Displaying items by tag: Peter Malone's Movie Reviews

LITTLE ITALY

US, 2018, 102 minutes, Colour.

Emma Roberts, Hayden Christensen, Danny Aiello, Andrea Martin, Adam Ferrara, Gary Basaraba, Alyssa Milano, Linda Kash, Vas Saranga, Amrit Kaur, Jane Seymour, Andrew Phung, Ava Preston, Nikky Capello.

Directed by Donald Petrie.

Little Italy is a Romcom, appealing to the Romcom audience, those not into it probably wanted to give it a pass.

In fact, it is everything that might have been expected from a romantic comedy set in little Italy. It has also been described as a food film, dismissed by experts in cuisine. It really is a pizza film – and at times you can almost smell and taste pizza .

So, there are two families, the little girl in one, Nikki, delighting to be in the company of the other family’s little boy, Leo. They are inseparable. However, there is a competition, a clash between the two fathers, enmities for the next 20 years, two separate pizza parlours, side-by-side, Leo’s family’s business flourishing, Nikki’s family not.

Then, Nikki, grown-up, goes to London to be educated in cooking and restaurant management, under the eye of Jane Seymour. But, after some years, she has to return home and prepare menus for a new restaurant.

A lot of the film is then about what happens when she gets home, now a glamorous young woman, encountering Leo who has faithfully stayed with the family even though he would have liked to have had his own restaurant, their initial encounter, playful, wary, drinking, some innuendo…

A range of character actors play the parents, two husbands and wives and their interactions, but a focus also on the grandparent generation, with Danny Aiello in one of his final films as Leo’s grandfather, and Andrea Martin (so extrovertedly  Greek in the Big Fat Greek Wedding films) as Nikki’s grandmother. Secret dating, proposal, dinner for all, the announcement, and the fostering of the feud.

Nikki is emotionally bewildered, in love with Leo but refusing to acknowledge it. He is in love with her. However, to solve the feud, it is decided that the families enter the competition for that year, the younger generation because the fathers have been banished from the competition. And, whoever loses, will move out.

Lots of food and excitement with the competition, the cooking, the judging, Leo winning but realising that Nikki had manipulated the sauces with the intention of her losing and leaving.

Final drama at the airport, everybody there, interrupting all the procedures, Italian loud, love, resolutions – and reconciliations.

More or less what we would expect.

THE 33

US, 2015, 127 minutes, Colour.

Antonio Banderas, Rodrigo Santoro, Juliettw Binoche, Lou Diamond Philips, Mario Casas, Gabriel Byrne, Bob Gunton, James Brolin.

Directed by Patricia Riggen.

The 33 of the title are the miners who were trapped for almost 70 days in a mountain collapse in the desert in Chile, 2010.

This is a re-enactment of the disaster, establishing the happy atmosphere of the men and their families and their village, the going to work, the suggestion that the mine in the mountain is unsafe and authorities rejecting this, the travel to the mountain, the long drive in the vehicle going further down in depth.

The disaster happens fairly quickly, collapse, injuries, the men trying to escape, gathering together, all surviving, going to the mine centre where there is shelter and some food. The film will intercut with the miners, their managing, working together, the issue of food and rationing, some prejudice against a Bolivian, the toll on the long wait.

Meanwhile, on the surface, the focus is on the women, at the fences, not given information, protesting, the group led by a very feisty Juliette Binoche.

Then there is the political response, the president of Chile, Bob Gunton, and his mining Minister, Rodrigo Santoro, humane man, inexperienced, who goes to the site, is confronted by the women, but works to find experts to come in for the drilling. They are led by Gabriel Byrne.

So, there is the intercutting between life on the surface, the establishing of a kind of village for those waiting, the media, the various experts. There is tension, mistakes made, and eventual breakthrough.

However, the ordeal was to continue, attempts to find ways in which they could bring them into the surface, drills from Australia, Canada, the United States, the need for huge magnets from Brazil to move iron blocking the descent. But, in the meantime, the men were provided with food, necessities, moral support, cameras and the ability to talk with their families.

Ultimately, the operation was a great success, the men rescued but, as the film indicated the company not found guilty of negligence, the men not compensated – but the credits sequences showing them, in fact, faces and names, and a final group photo – and the information that many of them participated in the making of the film.

Audiences might like to compare Ron Howard’s 13 Lives and the rescue of the boys from the Thai tunnel or A.J.Bayona’s Society of the Snow, the survival of the Uruguayan football team the crashed into the Andes in 1972.

