Displaying items by tag: Peter Malone's Movie Reviews

CASABLANCA BEATS

Morocco, 2021, 101 minutes, Colour.

Anas Basbousi, Ismail Adouab.

Directed by Nabil Ayouch.

Nabil Ayouch (Mekteb, Horses of God) is alerted Moroccan writer-director. He has been writing and directing since the 1990s, helping to contribute to the reputation of Moroccan cinema. And, with the screenplay, he has worked with Marianne Touzani, emerging writer and director (Adam, The Blue Caftan).

This is a story set in a poorer area of Casablanca, a focus on families, but especially a focus on the young, going to school, and for education in music. There is a mixture of young men and women, some of the women play, others not, on headscarves, some not, indication of Muslim freedom in Morocco.

The film focuses on a musician in his 20s, his past reputation, coming to instruct the young people.

For a younger audience, there will be identification with the characters, their backgrounds, their ambitions, their talents, the liveliness, the response to music. But, the main focus of the music in this film is Rap, acknowledgement of the American influences, and a range of sequences where the young people are urged to create their own Rap (and the subtitles translating and parallels with the familiar modes of American Rap). The instructor is very critical of some of the attempts to the surprise of the students. However, they continue to respond well, working hard on their presentations.

A great deal of the central part of the film is the presentation by each of the students, each with the different personalities, bravado, reticence, collaboration, sparring off each other… And some scenes of disapproval from parents and families.

For audiences outside of Morocco, it is an interesting opportunity to learn something about life in Casablanca in the 21^st-century, the Muslim traditions but also the opening to the outside world, especially through music and Rap.

For audiences in Morocco, younger audiences, some enthusiasm for developing a more open 21^st-century mentality and behaviour.

THE SWEET EAST

US, 2023, 104 minutes, Colour.

Talia Ryder, Earl Cave, Simon Rex, Ayo Edebiri, Jeremy O.Harris, Jacob Elordi, Rish Shah.

Directed by Sean Price Williams.

The title. East refers to the US states from New York north to Vermont. Sweet? Not really – rather, ironically.

This film has been advertised as a picaresque journey. Checking again on the meaning of “picaresque”, the adjective is quite accurate: suggesting, or being a type of fiction dealing with the episodic adventures of a usually roguish, but appealing, protagonist of a low social class.

And who’s picaresque journey? It is Lillian, a high school student from South Carolina, arriving in Washington DC with a group of school friends on tour – something of an exuberant lot, cameras at the ready.

And the audience for this film? Not a mainstream audience because Sweet East is sending up mainstream films. It is small budget. It is independent movie-making. The director, Sean Price Spencer, has been cinematographer for some admired independent films like Uncut Gems. And the writer, huge emphasis on words, vocabulary, articulation, popular rhetoric, is a long time film critic, Nick Pinkerton. Which means that Sweet East is a film for themselves and their friends and admirers. And for those who want something a little different.

We are introduced to Lillian, singing, looking at herself in the mirror, joining up with her friends at the beginning of the picaresque. What is on this picaresque menu? And how seriously should we take it all? Lots of the bizarre, sometimes absurd, funny, depending on your sense of humour.

First there is a sendup of deranged customer with a gun in the pizza parlour, hiding in the toilet. Then her rescue by some rather preppie protesters, banners and causes, going to the wrong venue for their protest. Lillian gets away, finds herself in a more serious protest, right-wingers, and being rescued by professorial neo-Nazi. She calls herself Annabel which is a cue for his enthusiasm about Edgar Allan Poe. She can be sexually provocative. He is ideological, conversation as a lecture. But, she exploits him, accommodation, food, clothes, trip to New York – and stealing his bag full of money.

At this stage, we are wondering where Lillian/Annabel is going when she is sighted, scouted by two African-American filmmakers, so with the gift of the more-than-gab, chatter about moviemaking, references to Merchant Ivory films, infatuated with this young girl, photographing her, rehearsing her, making her the star of the period film, co-starring with the British self-infatuated actor, Jacob Elordi. But, there is a nice cameraman who is protective of her.

Then a huge change of mood, perhaps indulgence by the filmmakers, gangsters looking for Annabel for  the money, and an enormous mishmash of violence which could be the envy of horror filmmakers with a love of gore! Deaths all round. But, a rescue by the nice cameraman, and his remote  community with Muslim prayer practices.

Where can it all end? Well, of course, Annabel becoming Lillian again, going home to family, the actual ordinary life, experiencing the mayhem. Is this the kind of scenario which influenced Alex Garland to make Civil War?

CHALLENGERS

US, 2023, 131 minutes, Colour.

Zendaya, Mike Faist, Josh O'Connor.

Directed by Luca Guadagnino.

Anyone for tennis? The title comes from a tournament in New Rochelle, the Challengers. And we are introduced to an intense match between two men, clearly rivals.

Quickly the narrative goes back two weeks, the explanations of the characters, then the film goes back 13 years, with many time shifts, sometimes flashbacks within flashbacks, for the audience something like watching a match, continually switching from looking at one end to the other. Sometimes this requires quite an effort. And, some of the photography and editing of the actual tennis play, swift and sharp, sometimes in slow motion, especially at the end, is not always effective for movie concentration.

