Displaying items by tag: Peter Malone's Movie Reviews

LOST IN THE WOODS

Australia, 2023, 80 minutes, Colour.

Directed by Daniel Clarke.

Daniel Clarke was named South Australia’s journalist of the year, 2023. He has brought his investigative journalist talents to this documentary, spending time with the inhabitants of Kangaroo Island, off the South Australian coast.

The documentary is an investigation, offering the audience a variety of opinions, voices, locals, parliamentarians, business representatives, farmer. It is over to the audience to evaluate the credibility of each of the speakers, appreciate their particular perspective, note the contrasts in perspectives, political decisions, economic decisions.

Kangaroo Island has been a centre for the development of farming, with some land clearing, in the first part of the 20^th century. With its wildlife, it is also a centre for tourism. This film highlights the farming and agricultural aspects of the 20^th century, the change of policy in planting thousands and thousands of blue gums in the early 2000s but their rapid growth, many seeing them as a weed, a pest, with toxic leaves, leading to rapid growth, farmers selling some of their land for profit for the extension of these trees.

There were discussions about the timber industry, but the island has no port and there were many discussions about two locations, the economics, the suitability, distance from the timber and logging, aspects and the holiday homes of the wealthy and politicians. There are fiery exchanges through the commentators throughout the film, especially concerning the Deputy Premier of South Australia, her decisions, her resignation.

Needless to say, the farmers are down-to-earth, earthy in their comments, their memories, the regrets. The main representative of business is a very smooth talker, saying that he is seeking the truth, sometimes casually dismissive of the comments of the locals. There is the editor of the local paper, a local media politician, mutual criticisms. And, more lately, environmentalists, the issue of clearing the logging, the preservation of animals, the status of koalas and their being considered the rabbits of the trees…

What brought all this to a head was a lightning strike in late 2019, coinciding with the devastating spate of bushfires all over Australia, and extraordinary destruction. The tree plantations went up in smoke and the consequent discussions about clearing the land, the unsuitability of the blue gums (except, as one says, the need of toilet paper during the pandemic), the role of the companies who bought the land and their responsibilities in clearing or not.

Throughout the film, informative aspects and statistics are provided, the amount of land burnt, the number of trees, only two people killed in the fire, surprisingly, the eventual statements by the company he declined to take part in the film about intentions for clearing the land.

A significant documentary for an Australian audience, for international audiences especially in the context of climate change, consideration of land use, carbon emissions, logging, environmental issues, in danger, the culling of koalas…

MERCY ROAD

Australia, 2023, 86 minutes, Colour.

Luke Bracey, voice of: Toby Jones.

Directed by John Curran.

On Mercy Road there is no mercy.

This is a very intense film, focusing on a man driving a car through the night, his momentarily getting out of the car, but the camera inside the car, focusing on the man, on the dashboard, on his face, on the continued phone calls and his responses. He is played, even more intensely, by Australian actor with international career, Luke Bracey.

The audience has to pay attention, listening to the man and his sometimes confused outbursts, the range of phone calls he gets, commanding sum to be listened to, cancelling others. We gather that he has committed a crime, that a man, business connection, husband of his ex-wife, has been killed. But, his more frantic about the disappearance of his young daughter.

In the pounding score reinforces this frantic atmosphere, often desperate.

By contrast with the anxieties of the driver, there is the caller whose voice is very calm, controlling, giving advice, driving directions, information about his daughter, about the dead man, about the ex-wife, seemingly detached, called in to handle situations. And the voices that are British actor, Toby Jones.

Filming inside a car has been a test of many directors, an expert was a bus tourist Army from Iran. But, there was also the British drama, Locke, with Tom Hardy behind the wheel, and a desperate situation.

The phone calls heighten the tension. Apart from the calmly sinister voice of the mediator, there are phone calls from community services concerning the daughter, some contact with his ex-wife, and, somewhat out of the blue, business partners expecting him to turn up for work. They have a cumulative effect.

Some audiences may find this a drive to claustrophobic and intense. On the other hand, it is a bold experiment by American director, John Curran, Chappaquidik,, The Painted Veil, who spent some time in Australia and directed films like Praise and Tracks.