1. Based on a true story? A few years after the events? Some of the former miners, out of work, participating in the film? World headlines? International collaboration?
2. The setting in Chile, the desert, the towns, the mine, the tunnel, the depths, the roads and vehicles, the rest centre? The president’s offices? The building up of the community outside the mine entry? The musical score, Latin overtones and instruments? The central song and its Cappuccio
3. The setting, the town, the miners, preparing for work, the party gathering, Elvis’s song, happy spirits? The men, wives, daughters, the children? The status of the mine, since 1989, Don Lucho and his concerns, the boss waving them away?
4. The journey to the mine, spirits, the long entry, the drive, the only way out? The image of the receding entry?
5. The work, the minerals, the shifts, the collapses, the rocks falling, injuries, the men escaping, the man hanging over the abyss, the vehicles, the crashes, assembling, the 33 still alive, going to the centre?
6. The drama showing the number of days, the cumulative effect? The men, interactions amongst themselves, friendly, the bigotry against the Bolivian, the issue of the food, limits, Mario as leader, with the key, over the days, controlling the meals, every 24 hours, the limits? The men and their hopes? Tensions, some with nightmares? The passing of the days, the radio not working, headlights?
7. The drama the top, the women and families, at the gate, Maria, her leadership, the earlier seen giving the sandwich to her brother, speaking out, the confrontation with Laurence, getting him to promise, slapping his face, her leadership, everybody staying at the fence, throwing stones, the demands? The reaction of the authorities, the police?
8. The political repercussions, the president and the Minister, the discussions, personal concerns, political concerns? The personality of the Minister, suit and tie, going to the site, the confrontation with Maria? The contact with the companies, Andre Sougarrett, his expertise, the geological aspects, mining aspects, the depths, boring into the Rock?
9. The interactions between Sougarrett and Laurence, hopes, missing out by 10 m, time passing, Sougarrett prepared to give up, Laurence and the talk was Maria, learning by mistakes, Laurence and the proposed solution, Sue Garrett weary, agreeing, the new tactic? Eventually breaking through?
10. The men, hearing the drilling, stopping, hopes, upset, the joy of the final breakthrough?
11. The aftermath, food, clothing, technology, the cameras, the man able to talk to camera to their family? Maria disappointed, waiting for her brother? The boost of morale? The television programs, the journalist, the commentary? The issue of Mario and writing the book and the contract? The men’s reactions, his later reaction?
12. The task of bringing them into the surface, the television series, the Australian solution, the Canadian solution, effective, failing? Bringing in the Americans? The discovery of the iron, the bringing in of the magnets? Able to break through? The long time?
13. The capsule eventually getting through, Alex, age, his wife, pregnant, his going up, the tension with the capsule stuck, the release, his emerging, reunion? The men continually coming up, families? The background of the man with the wife and mistress and her not being allowed into the compound? His wife going off? Maria and her brother, his searching for her, the reunion?
14. The impact the Laurence, his human involvement, the politics, interacting with Sougarrett and the others? With the president?
15. A world achievement, collaboration, technology, rescue, the long time?
16. The postscript with the actual men, faces and names, the information that the company was not held responsible, no recompense for the men? The final photo and they gather together?

THE SECRET OF BAY 5b

UK, 1989, 103 minutes, Colour.

John Thaw, Kevin Whately, Amanda Hillwood, Mel Martin, Andrew Wilde, George Irving, Susan Kyd.

Directed by Jim Goddard.

This is one of the later episodes in the long-running Morse series on British television, 33 episodes in all. This one is from 1989.

The familiar ingredients are there: the Oxford setting though not so much emphasised this time, Morse and his moods, reflective music, interrogations, always leaning on Lewis, but a variation in his attraction towards the doctor working on the autopsies, a date, some dancing, meeting again, music… The more humane face of Morse.

The settings are more ordinary than usual, homes, police precincts, a hut out in the woods. The murder victim is found in a car in the car park. Important for the investigation are the tickets indicating times for the parking as well as theatre tickets, providing background for alibis.

The murder victim is a womaniser, relationships in the past and present. There are several suspects, a woman he was in relationship with, her alcoholic husband out in the woods, business associates. With more solving the mystery of the times on the tickets, the alibis coming apart, the murderer and the situations are not quite what we would have anticipated. Which is the enjoyment of Morse murder mystery.

1. The popularity of the long-running series? Television movies? With style? The popularity of Morse and his personality, enigmatic and mannered style? The personality of Lewis? Their relationship? The solving of the crimes? Intricacy of the plot? The psychological dimensions, the mystery and clues? Police work and solving the mysteries with their own abilities? The work of Colin Dexter?

2.The Oxford settings, the city and landscapes, the cityscapes, the buildings? Comments about Oxford and Oxford society? The ironies about Oxford and the dons? The university city? Ordinary people? Their interconnections? So much beauty – and so much crime?

3.The quality of the mysteries, character-driven? Sufficient information, sufficient clues? The exploration of character and clues?

4.John Thaw as Morse, his personality, the changes over the years, yet remaining the same? The mystery of his name? His crusty manner, the bachelor (but romantic at times)? His own authority – exercised over Lewis – and his reaction to authorities? Promotion or not? The changing of his attitudes towards Lewis, bossing him, patronising him about education and culture? The issue of music? Drinking ale? His car? Quietly at home, at work? With Lewis, understanding the situations and characters, the deductions? His being a good listener – but critical?