While the focus is on tennis, at the centre is a triangle relationship. Because the film opens in 2019, we see the three protagonists in some kind of conflict, two men facing off each other in the finals of the tournament, the woman, Tasha, who has been at the centre of their lives for many years, sitting in the stands, watching intently. When the narrative goes back in time, we are very aware that matters have not turned out so well over the period of 13 years, heightening the drama of our watching the characters, their meeting, two men in love with the same woman, her choices, changes, tennis rivalries…

This is very much a film for younger audiences, that is, audiences in their 20s, especially. We see the characters at 18, follow their progress till the end of the film when they are in their early 30s.

One of the difficulties is that the three characters are not all that interesting in themselves. Nor are they particularly likeable, it is somewhat difficult to have a care for them in their conflicts. In fact, the performances are very effective, showing the complexities and ambiguities of the characters. Zendaya is the young woman at the centre, tennis champion, strong-minded, very determined. It is different with the two men. Josh O’Connor plays Patrick, easy-going in many ways, not as good as tennis as he might hope, wanting to be liked, more than a touch self-absorbed, and developing into something of a cad. The other man is Art, Mike Faist, more talented at tennis, friends with Patrick since they were boys. They have been successful in doubles, but both are smitten when they see Tasha and make a bid for her attentions.

The musical score is often techno beat, intense beats, sometimes obscuring the dialogue.

The film is rather long, we spend quite a time with each of the men, with Tasha, and the ups and downs of the relationships, and, depending on how interesting we find the characters, this will determine whether audiences would really enjoy Challengers or not.

1. The title? The tennis theme? The triangle relationship theme? Interactions?
2. The work of the director, his Italian background, themes, relationships, sexuality?
3. The American settings, New Rochelle, Atlanta…? The tennis courts, clubs, audiences, apartments and hotels, cities streets, tennis atmosphere? The musical score, the techno score and its insistence?
4. Opening in 2019, moving to 2 weeks earlier, moving 13 years earlier, the trio in the past and their encounters, relationship, through the years, back to the present and the final set? The audience looking at the change of times like tennis viewers, and is moving from one side to the other?
5. The dramatic impact of showing the present, the competitiveness, determination, back to the past, the trio when young, tennis abilities, the men winning the doubles, Tasha and her skills, aged 18, amateurs, discussion of turning professional? The effect on the later sequences by knowing what the crisis was at the beginning and end of the film?
6. Patrick and Art, friendship from boyhood, discussions about the relationship and friendship, sexual behaviour at 12, the bonding, playing together? The gradual revelation of Patrick and his personal intensity, self-absorbed? The contrast with Art, his abilities, quieter personality?
7. The introduction to Tasha, age, tennis skills, determination, the final scream when winning, the media? The party, the two men approaching, conversation, her interest, the invitation, in the room, her turning up, the discussions, tantalising each of them, manipulating them to kiss each other? Her leaving?
8. Their careers over the years? Art and greater success? Patrick less success? Their drifting apart? Tasha and her skills? Winning, the significance of her fall and accident, emotions, treatment, Art supporting her, her recovery, determination to go on? A very determined personality? Playing the two men?
9. Patrick and his career, some victories, the years passing, down and out, Is Arriving in New Rochelle, his charm on the hotel manager and failing, sleeping in his car, trying to get the prize money? The matches in the tournament, the final and the three sets against Art?
10. Art and his story, his relationship with Tasha, relationship with Patrick, Art and his support, success, marriage, their daughter, his mother caring for the daughter? The confrontation with Patrick?
11. The three sets intercut throughout the film? Tightening the drama? One all, the final question
12. the focus on the games, the tennis player, sequences, point of view of each character, the audience, the umpire, decisions about in and out, the school, the past tournaments, practice sequences, the place of the camera, editing and action?
13. Patrick and his contacting Tasha, the phone number, his asking her to coach him, her violent reaction, keeping the note, returning to the hotel, the challenge as to whether she loved Art or not, going out, the encounter with Patrick, sexual, anger with him, getting out of the car, returning, Art with their daughter?
14. Tasha asking Patrick to lose the set, his reactions, agreement, visual techniques for the final games, slow motion, pausing, Tasha and her intensity, final set points, each looking at the other, their decisions, the final play, long, and the ending with Patrick leaping the net and embracing Art? The future for each of them?

FORTUNATA

Italy, 2017, 103 minutes, Colour.

Jasmine Trinca, Stefano Accorsi, Alessandro Borghi, Eduardo Pesce, Nicole Centanni, Hanna Schygulla.

Directed by Sergio Castellitto.

Fortunata is the dramatising of the life of a very emotional woman, a hard background, harsh memories of the death of her father and responsibilities, marriage to a violent man, divorce proceedings, bonding with her daughter but their being tensions, the experience of work with the therapist…

The film has been written by Margarita Mazantini who collaborated with her actor-director husband, Sergio Castillitto. They worked on several films together.

The film was nominated for many awards and actress, Jasmine Trinka, winning several for Best Actress. Her character is highly emotional and the performance dramatises the emotions, sometimes there are extremes. In support is StefanoAccorsi as a sympathetic therapist, Alessandro Borghi as a friend who is bipolar, Eduardo Pesce as her brutal husband, and German actress, memories of her work with Fassbender, Hanna chuygulla as a former actress with dementia.

The treatment is highly emotional, dramatic and melodramatic, but the central performance is certainly commanding and audiences can be swept up into the domestic drama, the behaviour of the brutal husband, menacing and violent, the possible escape with the therapist, at the core relationship of mother and daughter.

