the start, distances to Compostela? The range of countryside, and Bill starting on the wrong road, catching up, the range of hostels and accommodation, shared, meals? Buildings, the towns, the churches?
7. The range of pilgrims and Bill’s interactions? The cheerful Hungarian, religious dimensions, business abilities? Companion will? The second Hungarian, Bill and his knee, lending the jacket, the ice? The various helps? The Dutch woman, friendly, direct in her expressions and opinions? Challenging girl? The Italian couple, their past experiences, testing Bill, his not getting a taxi? The Scot, the CEO, sitting and meditating, the conversations, the revelations, is measured pace? The young Spanish woman, the encounter with her, in the church, Bill acting as a confessor, her story, reconciliation, self-forgiveness? The young Asian man, taking the photo, the later conversations?
8. Along the way, the comedy of Bill and demanding no head space and the photos, the range of photos, this recurring theme? His own photos?
9. Bill, age, health, his knee, needing to rest, the ice, the treatment, medication? The various pilgrims and their contribution?
10. The voice-over, Bill’s reflections, puzzles, the impact of the people, the long silent walking, the countryside? Spiritual dimensions, self-reflection? The Scot and the explanation of simplicity, carrying all one needs for life?
11. The phone calls to Jen, communication, concern, arriving Compostela, her presence and the reunion?
12. Happy times, getting to know people, the time available while walking, to reflect, to put busy life in perspective?
13. The religious value of the Camino, the spiritual value of the Camino for all those who walk it?

OLD HENRY

US, 2021, 99 minutes, Colour.

Tim Blake Nelson, Scott Haze, Gavin Lewis, Trace Adkins, Stephen Dorff, Richard Speight Jr, Max Arciniega.

Directed by Potsy Poncirolli.

There is an interesting and entertaining reveal at the end of this film for those who do not recognise Henry McCarty. For those who do, the film is an interesting piece of creative history.

This is the changing west. It is 1906. Three men with sheriffs’ badges torture and hang a man for information and then pursue another. And then we are introduced to Henry McCarty, a wonderful performance by long-time character actor, Tim Blake Nelson. His voice-over explains his background (though a lot more to be revealed by the end of the film). He is widowed. He has a teenage son who is angry with him, wanting some independence from his rather stern and commanding, hard-working father.

They discover the pursued man, wounded, a gun, a sack full of money. They tend to him. But, as expected, the posse turn up, confrontations, the abduction of Henry’s brother-in-law, the posse hiring guns from the local town.

The odds seem impossible. The pursued man joins in the defence. So does the son. However, quite spectacularly in its way, Henry is able to dispose of the whole posse. And, then the reveal.

A small Western, not so well-known, emerging and the Covid era, but well worth seeing, a continuation of Western themes.

1. The title, Henry McCarty, the final revelation of his identity?
2. The mood of the opening, the posse, sheriffs, the torture and hanging of the fleeing man? The continued pursuit?
3. The contrast with the introduction to Henry, his wife’s grave, with his son, Wyatt, the continued work, the son’s rebellion, the impositions of his father? The detail of the farm work? The boy wanting his independence?
4. The wandering and bloodstained horse, Henry and his search, finding Curry, the money, decisions? Bringing him back, tending his wound, hiding the stolen money, Wyatt spying on his father? Henry going to the doctor, Wyatt taking the gun and shooting practice? The posse and Henry’s return?
5. The membership of the posse, Ketchum as leader, brutal, the Spanish scout and his skills, the confrontation with Henry? Backing off?
6. Tending Curry, consciousness, explanation who we was, the law? The others as bank robbers? His telling the story of his background, Henry believing him, feeding him, freeing him?
7. Dugan, impatient, scouting the house, the shooting, Henry outwitting him, feeding him to the pigs?
8. Preparation for the siege, Ketchum returning with the posse, the confrontation, the talk, the plot? The shooting? Curry wounded, Wyatt wounded? Henry going out, single-handed, destroying each member of the group, the scout and his surrender, death, Henry running, Ketchum in pursuit, confrontation?
9. The phone with Curry, revealing his true self, the memories of Billy the Kid, stories, he shooting Henry?
10. A saga of the west? And the tie in with the stories of Billy the Kid?

RADICAL

Mexico, 2023, 125 minutes, Colour.

Eugenio Derbez, Daniel Haddad, Jennifer Trejo, Mia Fernandez Solis, Danilo Guardiola Escobar.

Directed by Christopher Zalla.

Potential?

Recognising potential, encouraging opportunities, creativity?

Radical is a film about education. It is set in a Mexican town, 2011. The screenplay is based on an article in the magazine, Wyatt, by Joshua Davis: A Radical Way of Unleashing a Generation of Geniuses 2013. The article was based on a teacher and experiences in 2011. And, audiences will begin to remember films on creative education that they have appreciated in the past, the personal touch with To Sir, With Love, or the creativity of Dead Poets Society.