5.The contrast with Lewis, the family man, the ordinary policeman, education and lack of education, his being put down by Morse – but enjoying his comeuppance now and again? Music and his ignorance? The first reactions, Lewis being patient? His admiration for Morse, having to do so much leg work, to formulate hypotheses? Working under pressure? Collaborator and partner of Morse?

6.The police authorities in Oxford? The medical examiners – and Morse and his attitude towards the female authorities? Sexist and patronising? Changing? The encounters with Dr Russell, the attraction, manner of speaking, the music, dancing, the dates, the discussions? The emotional side of Morse?

7.The quality of the film as a crime thriller, a thriller with intelligence and demands on the audience?

8. The opening, the focus on Rosemary, her marriage, self-regard, reticent, the absence of George, the relationship with Michael, her gradual revelations, the interviews, her reactions, the visit to George, the car, Lewis following her, the ticket, the alibi, the lies, exposure?

9. Michael Gifford, architect, relationships, womaniser, finances, the insurance company, the suspects? The manner of his death, the reporting of the body in the car park?

10. The call-in, the body, the car, the position, the rest of the, the information?

11. The lead to Camilla, her manner, dress, composure, escort, the interview, seductive, information?

1. The business partner, the artwork, the insurance, his wife, the frauds, his being unmasked?

14. Edward Manley, the company, the secretary of the welcome, the gathering, the information?

15. George, drinking, his liver, separated from Rosemary, gamekeeper, his work, Morse and the interviews? The suddenness of his death?

16.The range of alibis, the tickets for the opera, the car park, the timing? Morse and his speculations?

17. The truth, Manley visiting George, the connection with Rosemary, the death, the exposure?

SPACEMAN

US, 2024, 103 minutes, Colour.

Adam Sandler, Carey Mulligan, Paul Dano, Kunal Nayyar, Isabella Rossellini, Lena Olin.

Directed by Johan Renck.

Spaceman is certainly a generic title. It could suggest a film about space exploration. It could suggest dramatic conflicts in space. And, it could suggest a variation on a space Odyssey.

In fact, there is something of all three possibilities here.

The star is Adam Sandler, many audiences not expecting to find him in such a serious performance after his decades of comedies, broad comedies, romantic comedies. However, in collaboration with Netflix, he has appeared in some serious roles including Uncut Gems and a particularly affecting performance as a coach in Hustle.

And, it should be said at the beginning, that Adam Sandler acquits himself very well as the spaceman, Jacub.

There is a technology side of this kind of film, the vast space craft in the future, its capacity for travelling even as far as Jupiter, the enormous interiors of the craft as well as all the signs for its maintenance, progress, and communication with. And, with a huge pink cloud hovering over Earth for several years, this is also space exploration, a mission with a single spaceman, well trained and prepared, already six months out on his travel towards Jupiter to discover the nature of this pink cloud.

But, in a different kind of way, it is also something of a space Odyssey. In 1968, Stanley Kubrick brought the phrase, Space Odyssey, into our vocabulary (over a year before the 1969 moon landing). While there is a great deal of space exploration in Kubrick’s masterpiece, there is also a philosophical (even theological) probing of what is beyond human experience, the transcendent, symbolised in that film by a vast evenly planed monolith, appearing in prehistoric times, but also present and moving through the future universe. (And one can think of such films as Gravity, First Man, Ad Astra.)

But, this time the transcendent is introduced highly imaginatively, a giant spider creature tarantula-like, an alien whose community has been destroyed, who is a survivor, interested in preserving humans, learning the language, trying to understand the motivation of the exploration. He is called Hanus and is voiced persuasively by Paul Dano.

At first, Jacub is wary, hostile, but with the conversations and the questions, gradually a report between the two, Hanus and his probing, Jacob, having already experienced some personal crisis with his wife leaving him and not communicating with him, forced to look into himself, testing himself about what he really values, even risking everything to rescue Hanus.

Which means that the transcendent themes and the personal, family themes are brought together.

Carey Mulligan plays Jacub’s disaffected wife, Lena Olin has a cameo as her mother, and Isabella Rossellini has a significant cameo role as the very businesslike public relations person behind the mission.

The film has been directed by Johan Renck, prolific video music video director, also of the challenging television series, Chernobyl.