1. Title, the irony of Fortunata and her name? The background, Her father, a failed marriage relationship with her daughter, therapist, ambitions, her emotions, careful Chicano? Custody issues?
2. The Italian city, apartments, addresses, therapy offices, the aqueduct, countryside, the visits to Genoa? The musical score?
3. Fortunata’s story, her age, the sequences with her husband, violent brutality, verbal violence and menace, physical violence? The divorce? Her relationship with Barbara, Barbara’s moods, school, dropping the bag, the exasperated mother? Barbara possessive? Fortunata and hair-dressers, the plans, with Chicano, with her friends? The work and preparations? Going to the therapist, observing Barbara? The bond with Patrizio, the outing with him, the travel, his story, the dancing, the sexual experience, the consequences of the relationship? Her husband, the accusations, Chicano and the death of his mother, meeting with the judge, the husband and the filming of his wife and her behaviour? Her losing her daughter?
4. Barbara, her age, relationship with her mother, aggressive, yet dependent, going to the therapist, bonding with him, her drawings, the discussions, his drawing her out of herself? The suspicions of her mother with the therapist? Angry at her mother going away, going to the roof, hurting herself? Her father’s reaction? Going off with him? Finally alienation from her father, bonding again with her mother?
5. Chicano, bipolar, drugs, looking after his mother, gentlemen, the past as an actress, quoting Antigone, his devotion to Fortunata, working with her, the encounter with the Patrizio, his plann for the withdrawal from drugs? The birthday party for his mother, blowing out the candles, her behaviour, her dementia? The walk with her, the memories,his exasperation at her not recognising him, the bridge, accusing him, his memories of the story of Fortunata letting her her father drown, the death of his mother – and the later finding of her body?
6. Patrizio, therapist, the background in Africa, his reputation, his charm, with Fortunata, with Barbara, friendship, smiling, encouraging, the questions, drawing her out of herself, her bonding with hearing? The attraction to Fortunata, the outing with her, taking her to his town, night, the dancing, the room, sex, the return, the crisis on the return, Fortunata and his reaction to her, his trying to help? The final talk between them and her reaction?
7. The culmination, the dramatising of her father’s death, her denial, visualising the water, a verbal description, her father in the water, going out to sea? The issue of blame, a highly emotional reaction to Chicano, wanting to see him, hysterics, her final catharsis with the memories of her father, joining again with Barbara at having a future?

LA CHIMERA

Italy, 2023, 130 minutes, Colour.

Josh O’Connor, Carol Duarte, Isabella Rossellini, Alba Rohrwacher, Lou Roy-Lecollinet

Directed by Alice Rohrwacher.

Response to La Chimera may very much depend on mood and frame of mind as we choose to watch it.

The film has had some glowing reviews and Festival awards, with words like “poetic”, “magical”, being used to praise it. So, for the poetic frame of mind, no worries. But for audiences who might subscribe to a more prosaic, realistic frame of mind, perhaps not.

We are in Italy, a remote part of Tuscany, industrial, docks, poorer, dilapidated abandoned railway station, makeshift huts on mountainsides. There is a town, the streets, the cafe, but hard times.

The film was written by Alice Rohrwacher, a director with a strong reputation (Happy as Lazzaro). The star is the British actor, Josh O’Connor (Prince Charles in The Crown, Challengers), and a cast of Italian actors with an enjoyable cameo by Isabella Rossellini as a retired singer, demanding matriarch.

In the plot, while the setting is remote, the source of income is much more remote. It is treasure from buried in Etruscan tombs, with the locals digging them up, fixing and mending, and negotiating with an unseen dealer who markets them to wealthy international collectors.

So what is an Englishman doing in this setting? He is an archaeologist with a gift for divining the buried relics (using a forked branch). But he has lost his love, longing for her, dreams of her, and is returning to the town after serving a prison sentence.

He is taciturn, sombre, going to visit the singer but trying to avoid his ragtag band of past collaborators. But he does go back to divining, is attracted to the singer’s maid – and loosens up a little, but generally, a morose hangdog look.

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There is background drama with the town’s characters, some comic touches (action speeded up at one stage in the character giving her opinion straight to camera). The critics have praised the evocative cinematography, the poetic aspects. And then there is a cameo from veteran actress Alba Rohrwacher (the director’s older sister) in an unexpected character.

There is some excitement towards the end with a significant discovery of a shrine in statue of goddess – and criminal shenanigans and small wheeler- deals.

An unexpected and offbeat drama.