The action is situated in a seaside Mexican town, poor and undeveloped, mothers working night shifts, a father owning his living by fossicking in a mountainous rubbish tip, dead bodies on the streets… This is the background for the children who go to the local school. The principal is frustrated, is school getting some of the lowest assessments in the annual tests, a disgruntled staff who are ready to cheat by getting the test cancers early and rigging the results, corruption in the offices in the local city, promises of computers but there never being delivered…

Then comes the new teacher, Sergio, played by popular actor Eugenio Deberz, full of creative vitality. He has worked in the system, become disillusioned with students not appreciating their education, determined to find creative ways, especially for the top year in primary school.

We, the audience, are immersed in his methods, perhaps sharing the initial stunned silence of the young students who really do not know what he is asking of them, but, gradually responding, his asking questions, is one speculating, experiments, different seating in the classroom, out into the schoolyard to test their ideas – the initial question concerns flotation, density and weight, perhaps a challenge to many of us in the audience, but with growing zest, teacher and principal in bathtubs to check floating, we see that this experiential way of learning means that the knowledge is personalised.

The film shows Sergio and his zest, his communicating it to the rather large principal who becomes more and more sympathetic. The screenplay highlights three of the students, Paloma, who helps her widowed father collect metal scraps but who has a love for physics, astronomy, and telescope, and that keyword: Potential. There is Nico, forced by his brother to be a drug courier, even at school, low self-esteem, encouraged by Sergio, discovering a love for learning, and a terrible dilemma in facing the gang. There is also, Lupa, her parents on night shift, her caring for the two younger children, her mother pregnant, managing the household – and Sergio responding to one observation by mentioning the word philosophy which sends her to libraries, and her discovery a love of reading, of thinking through moral issues.

Most audiences have found the film positive, heartwarming, hopeful – and some dissenters who are wary of sentiment and are keen to label this kind of film as kitsch. But, Radical is definitely a film for most audiences.

1. The title of the basic article, A Radical Way of Unleashing a Generation of Geniuses?
2. Mexico, 2011, town, poor, artwork, drug gangs, deaths in the streets, families, the school? The musical score?
3. The introduction to the town, the boy wheeling his grandmother (and the film ending with his still looking in, not able to go to school)? Emerged out of the way, the speeding vehicle, dragging the prisoners? The tone?
4. Lupa and her family, father’s work, mother on night shifts and getting out in the morning, her mother pregnant again, the two little children, and keeping the household, preparing the breakfast? Taking the children to school?
5. Nico and his brother, the hut, by the sea, voting disrepair, his being a courier with the drugs, on the bike, exchanging packs, feeling an outsider?
6. Paloma, her ailing father, on the vast tip mountain, scavenging, the donkey, taking the goods to the dealer, her challenging him with the payment?
7. The school, the principal, his role, the demands, getting to like him throughout the film, the staff room, the hostility to Sergio, the exam tests and cheating with the results? Spurning Sergio?
8. Sergio, his personality, arrival, references from the previous school, his explanation that he had lost the support of children, wanting to start afresh, in a poor situation? His philosophy of teaching, getting the children into action, the personal touch, asking them questions, telling them stories, arousing their curiosity, getting them to investigate, experiments? The initial stunned silence, arrangement of the desks, their surprise, the questions about flotation, their speculations, thinking about them, testing balloons, the weight of Sergio compared with the weight of the principal, density, the principal joining in the experiments? The learning?
9. Sergio, his story, his wife and young child, at home, his confronting the corrupt authorities, the company to the school, inspecting, challenging, Sergio suspended, retreating for two weeks, the principal coming to get him to come back? Seeking the children?
10. The issue of the computers, the promise, non-delivery, corruption issues, the expert coming, talking over the heads of the children? Sergio and the principal’s phone and his illustrating his theories?
11. Nico, the pressure from his brother, the gang this? Belonging? At school, spurned, thinking badly of himself? Attraction to Paloma? The question to Sergio? Sergio giving him the brochure, his giving it to her, her discovering the truth, yet the bonding between them, sharing, showing him the telescope? His change of heart, wanting out of the game, wanting to go to school, repairing the boat, La Paloma?
12. Paloma, maths, physics, very clever, creating the telescope, finding the mirror, using it? The magazines, hiding them, her father then discovering her notebooks, his previous talk with Sergio and condemning him for promising what he could not deliver, his change of heart?
13. Looper, her questions, Sergio mentioning philosophy, are going to the library, John Stuart Mill, reading the books, wanting to read more, the moral questions, Inspector and the discussion about abortion, contraception? His wanting answers for the test, Nico failing, Paloma and Looper and send the questions?
14. The crisis, Nico wanting out, the threat by the boss, the gun, the shooting, Nico did, the otheris dead, Lupa in fear, Paloma and her grief?
15. The final test, Paloma deciding to come, Lupa still at home, her mother promising more education when the little boy reached kindergarten? Success? Disappointments? Tragedies?
16. The final information, 2012 excellent results, and the photos of Paloma and the others?