1. The title and focused? Expectations? Space exploration? A space Odyssey?
2. The director, his reputation, videos, television series, Chernobyl? Adam Sandler in the central role, audience expectations, comic, serious?
3. The vision of the future, space exploration? The strange pink cloud hovering over earth? The origins in Jupiter and beyond? The boundaries of the universe, its mystery, evolution, origins? Spacecraft and their complexities, the single spaceman? Contact with control? The visuals of the craft, space, of the mystery?
4. Jakub? The original novel, Czech Republic, keeping the characters and setting? His life, the flashbacks, relationship with his father, informant, politics, his death? A cloud hovering over him? The flashbacks and the encounters with Lenka, love, flirting, the marriage, her pregnancy, the miscarriage? His professionalism, but his absence? Always being away, next pregnancy? The decision to leave him? The videos and his memories, his not living up to them? Attempts to contact her, moving away? Her refusal, going to stay with her mother, the contacts and the excuses, the cover? The effect on him?
5. The contact on the ground, Peter, friendship, the contact, the support, the subterfuge about Lenka leaving, the press conference, Tuma and her poise, PR, covering the situation, her authority, going to visit Lenka, not communicating that she had left? The visit and talk?
6. Jakub, his vision, exploration, the mystery are science, transcendence?
7. Hanus and his appearance, the form of the spider, the visuals of the spider, size, movement, threat? Real? An alien, his voice, explanation of origins, the attack, adrift, learning and observing about humans, language? Initial interactions with Jakub? The voice and tone to Paul Dano?
8. Lenka, the present, her reaction to Jakub, leaving, the message, going to see her mother, her mother support, the pregnancy, memories of happy days, the miscarriage, sadness, Jakub and his absences? The appeal to her to make contact?
9. Hanus, his presence, Jakub’s initial reaction, fear, antipathy, the breaking down the barriers, the pace to suit with Hanus, the talk, the revelation, the cosmic dimensions, origins, the interactions between the two, companionship, emotions, Hanus in space, Jakub and the rescue? The effect of Hanus always referring to Jakub as “skinny human”.
10. The breaking of the mission, the change in Jakub, the journey becoming personal? And the commitment to Hanus?
11. The robbery with the South Koreans, mentioning them, the pursuit, the rescuing Jakub and his working with them?
12. His future, possible reconciliation?
13. A 21^st-century variation on a space Odyssey?

THE GREAT ESCAPER

UK, 2023, 96 minutes, Colour.

Michael Caine, Glenda Jackson, John Standing, Laura Marcus, Will Fletcher, Wolf Kahler, Danielle Vitalis, Victor Oshin, Elliot Norman.

Directed by Oliver Parker.

“Lest we forget.” A review as well as an indicator of so many of this film’s themes.

Michael Caine suggests that this will be his last film. He made it as he was turning 89 and it is a solid film and performance if it is his last. It is the last film for Glenda Jackson. She made it as she was turning 86. Both of them had won two Oscars, she two best actress, he two best supporting actor. They had toplined stage, films, television for 60 years.

And, with these stars, and their characters living in aged care, this is a film about old age and ageing – lest we forget. Caine is Bernard Jordan, Navy veteran, present at the D-Day landing. Jackson is his wife Rene, and they met 70 years earlier during the war. Both stars have some wonderful dramatic opportunities in this film, he devoted to his wife, deciding he wanted to attend the 70^th anniversary of D-Day, 2014, she, unwell, yet full of verve and spirit, dry and write comments, letting him go. And, the film gives a lot of attention to the aged care staff, supervisors, doctors, nurses, orderlies, their work as well is relationships.

The film is based on an actual story, dramatised in the media in 2014, Bernie tracked down in France at the D-Day celebrations, photos and stories in the media, his going alone to the celebrations, and his nickname “The Great Escaper”

As might be guessed, this is in the best tradition of British filmmaking, taking us back to the past, gritty spirit during the war, its living on in its elderly.

And, with the D-Day theme, this film is very much Lest We Forget. The first flashback to D-Day comes as something of a surprise, very much close-up, on the boat, preparations for the landing, planes flying over, bombardment. And, throughout this film, there are continued flashbacks to D-Day in its detail, especially Bernie’s friendship with Douglas from Nottingham, killed in action. We remember Spielberg’s Saving Private Ryan and the most vivid dramatising of D-Day, the flashbacks here in that tradition.

But Rene also has flashbacks, to the war, a meeting with Bernie, and the beautiful theme of waking early in the morning and being some of the few people who watch the beauty of the Dawn.

A word of praise for veteran actor John Standing. Here we have one of his best performances, an upper-class veteran on the ferry to France, encountering Bernie, offers of friendship, sharing experiences, sharing confidences, each with a sad secret about the dead of the war, sad condemnation of the bombing of civilians, and a visit to the war cemetery.

There are many wonderful moments in the film, one well worth commenting on, the two veterans, hosted by loud Americans, but encountering a small group of German soldiers who had been present to D-Day, going to talk with them, the sadness with one of them, mutual respect, shared sorrows, weeping, and all saluting one another.

While this is definitely a film for older audiences who have long memories, one hopes that it will appeal to those who do not share such long memories but are open to appreciate them..