1. The title? The visual images and cards?
2. The Italian setting, Tuscany, the remote town, the docks, the streets, the cafe, the abandoned railway station, ramshackle homes, makeshift huts on the mountains? The contrast with the city, the buildings, business dealings, the yacht on the lake, the option? The musical score, the range of songs and their lyrics illustrating the themes?
3. Critical acclaim, poetic and magical? Festivals and awards? For the poetic imagination? Not for the realist imagination?
4. The introduction to Arthur, in the train, with the young women, his comments, flirting, the salesman and his attack, comment on his smell? The white suit? The dream, his lost love? The mystery of an Englishman in Italy? The mysterious, poetic, dream sequences throughout the film, and the reprise of this same journey and characters later in the film?
5. His arrival in the town, his friends meeting him, his not wanting to join them, is going to Flora’s house, the discussions with her, the lost love and the memories, the symbolism of her face, the son following them, the red thread on the ground and the later snapping of the thread after he sees it in the cave?
6. His going to his makeshift huts, trying to settle back, meeting up with the friends, their work, personalities, the preparation for the Festival, the masks, the town and rejoicing?
7. Arthur, his background, archaeology, his knowledge, the forked branch, trees upturned, the maid seeing them, pulling them out, the signals for the buried relics? upset? But his returning to the divining, finding the tombs, the contents, in the town, the group mending and fixing, the contact with Spartaco, Arthur indebted to Spartaco, going into the city and the office, the financial deals, not seeing Spartaco, meeting with her niece?
8. The character of Italia, her background, her two children, the daughter older, the sleeping boy, concealing them? Wanting to sing? Serving as a maid to Flora? Flora and her household, the various women, their arguments? The visit to the railway station, her leg, the wheelchair? The railway station abandoned?
9. Arthur, the attraction to Italia, going out with her, the Festival, the dancing, on the shore, the the sand above the hidden tombs, the discovery of the grave, her threatening the police,?
10. Arthur and the discovery, in the tunnel, the shrine, the statue, the gifts? To get them out, breaking off the head? The seeming police? Spartaco’s henchmen disguised as police? Their getting the statue, packing it, transferring it to the yacht?
11. Italia, the children, setting up a centre for them in the abandoned station, redecorating it? Her collaborators?
12. The information about the yacht, Spartaco and her niece and explanations, the scenes of the auction, the wealthy clientele, Spartaco as a woman, her dress and style? The group coming to the auction, the intrusion, trying to bargain with Arthur, his mood, exasperation, throwing the head into the sea, the scene of drowning at the bottom of the sea?
13. The consequences for the group? The consequences for Arthur? The presence of the police throughout but their not being able to convict?
14. Arthur, his wanderings, finding the new cave, exploring, the thread and memories of his love?

LATE NIGHT WITH OF THE DEVIL

Australia, 2023, 93 minutes, Colour.

David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri Georgina Hague, Josh Quong Tart.

Directed by Colin Cairnes, Cameron Cairnes.

From the early days of television, there have been popular programs at night, the popular host who builds up a reputation over the years, a range of guests, music and song, novelties, interviews, and an eager and applauding audience. Most of us know this from our own television watching experience, our favourite hosts.

The inventiveness of the Australian filmmakers, Cameron and Colin Cairnes noted for their horror-comedy, 100 Bloody Acres) have taken the Late Night popularity and mined it for making a horror film. And, very successfully. While the setting is the US, and the main star American, the film was made in Melbourne with an Australian cast.

They have used the found-footage genre, popular now for a quarter of a century. We are back in the 1970s. Johnny Carson reigns supreme on late night television. And this is a story of Jack Delroy, played very effectively by American character actor, David Dastmalchian, perfectly embodying the TV host – and, Australians with long memories, maybe remembering the host of the 1970s, Don Lane an American, but very popular in Australia.

The film offers a very interesting introduction, the ups and downs of Delroy’s career on late night, his program, Night Owl, and his not claiming the top in audience reach. We see scenes of his program, especially with his former-actress wife, who then contracts cancer and dies, leaving him bereft.

We are taken very easily into this television past. However, the introduction also tells us that we are about to see a Halloween episode of 1977 that never made it to air (and we see why). To make this episode more effective, intercut with the program itself are scenes, filmed in black and white, of what goes on during the breaks, the discussions, the tensions, the plans… All of which makes the film rather more credible than we might have expected.

So, we are prepared then for the Halloween program itself, Jack and his ambitions to do well in the ratings, some rumblings with his assistant, Gus, questions about the sponsors, pressures from the producer during the breaks. The guests have been prearranged with Halloween in mind, first of all a psychic, Christou, who performs mistakenly at first, but then with some eerie success. However, the next guest is a former magician who has turned into a major sceptic and committed to exposing frauds – with some dire  results in his confrontation with Christou.

But the key sequence is with a young girl, a survivor of a satanic cult (with some footage included of their sinister meetings, and the destructive house fire) along with her doctor, a parapsychological expert, who has the capacity to hypnotise the girl and make the presence of the satanic figure perfectly real.

Not a spoiler but this all comes to vivid life, with some horror touches!

Interesting is that after the audience in the studio and ourselves see the strange phenomena, everyone hypnotised, the idea is to check on the playback. And, it is all there!

There have been some sinister suggestions that Jack Delroy has been involved with a group of men meeting, allegedly a male camp, but with sinister robes and incantations.

Is all that happens on this program something diabolical, Jack and his group, Jack and his huge ambitions for popularity, a late night pact with the devil?