1. The title, memories of The Great Escape, World War II films?
2. This film and its British tradition, the long tradition, the war films, the British tone, transfer to the 21^st-century, the D-Day is 70 years anniversary, the aged veterans, the elderly?
3. The coastal town, the beachfront, the promenades, the buildings, the streets, buses? The aged care residents, the grounds, interiors, the rooms? Atmosphere?
4. Bernie, this story based on fact, Bernie and his visit to France, fated, the media, the great escaper?
5. The situation, 2014, 70^th anniversary of D-Day, veterans and their age? The plan celebrations? Bernie missing out on the book, deciding to go, René letting him go? Packing his things, early morning, the walk, the chance meeting with Adele, missing the bus, taking the taxi, at the ferry, sitting on the deck, the drink, the encounter with Arthur, they’re talking, accents and contrast, friendship, Arthur and his offers? The effect on Bernie? The offer of the accommodation, the conversations, Arthur and his memories, his brother, the RAF, the bombing of Caen, his brother’s death, Arthur avoiding the issue? Confiding in Bernie? The outings, with the Americans, memories, the drinking, Arthur sick, alcoholic, Bernie and his support? The special tickets for the function? The encounter with the Germans, the contrast with the Americans, the sad memories, the translator, Heinrich, he and Arthur sharing Sword Beach, tears, Bernie giving them the tickets? The mutual salute?
6. The importance of the flashbacks, Bernie is a young man, 20, the Navy, training, the encounter with René, the bonding, talking, sharing, the secret of the beauty of the pink Dawn? But his memories of D-Day, with Douglas, the bond, the cigarettes, the photo, the bombardment, the planes, the dangers, the landing, Douglas and his death? Bernie and never confiding this to René? Finally doing so? Memories of Douglas’s death? Persuading Arthur to go to the cemetery, both men and their memories?
7. Life at aged care, the supervisor and his strictness, checking on Bernie and Renée, Adele, meeting with Bernie at the bus stop, and trouble for not reporting it, René and her support of Adele, Ponting, talking, the tower to, her mother? The orderlies and their kindness? The doctors and their attention?
8. René, age, her make-up, write comments, angina, her illness, not long to live, yet not telling Bernie? Letting him go? The day without him, her write comments, dry humour, exercises with her knees, searching under the bed…?
9. René and her flashbacks to the past, 70 years, who work in the war, meeting Bernie, the relationship, dancing, the pressed flower, the Dawn? Happy marriage, 70 years?
10. Bernie on television, they’re seeing it at the aged care, the media, the newspaper photos, in many languages? Bernie underwear, his being feted, the official taking him to the shops, all the specials? The interviews? His return home?
11. Everybody happy at aged care, watching the television? His return?
12. The renewing in with René, confiding his story about Douglas, her not telling him about her health, going out to the water, wielding her along, looking at the special Dawn?
13. Bernie’s death, René soon after? A quiet but significant life, the wonder of love and long marriage? Devotion?

OUR TOWNS

US, 2021, 97 minutes, Colour.

Directed by Steven Ascher, Jeanne Jordan.

Our Town was a very popular play by Thornton Wilder, frequently performed, filmed, in the 1930s and 1940s. It was a focus on life in a small American town.

Renowned international journalists, James Fallows, his wife Deborah Fallows, spent many decades in Asia, reporting from China and Japan, travelling widely. In the 2000s, they returned to the United States, beginning this project, Our Towns, in the wake of the financial crisis, 2008-2009, and completing this film during the first year of Covid.

The room was directed by Steven Ascher, Jeanne Jordan, Oscar nominees for documentaries.

One of the most important aspects of this film and its survey of the United States over a decade is that it explicitly excludes focusing on the partisanship, the increasingly divided United States, especially during the presidency of Donald Trump. Rather, this is a very positive look at Americans, at Americans working together, at the building up of community and our towns.

The film was based on a series of articles and book by the Fallows. For the film, they have selected six towns, wide ranging over the United States. They have a small plane which enables them to land in more remote towns and cities. The two featured during the film, usually in conversation with people from the towns, a very genial and thoughtful couple, asking questions, very affirming in their questions and responses. They also offer their own reflections, especially at the end, in view of the range of visits.

The six towns visited are Redlands, California, part of the Inland Empire, the desert towns outside Los Angeles, where James Fallows grew up. There is also a focus on the nearby San Bernardino, declining, declared bankrupt, beginning to build up. With the growth in technology and many people wanting to live outside the big cities, the Inland Empire is having a revival. After that, there is a visit to Sioux Falls, South Dakota, memories of the Sioux nation, seeing how they have survived, but also focusing on banks and other institutions settling in South Dakota, and with industries, a reliance on the great range of migrants from so many countries.