1. The title, late night TV shows, compares, staff, guests, audience? Fame, ratings? And pacts with the devil?
2. An Australian production, directors, cast, made in Australia? Australian perspective on late-night talk shows, memories of the past?
3. The setting in the 1970s, the famous hosts, the development of the decades, audiences familiar with this kind of programming? Following the careers of the hosts? Enjoying the guests and interviews? The novelties?
4. Popularity of found-footage films? Variations on possibilities? The episode of Night Owl which never went to air? The black-and-white footage of action behind the scenes? The blend of the two?
5. The introduction, memories of the shows, references to Johnny Carson and other contemporary shows? Ratings, competition? The appeal to older audience memories?
6. Jack Delroy, the performance and presence by David S Malki, embodying the compere, style, jokes, appeal to the audience, catchphrases, Gus and his support? Is ambitions, the ratings? Relationship with his wife, her actress background, her appearance on his shows, her cancer, her death? The discussions with Leo, the producer?
7. The reference to the men, the Grove, the visuals of the gathering, the satanic implications? Pacts? Secrecy? And the revelation about the satanic church, the visualising of ritual rituals, blood, violence, the leadership? The attack, the burning house, the deaths, Lily surviving?
8. The planning of the show, to have the psychic, the sceptic, the doctor and Lily? The audience and their response? The Halloween setting, the costumes, the atmosphere, expectations?
9. Chris two, his presence, personality, claims, the interviews, his accent, mind reading, Larry and his volunteering, and the expose and Christie’s mistakes? The change to the mother and daughter, the death, the communication, references to the door in the past? The effect? The connection with Minnie – Jack and his wedding ring? The introduction of Car, sceptic, the challenge to Christou, the sparring, Bristow and his spouting, the effect, his collapse, hospital, the news of his death?
10. Car, the past magician, his tricks, sceptic, the expose of Christou?
11. The buildup to June and Lily, the background, the visuals, Lily is a survivor, her age, looking at the camera, her intensity, friendliness? June, her qualifications, the two women and their clashes with Car? His condescension?
12. June, weary, not wanting the episode, pressure, the episode, the visuals of Lily, the Mr Recalls emergence, diabolical, her voice, split head, hypnosis? Her return to normal, the explanation of not remembering?
13. Car, his demonstration with gas, gas and his anxiety, wanting to quit, the news of Christou’s death, agreeing to be the subject, the hypnosis, his denials, the hypnotic state, the wound on his neck, the worms, his stomach bursting? Coming out of the trans? The audience hypnotised, the film audience and their equivalents of hypnotism?
14. The reality, the replaying of the scenes? Gas? Of Lily?
15. The atmosphere, the audience and their responses? Behind-the-scenes, the technicians, the news of Christou’s death, people leaving?
16. The finale, contortions, deaths, June hanging, Lily in the midst of it, car being burnt, Gus and his death?
17. The issue of sponsorship, the advertisements, the commercials throughout? The response of the public, the ratings?
18. Jack, his wife appearing in the replay, ghostly presence? The challenge about his being member of The Group? His going through his career, the replay of the scenes? His fame – at what price?
19. An effective horror film with the conventions? The found-footage genre? The critique of television, fame, audiences, ambitions? Pacts with the Devil?

ROBOT DREAMS

Spain, 2023, 102 minutes, Colour.

Directed by Pablo Berger.

Here is an animation film was great appeal to younger audiences, an entertainment for older audiences.

It is also a Spanish production, Spanish animation. However, it is very much geared for an English-speaking audiences around the world, based on a comic book of 2007, but set in New York City in 1984 (and, of contemporary audiences, the frequent presentation of the Twin Towers and memories of 9/11 and its consequences).

While there are signs in English, roadsigns, shops, the subway… And only a word or two of exclamation is heard throughout the whole film, except for the range of songs in the background and their lyrics. To that extent, the film works like a silent film, the audience responding to the characters, performance, incident, interactions. And, given the characters, the wordless narrative means that the film is very easily accessible even to small children.

The animation style is very enjoyable. It is amazing to watch how much can be discovered about characters with simple drawing. Here it is mainly through the eyes and the mouth. The eyes are simply circles with black dots – but the movement of the eyes is extraordinarily lively. As regards the mouth, it is a simple small curve line, able to smile, able to look disappointed – and, sometimes opened up to communicate communication. The impact of the story and characters depends on this.

But, there is also the vivid background of New York City, streets and departments, shops, and visits to Ocean Beach.

The central character is Dog, the opening illustrating how alone he is in his apartment, watching television, computer games, suddenly seeing an advertisement for a companion robot, ordering it, busy about putting it together, and the robot coming alive – with its eyes and its mouth indicating an inner life as well as affection for Dog, and the capacity for imitating anything and everything. The joy of the early part of the film consists of the various exclusions and sharing between Robot and Dog, especially an excursion to Ocean Beach.

However, with all the pleasant scenes, there are some sad sequences, Robot battery using up all the oil and becoming immobile on the beach, and stranded there for months because of the closing of the beach for winter, Dog doing his best to retrieve Robot but ousted by the severe guards.

And the dreams of the title? Robot does have some moments where he seems to be rescued, returning back to Dog with reconciliation, only to find he has been dreaming. And, in his sadness, Dog has a variety of dreams. And the content of the dream and the emotion plays with the emotions of the audience.

There is a variety of incidents which also appeal, birds on the windowsill watching Dog quitting robot together, a bird on the beach and her three chicks and their learning to fly, a team of rabbits who come ashore and who take part of Robot to plug the rowboat.

And, that is not all, there is the animal with the metal detector on the beach, discovering Robot leading to further adventures. And, then, a new character, school, who reconstructs robot.

And, emotions, the playing of the song that both characters liked, the testing of affections…

A pleasing experience, excellent animation, and the wonder of responding to appearances, body language, without characters expressing themselves in words.

BACK TO BLACK

UK, 2024, 122 minutes, Colour.

Marisa Abella, Jack O'Connell, Eddie Marsan, Lesley Manville, Juliet Cowan, Sam Buchanan.

Directed by Sam Taylor-Johnson.

Back to Black is the title of one of Amy Winehouse’s best-known songs.

There is a television series titled Too Young to Die. Certainly a title for a film portrait of singer, Amy Winehouse, dying in 2011 at the age of 27, it already a five-time Grammy winner, awards in the UK, popularity in the United States.

For audiences who are familiar with Amy Winehouse and her career, this is a two-hour overview portrait of her life and and musical success. Fans of the film are enthusiastic. Critics less so, delving into the film and its screenplay and criticisms of simplification – which is always the case in two-hour film which does not intend to give a full life story. For those fans, there is a documentary by celebrated director, Asif Kapadia, Amy, 2015, which also runs for over two hours.