Then there is a visit to what can be considered the poorest state, Mississippi, a visit to the city of Columbus, again a city in decline, but cultural developments, some industries, and people willing to move there. It is something the same with East Port, Maine, a harbour, a city with a hugely diminished population, changes in the fishing industry, but, again, improvements in the industry, salmon farms, people moving out of the cities, and the strongly developed cultural life.

It is something the same in the final two cities, ranging from Charlestown, West Virginia, the city in decline, the decline in mining and the coal industry, and the attempts to bring different activities to the town – especially an extraordinarily vast mural, painted on a large street wall, dramatising the life and vitality of West Virginia. The final stop is Bend, Oregon, the death of the timber industry, and, once again, people moving to the different landscapes and a city reviving, with large suburbs and an influx of people, almost becoming too large.

As a hopeful film, even an optimistic film, avoiding the political divisions of the 21^st-century and focusing on American people, everyone except Native Americans being immigrants, importing immigrants to sustain new work, new industry, the developments of technology, a greater sense of community, cultural creativity.

IMAGINARY

US, 2024, 104 minutes, Colour.

DeWanda Wise, Taegen Burns, Pyper Braun, Betty Buckley, Tom Payne, Veronica Falcon, Matthew Sato.

Directed by Jeff Wadlow.

Imaginary is a Blumhouse production. Over the last decade, horror aficionados have become alert to releases from Blumhouse. There have been many outstanding films, especially those from Jordan Peele, Get Out, Us, Nope, … But, as always, there can be hit and miss.

2023 set quite a good record of horror/menace films which appealed to the general public, especially Thanksgiving, Five Nights at Freddie’s. With the animal creatures at Freddie’s, there was some high expectations for Imaginary with its innocent-looking but threatening teddy bear, Chauncey.

It all opens well enough with a nightmarish sequence and a ghoulish monster. But, it is a nightmare that has pervaded the dreams for decades for Jessica (DeWanda Wise) who writes and illustrates children storybooks. Then, for quite a while, we settle into nice domesticity, Jessica has married British Max (Tom Payne) Who Is ex-wife is an institution and Jessica struggling with being stepmother to Max’s two daughters, Taylor are passively aggressive teenager (Taegen Burns) and Alice (Pyper Braun) much more friendly.

Then we are invited to explore Jessica’s past, leaving home at age 5, always drawing and imaginative, sacrifices by her father, mysterious, now in aged care. And a basement full of boxes and memories, and Alice finding the teddy bear whom she names Chauncey.

So far, so quiet, horror aficionados champing at the bit – when is it going to get scary? What about the horror?

Peaceful life begins to go awry when Alice is seen playing a game, a list of things to be done, including something that would hurt, about to put her palm down, the large threatening nail, stopped by Jessica.

And, then it begins, Alice and Jessica playing games, Taylor angrily self-absorbed, Max away on business, and Alice disappearing.

Then there is an encounter with a neighbour, Betty Buckley, Jessica’s former babysitter, memories of the mysterious past, devoting her life to writing self-published explorations of menace and evil. Is she a kind old lady? Will she try to help solve the puzzles?

Depending on your point of view on this kind of horror/menace film, there might be enough imagination in the parallels made between Alice and Jessica’s own childhood, the imaginary toy, the bear, but leading into parallel worlds. But, for those who have been patient with the domestic story, and those rabid for action, the rest of the story definitely enters the world of the imagination, an alternate world, an underground world, full of mystery and menace, and a (far too realistic-looking?) devouring monster.

For audiences who think this is all a bit much, not necessarily all comprehensible, sometimes evoking a laughter response rather than terror, a word that comes to mind while watching is that it is all becoming more and more preposterous.

The moral of the story, reinforced by the visiting psychologist and therapist, is to be wary of those who talk to, play with, depend on, imaginary friends.

UNLEASH

Australia, 2022, 83 minutes, Colour.

Directed by Mark Cherrett.

Unleash is an unexpected documentary.

For the unwary, it opens with rather vivid striking burlesque performances, audiences noting that the performers are mostly middle-aged, even older. What to make of these performances?

Then, there is a transition to interviews with the women who are participating in the dance school which is leading to the final burlesque performance.

Here is the promotion paragraph from the producers in order to make an appeal for funds for the making of the film:

Melony Cherrett realised the need for this documentary after hearing stories from the diverse performers who joined her Adelaide-based burlesque-fusion dance community, Choo La La. Women of all backgrounds reported feeling a new self-confidence unleash inside themselves while performing that benefitted their everyday lives. While mothers find space to rediscover their identities, grandmothers rediscover their cheeky side. Divorcees appreciate an outlet to feel sexy and independent, people struggling with mental health find joy and connection, and socially isolated people fell they've found a ‘tribe’. Many believe they have the ‘wrong’ body type to try this form of self-expression. Melony knows self-confidence through dance is available for everyone, and wants to bring this message to the world. With a passionate team of creatives already committed, your financial assistance will help us make this documentary the best it can be, to reach and inspire the wider community. (Website, Australian Cultural Fund.)