One of the difficulties in a film about Amy Winehouse is that, while she had enormous popularity with her career songs, many people did not respond well to her as a person, as a personality. Again, for those who are fans, there is plenty to see and reflect on in this film. For those who do not respond well to her, the screenplay by Matt Greenhalgh, who had been tuned into British music history with his portrait of Ian Curtis of Joy Division, Control, 2007, biography of the young John Lennon, Nowhere Boy (2009), the portrait of the London entrepreneur, Paul Raymond, The Look of Love, 2013, works well. Within the first 10 minutes of the film, there is a sequence of the older Amy rushing headlong down the street, then situating Amy and her family, the Jewish background, her ability to sing, relationship with her fatherNan, Eddie Marsan, who is separated from her mother, and her loving man, Lesley Manville.

While there are many of the songs, and star Marisa Abella, who offers what is often called a powerhouse performance, singing herself, there is also a musical score by Nick Cave and Warren Ellis.

The film shows the ability of Amy Winehouse and her powerful voice, her love of jazz, and not wanting to be seen as another Spice Girl, the steps of her rising fame, singing in the pubs, the attention of producers, companies, records, popularity, awards, finding the right time for being inserted into the US musical consciousness, the tours, and, ultimately, five Grammy awards.

On the other hand, Amy Winehouse died at the age of 27 alcoholic poisoning. She is a wilful personality, ambitious, violent outbursts, especially towards the video producer, Blake (Jack O’Connell), an addict, who becomes the object of her love and infatuation, an up-and-down relationship, her violence towards him, his prison term, a divorce – yet, as the screenplay highlights, the continual reference to him in her songs, and during their time together, his presence at her concerts.

Which means that this is also a very sad story of a young woman, alcoholic, suffering from bulimia, anti-drug yet introduced to them, unwilling to go to rehab but finally agreeing (and the hit song Rehab), the deep desire for family and children, sober for a time, yet relapsing and dying.

The film has been directed by Sam Taylor Johnson who also directed Nowhere Boy, the film about John Lennon.

1. The title? Amy Winehouse and her career, hit songs?
2. The London settings, the 1990s, the 2000s? London suburbs, streets and homes, Camden, the pubs, the concert venues, offices and studios, rehab? The scenes in the US, the concerts, Florida, the wedding? The background of Amy Winehouse’s life?
3. The music, the songs, the lyrics, the performance, throughout the film, songs at home, background, award occasions?
4. The opening, Amy running, symbolic? At home, the Jewish background and songs, her singing Fly me to the Moon? Mitch joining in? Family atmosphere, living with her mother, her parents separated, the importance of her relationship with her Nan? The box of photos? At home with her mother, her father taxi driving? Nan and her career, her vision for Amy?
5. Amy, drinking, her attitude towards drugs? The wilful personality, drinking? The contact from Nick, performances, contracts, manager? The companies? Her records, the British public, popularity, her continuing success? The issue of America? Her reluctance? A new manager, the company board, their attitude towards the right time for America? Eventually going, performances? Her return to America, marrying Blake in Florida?
6. Amy and her age, experience, the encounter with Blake, playing pool, his singing, his discovering who she was? The bonding, competition, his girlfriend? The invitation for a cup of tea, his arrival, the relationship, the jealousy of the girlfriend? The rocky relationship, Amy and her devotion to Blake, the drinking, the outbursts, hitting him, his reactions? The up-and-down relationship? Her father’s disapproval? Nan and her support? The reaction to the wedding?
7. Mitch, his background, the divorce, supporting Amy, her success, his pride, his reprimands?
8. The ups and downs of the marriage, violence, Blake and his arrest, going to jail, background of his drugs, cocaine, Amy’s reactions? The visit to jail, his wanting a divorce?
9. Amy, her wanting a family, wanting a family with Blake? Disappointment at not being pregnant?
10. The joy of the Grammy awards, Tony Bennett, family, friends, the speech?
11. Amy and her drinking, the consequences? The pressure of the paparazzi, always there, the photographs, calling out to her? In the media, photos, the magazines?
12. The issue of rehab, talking with her father, going to the rehab – and the later success of the Rehab song?
13. Lee Mia, alcohol, relationships, her young age, disappointment about pregnancy, her death?
14. Age 27, achievements, yet a whole life before her? Her place in British popular music?

MONKEY MAN

India/US/Indonesia, 2024, 121 minutes, Colour.

Dev Patel, Sharlto Copley, Pitobash, Sikander Kher.

Directed by Dev Patel.

The posters seem sinister. A warning.

Audiences will know London actor with Indian background, Dev Patel, from his presence in Slumdog Millionaire, Best Exotic Marigold Hotel, David Copperfield, and his Oscar Nomination for The Lion. But, that warning, this is not really like any of those roles. This time, as many have noted, he is like an Indian John Wick. And those John Wick films were marked by strong action, many fights, body count, an atmosphere of violence.

And, this is definitely the case here, Dev Patel having trained in martial arts from when he was young, admiring action films. And this is his showcase, not only is he the star, he has collaborated with the story and the screenplay, has produced and, his first film as director. Clearly he has put a lot of thought and effort into his production, location photography in India but, in fact, the film made in an Indonesian studio with postproduction work in Australia. The photography is stylish, the choreography for the fights intense, the editing dramatically paced.