And the scope of the film:

In the lead-up to performance night for a burlesque show, everyday Australian women share how burlesque helps them overcome challenges including the demands of motherhood and work, body image and feelings of isolation. With the support of the dance community, each woman find healing and experiences the transformative power of discovering her inner showgirl to unleash upon the stage. (Internet movie database).

The main comment for a review of this film is that it is important to listen to the women interviewed, as deep listening as possible. The women are wide-ranging, some of them with extraordinary physical disabilities, others with mental impairment, others lacking in self-confidence, others experiencing racist comments, and some of them extraordinarily exuberant.

In fact, for most of the film, there are glimpses of the rehearsals and the 10 weeks before the show, but the main emphasis is on giving the women an opportunity to express themselves, the sense of being a woman in contemporary society, sense of self, sometimes sense of inferiority, hard work, experience of inequality, one woman pregnant and looking forward to birth, another with four children, and many talking about popular expectations of body image and how they do not live up to these expectations, especially in the issue of size, body shapes, weight. (And, at the end of the film, one of the enthusiastically weighty participants is revealed to be a barrister, confined by wig and gown in her professional life but finding the dancing club extraordinarily freeing.)

There are not a great number of men in the film but they are supportive husbands, especially of 64-year-old, Vicki, more than enthusiastic, extroverted, checking everything out with her husband – and, for the finale song over the final credits, he singing and playing and she supportive.

An important film to undermine popular concept of what it is to be beautiful, to be understanding of a range of body shapes which do not measure up to requirements for beauty contests, for some feelings of liberation and affirmation for a whole range of women.

UNSEEN

US, 2023, 76 minutes, Colour.

Midori Francis, Jolene Purdy, Michael Patrick Lane. Missi Pyle.

Directed by Yoko Okumura.

This is a very brief drama, menace rather than horror.

The plot is quite simple, a psychotic husband, angry with his ex-wife, threatening her, the violence, her making an escape, his pursuing her, the confrontation. However, the title indicates that there is further development. The audience is introduced to a woman working at a gas station, remote, bullied by her boss, treated bomb by arrogant customers.

The drama is that the attendant had found for pizza, wrong number, by chance connecting with the ex-wife, her finding the number for help against the attack by her husband. This is very much complicated by her poor eyesight, the loss of her glasses, the use of her mobile phone as a camera, the attendant giving her advice to get through the woods, to move towards water, the husband pursuing the vehicle, with a weapon, confrontation at the top of the cliff, the woman in the water, surviving, the final conflict.

In the attendant keeps helping despite the violent behaviour of the customer, her aunt husband, their intimidating the boss, the attendant locking herself in despite attack, saving the ex-wife, and then happy to go along with two with the police.

Happy postscript, the attendant deciding to go back to studies, asking the ex-wife, who was a doctor, to read your assignment – happy reunion.

1. A brief menace film, a brutal man, attacking and stalking, his ex-wife, a doctor, her using her wits and her mobile phone?
2. The use of split screen, multi-screens, joining the victim by the mobile phone, her contact, using her eyes, surviving? But the subplot of the woman in the store, bullying by her boss, the haughty, arrogant customer and her bringing in armed reinforcements and the police?
3. The title, the stalker seen, but blurry, the victim needing her glasses to see, hence the importance of guidance by the mobile phone?
4. Sam, Her background, work in the store, bullied by the boss, minding the store, the encounter with the arrogant customer, discussing the petroll, in her car, demanding the refund, Sam defiant, the customer threats, the credit card, leaving it behind, the return, the demands, the violence, getting her husband’s help, the arms, bringing the police? Sam and her defence, keeping on the phone with Emily, barricading herself, the arrival of the boss and his pitiful submission, trying to break the glass, the shops, the police, Sam saving Emily and willingly going with the police?
5. The situation with Emily, her deranged husband, his saying she did not defend him, the background of the marriage, his father, her being a doctor, the background of her mother, the contact with her during the siege? The violence, his menacing threats, the need for her glasses? The violent altercation, her being tied up? Her turning the tables, cutting the cables to her wrists? Getting the glasses, physically attacking her husband, the escape? Losing her glasses, the mobile phone, the chance connection with Sam (who had phoned for a pizza), persuading Sam, her desperation, out in the woods? Sam, eventually agreeing, Emily holding up the phone, Sam and her descriptions, the woods, the log, Emily and her falls, the pursuit of her husband, his getting the car, Emily and the guiding torwards for water, getting the car, knocking down her husband? His getting up, threatening her on the cliff, her going over the cliff? In the water, surviving, finding the phone, making contact? The tension, hiding from her husband? His eventually catching her, the final confrontation, surviving?
6. The aftermath, the two women meeting, so man her decision to study, her essay, Emily agreeing to read it, her encouragement – and the bonding during the final credits?

THE SOCIETY OF THE SNOW

Spain/Chile/Uruguay, 2024, 144 minutes, Colour.

Enzo Vogrincic, Agustin Pardella, Matias Recalt, Fernando Contingiani.

Directed by A.J. Bayona.

The title comes from a book written about a significant disaster of 1972. It was the plane crash in the Andes, the plane carrying members of the Uruguayan rugby team and those associated with the team. The crash was in October, spring in the southern hemisphere, still a great deal of snow in the mountains, but beginning to thaw and melt.

In the immediate aftermath of the tragedy, there was a low-budget Mexican film version, Survive, directed by René Cardona, dismissed by some of the time as exploitation, but, within its framework, offering a competent dramatising of what happened.

British writer, Piers Paul Read, wrote a novel which was filmed in 1993 by Frank Marshall, Alive, starring Ethan Hawke. This was well received at the time, the look of the characters, their means for survival, the issue of cannibalism for survival – and some mystical aspects, especially the opening with John Malkovich sitting on a mountain meditating, and flesh for life with its Catholic Eucharistic overtones.

Writer-director, A.J. Bayona, Spanish, made his reputation with The Orphanage but then showed his ability to direct disaster films with The Impossible, on the 2004 tsunami. He also directed one of the Jurassic Park films.

Society of the Snow was Oscar-nominated, international film and a nominee for make up.

The film introduces the members of the team, jovial young people, the flight, a close-up of the crash and what was happening in the cabin, the survivors in the snow, radio not working, the cold, the limits of food, the isolation – but their working together, forming a society of the snow.

Some of the characters are more strongly drawn than others, especially Numa, offering a voice-over response to the tragedy and survival, even after he succumbs and dies. The number of days are listed, the audience sharing the cumulative effect of trying to survive, avalanches burying the fuselage, climbing out, but also the increasing number of dead whose names and ages on screen.

Audiences may know of the outcome but still interested in decisions made, improvising, facing the issue of survival and eating the flesh of their friends, articulated in the conversations, discreetly presented visually. And, the final walk out of a small group, found, and then the rescue effort.

This kind of film can be very harrowing as it invites the audience to share in the experiences. Comparisons might be made with films about the rescue of the Thai boys in the flooded caves in 2018, 13 Lives, as well as with The 33, the film about the ordeal of the miners buried underground in Chile, 2010, and the combined effort to drill down, and to rescue the men.

1. Actual events of 1972? The Uruguayan rugby team? The crash in the Andes? The deaths, the survival for over two months, issues of survival, food?
2. Cinema experience? The locations, filming in the mountains, filming its studios, the plane and its interiors? The musical score?
3. Memories of previous films, Survive, Alive? This film half a century after the events?
4. The title, the book about the event, the focus on the survivors, the way they survived, form a unity, a society?
5. The background, the rugby team, success, South American games, Uruguay, the enthusiasm of the team, those associated, at the airport, photos, enthusiasm? The age of most of the passengers, in their 20s?
6. The introduction to characters, by name, place in the team, the enthusiasm of the flight, chatter, relationships?
7. The staging of the crash? The wind, the snow, turmoil inside the cabin, the crash landing, the fuselage, the tale separated, the initial deaths, injuries?
8. Numa and his narrative, his observations, his own strict ethical perspectives, conflict with the cannibalism? His gradual change, accompanying the expedition out, his infected leg, return, preparation for death, his note about no greater love than laying down life for friends? His death?
9. The other characters, the immediate impact, injuries, dealing with them? The search for food, clothing? The radio not working? The cold, the wind, the snow, the avalanche, burying the plane, digging themselves out, oxygen coming in? The dramatising of the various crises over the days?
10. The impact on each of the characters, psychological, emotional, religious background? The older couple?
11. The issue of the food, the issue of cannibalism, immediate reactions, hunger, decisions made, the private slicing of the flesh, the distribution, the eating, refusals, changes over time? Survival?
12. Group exploring, finding the tail, the radio, cigarettes and food, waterproof?
13. The plan to walk out of the mountains, the key characters, their backgrounds, Roberto and his leadership, football skills? Age? Numa walking out with them, the infection, his return? The others returning after finding the tail?
14. The growing number of deaths, the listing of the names on screen, the ages?
15. The decision to leave, the group, one returning, to preserve the food? The trek, on top of the mountains, climbing the mountains, making a self in the snow for the night? Persevering?
16. The Valley, the flowing water, some vegetation, the man with the horse, the communication, headquarters, the message, the location, the reading of each name twice? The three survivors, food, shelter?
17. The radio, the stranded group hearing the news, their hopes?
18. The strategies, the helicopters, the packing, people aboard, the reunions, the group emaciated, food, medical checks, showers cleaning the mud, the spirit of the survivors? The happiness of the families?
19. The insertion of actual footage from the newsreels of the times? The photos?
20. An epic experience of heroism and survival?