Dev Patel also remembers the Hindu myth of the Monkey Man,, Hamuman. In fact, the film opens with a little boy in the countryside, his mother telling him the story, some visuals of the mythology, the strong monkey man, courageous, saviour figure. And, this image recurs throughout the film, a religious motivation for all the action that ensues. The central character is known as The Kid.

When we see him as an adult, he is masked, a monkey mask, going to the ring of an underground fight club (though with fanatically cheering crowds) of martial arts boxing, his making money by being brutally defeated. He engineers an interview with a boss woman who runs a high class restaurant, for the wealthy, local politicians, police, international visitors, restaurant and brothel.

The Kid works in the kitchen, befriends a fellow worker, ingratiates himself, even to becoming a waiter in the top floors, but overcome with disgust at the affluent indulgence of the guests. And we might wonder what he is doing here, what are his ambitions.

For audiences intrigued by what has happened and the way that it has been presented, even the violence, there is plenty more to discover. However, some of the violence, especially the long fight sequences, drawing on the dramatics of Indian filmmaking as well as Asian martial arts films (from China and Indonesia), this may be too much – and there is even more, and even more, to come.

But, flashbacks reveal strong motivation for revenge, politicians, financiers, a guru who promotes himself on television, collaborating in ousting poor citizens from their homes and land for big business purposes – and, quite harrowing, the attack on The Kids mother. While he does attempt to shoot the police chief responsible for the attack and his mother’s death, he fails, escapes into a commune where he takes time to train, boxing, fighting skills, building himself up.

It is election time, The Kid goes into the underground ring again but is triumphant, initially even with one blow, but his friends bet on him and there is enough money for the members of the commune to get their costumes, be ready to join in his vengeful attack.

It is very much a vengeance is mine confrontation, the restaurant, the guests, the police chief, the Guru.

Very tough going for The Kid as well as for the audience, but fans of John Wick and, now, The Kid, very satisfied.

.

1. The title? Indian mythology? The story Hanuman, the monkey, courage, leadership? The initial telling of the story by his mother to The Kid? Visualising? The later references throughout the film?
2. The work of Dev Patel, story collaboration, writing, producing, stirring, directing? The impact of his presence?
3. Living in Indonesia? The fictional Indian city, the visuals, the night, the skyscrapers, the streets, the clubs, the VIP lounge, the kitchen? The political sequences, television interviews and coverage, lifestyle of the politicians, the guru? The contrast with the countryside and forest? Martial arts boxing, the ring, the audiences? The refuge and The Kid and his training? The musical score?
4. Creating the atmosphere, mother and son, the devotion, the repetition of the mythology in Korea, respect for the courts? Keeping the flashbacks till later, the attack on the community, taking over the land, the boy in the house, his mother insulting the police chief, his coming for revenge, the sexual attack, her death, the boy watching, the house set alight?
5. The introduction to the adult Kid? In the ring, the opponents, the mad crowd, betting, cheering and? His defeat? The mask? Tiger, MC, manager, control, with the crowds? Entrepreneur? The Kid and his return bouts? Later, after his training, the instant knockout, the crowd silent, the next opponent, defeat, the betting? Tiger and his reaction? The crowd chanting?
6. The Kid and his ambitions, motives for revenge, the information about the manager, her ruthlessness, the stealing of her purse, the chain of contact, his returning it to her, the interview, his burnt hands? The job, working in the kitchen, interactions with Alphonso, the jobs, the VIP lounge, serving the drinks, the encounter with the young prostitute and the bosses demands, the encounters with the clients, behaviour? The Kid and his disgust? Eventually going to the upper room? The police chief and the other politicians, the decadence?
7. The confrontation with the chief, the fight, Kid buying the gun, practising? The fight, his losing, the pursuit, escaping? Taking refuge in the forest? The community, the leader, the musician, the music with male and female and the drama? Using the music for Kid’s training, the discipline, the perseverance, being ready for the final confrontation?
8. The final bout as Monkey Man, the boy and placing the money, the win, the finance for the rebels, the costumes, to be ready to attack?
9. The social critique of the film, the wealthy, exploiting the land, profits, the police and corruption, the religious guru, the television publicity?
10. The political atmosphere, the elections, the party, the campaigning? Ordinary people as victims?
11. The Kid and his return to the restaurant, the political gathering, the attack in the kitchen, the fights, martial arts, weapons? Going upstairs, the attack, people fleeing? Continued fighting, his supporters coming? The top room, the fight with the police chief, the extent detail, the violence of his death? The Chief’s taunts about Kid’s mother? Finally going to the tower, the guru, his smug comments, the threats, the weapons, Kid turning the tables, death?
12. The insertion of flashbacks throughout the film, The Kid and his memories, his mother? And the final happy memories?

THE FIRST OMEN

US, 2024, 121 minutes, Colour.

Nell Tiger Free, Bill Nighy, Sonia Braga, Ralph Inesont, Maria Caballero, Nicole Soracce, Charles Dance.

Directed by Arkasha Stevenson.

It is almost 50 years since the quite high-profile original, The Omen, starring Gregory Peck and Lee Remick, showed an American ambassador and his wife adopting a charming child – who turned out to be Damien, the devil incarnate. Two sequels, Damien growing up, then Damien played by Sam Nell, wreaking evil in the world. There was a fourth film in 1991 and a remake in 2006. Almost 50 years of an Omen franchise.

Now, a prequel.

This time we are in 1971, early indications that the 60s changed young people, greater freedoms, and greater moving away from the churches. But, an eager young woman, Margaret (Neil Tiger Free), arriving in Rome from the United States, is to make her vows and work in an orphanage for girls, children of unmarried mothers,, invited by Cardinal Lawrence (Bill Nighy) who has known her since childhood.

There is a prologue with an ominous meeting between two priests, Charles dance and Ralph Tennyson, indicating that something terrible is happening, one priest afraid, in the confessional, but killed by the shattering of a falling glass stained window.

For audiences who saw Immaculate a month or so before the release of The First Omen, this will seem very familiar. And, as the film progresses, we see that the plotline has many more strong resemblances. (And commentators ‘divided, many pro-Immaculate, many Pro-First Omen, this reviewer inclining towards Immaculate.)

Needless to say, there are sinister (ominous!) things going on in the orphanage, a harridan of an abbess (Sonia Braga) are many strange nuns in very old-fashioned habits, young worldly woman who would not be allowed to remain in formation, out on the town, and an elaborate sequence, bridal gown and everything, often making her vows to the Cardinal, the orphans very nice and playful but one, Carlita, strange, segregated to tantrums in the “Bad capitalism”,, strange drawings, but Carlita bonds with Margaret.

Since the original films were about the incarnation of the devil, then we are expecting this kind of demonic sinister development. One of the variations on the theme is that there is a church cabal claiming orthodoxy, but who are despairing with defections from the church all over the world and who come up with the idea that if the devil became incarnate, this would so terrify people that they would want to return and take refuge with the church! A novel theological-pastoral approach which, someone in the film describes as “insane”. Yes.

However, once this premise is established, it is full steam ahead, sinister scientific machinations behind the scenes (those in Immaculate were even more imaginative), pregnancies, horrifying birth sequences, and the seeming victory of the fanatics.

A satisfying moment towards the end when the nuns arrange for the child to be adopted and a photo of Gregory Peck from the original film comes up.

But, not quite, a final sequence which sets the scene for a sequel to the prequel.

1. The status of the Franchise? The original in 1976? Two sequels? A different beginning with Omen IV? The remake of the original in 2006? A prequel?
2. The similarity of the story and issues with Immaculate, 2004? Released at much the same time?
3. Audience expectations, memories of the original film? Satan, the demonic, demonic incarnation? The power of the demonic child? The motivation here that people were leaving the church, that the appearance of a Demon child would frighten back adherence to the church?
4. 1971, the changes in the world, with youth, freedoms, adherence to the church during the 1960s? The hypothesis of an alternate church, focused on the devil, using young women, preparing them to be mothers of the demonic, the motivation to put fear into the population? The insanity of the hypothesis?
5. The opening, the stained-glass in the church, Father Brennan, the confessional, Father Harris? Coming outside, it is to Harris and the warnings, the stained-glass, the gash on his head, his death? Father Brennan, then excommunication?
6. The introduction to Margaret, story of her being an orphan, the patronage of Cardinal Lawrence, coming from Massachusetts, to make her vows in the community, the commitment? Arrival in Rome, Father Gabriel, her own chauffeur, the welcome from the Cardinal? The initial encounter with the abyss, her manner? Her room, the encounter with Luz, free and easy and her manner?
7. The orphanage, the children, unmarried mothers, the little girls, classes, play, Margaret bonding with them, her Italian and English, the story of the butterfly and wishing to fly? Suspicions? Noticing the priest and the nuns? The encounter with Carlita? Carlita, alone, the “Bad Room”? Her drawings, the gift, happy drawings, the black nuns, the later pregnancy drawing? The explanations, her birth in the orphanage, the documents, her seclusion?
8. Cardinal Lawrence, genial, welcoming, memories of the past, his influencing the orphanage, working with the abbess? His visits? The ceremony for Luz, the bridal dress, the change into the habit, the restrictions, the nuns prostrate and chanting, her vows?
9. Luz, provocative, the dress for Margaret, urging her to go out, taunting her about her narrow outlook, the nightclub, drinking, the encounter with the men, the meeting with Paolo, talking, the dancing, her drinking too much, the collapse, being brought home, the explanations by Luz? And the later encounter with Paolo in the street, in her habit, his fleeing from her, the crash, being pinned against the wall, her holding him, severed, his death? His fears?
10. Margaret at work, seemingly normal, the range of nuns, the smoking gun, the chatter, the meals, the children and their enjoyment? Carlita, separated, confiding in Margaret?
11. Margaret, the glass, the woman giving birth, the Demon claws emerging?
12. Father Brennan, approaching Margaret, the address, the going to visit, his explanations, the demonic, Margaret leaving? His argument about the documentation? The ceremony, Margaret leaving, the search in the office, finding the documentation?
13. Father Gabriel, friendship, her talking with him, the pursuit, his saving her, the going to Father Brennan,, his picture of the baby, with Carlita’s name, going through the documents, placing the photograph, between? And the 666? In Carlita’s mouth? The sign on the head, the search of Margaret’s head, her being the destined mother of the child? Preserved, being brought to Rome?
14. The capture, Margaret being chained, the pregnancy, the nuns, the cardinal, everybody in attendance, the black veils, the alternate Church? The difficulties of the birth, the incisions? The womb, the emergence of the child, twins, a boy, the group happy? Taking the child, consecrating it? The abbess?
15. Margaret, the knives, turning the tables, the death of the cardinal, the girl child, the fire, the assumption that she and the child were burned?
16. Margaret and the child, surviving, the girl? The visit of father Brennan, his warnings?
17. The setting up of a sequel for this prequel?