1. The title, the location, the tone?
2. Australian production, the Australian star, voices? Of the menacing voice of Toby Jones? The musical score? Tone, intensity?
3. The situation, the father, searching for his daughter, relationship with his ex-wife, with her husband, the business deals, his contracts and commitments? The confrontation with the husband? The threat to his daughter?
4. The film within the car, his momentary stepping outside the car, the camera within, the focus on the driver, his face, the spaces of the car? The phone? The intensity of the pace, the editing?
5. The character of the driver, his background, favours, drinking, the broken marriage, his daughter, business partner? The crime, the murder, driving, getting away, the night?
6. The voice, sinister, controlling, knowing everything about the driver, his daughter, statements of detachment? Being present in crises? Control? The psychological pressure, the conversations? Threats and menace yet calm? The directions, the turns, the destinations? The information about his wife, her husband, the death? The taking of the daughter?
7. The intensity of pressure, the phone calls, his business associate expecting him to turn up, putting them off? The voice control, excepting calls, refusing calls? The social welfare calls, the information, the appeals? His wife? Her following his directions? Her fate?
8. The buildup to saving his daughter, communication with his daughter, his crime, sense of guilt, defiance? Desperation?

DEAR WHITE PEOPLE

US, 2014, 108 minutes, Colour.

Tyler James Williams, Tessa Thompson, Kyle Gallner, Tayonah Parris, Brandon P.Bell, Malcolm Barret or t, Dennis Haysbert.

Directed by Justin Simien.

A very successful satirical comedy from 2014, raising racial issues, African-American issues in a university context. The film was popular and led to the creation of a series with the same title, beginning in 2017, and employing the same writer-director, Justin Simien.

At the centre is Samantha, played by Tessa Thompson, who subsequently had a very successful career on television and in films, including Thor epics. The location is a rather Ivy League University campus, with veteran Dennis Haysbert playing the Dean.

Some critics have noted that most of the characters are narcissistic, ambitious. And this guides their interactions, writing and publishing, campus politics, campus relationships.

A film very much of its time in its characters and drama – but, the underlying themes, racial issues and tensions, continue.

1. The title, the tone, the African-American perspective and attitude towards Caucasians?
2. The campus setting, the Dean, official, office, management, staff, students?
3. The University atmosphere, familiar from other campus films? The score?
4. The accusation that the characters were narcissistic? The characters, ambitions, privilege?
5. The focus on Samantha, personality, charm, intensity, her aims, interactions with Troy, breaking the relationship, the new boyfriend, Caucasian? Interactions with Lionel?
6. Lionel, gay, shy, awkward, seemingly adrift in this world, interactions with African-Americans, with whites? Adopting styles, dress, hair?
7. Troy, personality, relationship with Samantha, his ambitions? Her new boyfriend, Caucasian?
8. The Dean, his stances, policies, economic situation, interactions with students?
9. Campus elections, the politics, exercises of power and personalities?
10. The party, its racist themes, parody?
11. The film as a satire? The film as serious? The blend? The impact?
12. An interpretation of African-American and race situations on campus, the 2010s? The end, and the different awareness of the different characters?

THE OUT-LAWS

US, 2023, 95 minutes, Colour.

Adam Devine, Pierce Brosnan, Ellen Barkin, Nina Dobrev, Michael Rooker, Poorna Jagannathan, Richard Kind, Julie Hagerty, Lauren Lapkus, Lil Rel Howery.

Directed by Tyler Spindel.

If Adam Sandler had been younger when this film was being made, he would have taken the central role. In fact, this comedy comes from his Happy Madison company and plays very much like one of his comedies.

Comedian Adam Devine takes Sandler’s place as Owen, pleasantly genial, bank manager, engaged to yoga instructor, Parker (Nina Dobrev.). He has very stuffy and suspicious parents, Richard Kind and Julie Hagerty. In fact, this film is noted for its star power, especially Pierce Brosnan and Ellen Barkin as the in-laws/out-laws, bank robbers. And Michael Rooker appears as the veteran FBI investigator.

So, there is some raucous comedy with the behaviour of the in-laws. And there are some serious tones with the in-laws/out-laws as the Ghost Bandits, bank robbers, teaming up with criminals, the effecting of a robbery, pursued by the FBI. Owen has his suspicions and confides them to his fiancee.

What happens is enjoyably complicated, giving information to the FBI and his being set up. However, criminals abducting his fiancee and demanding a ransom, his teaming up with the criminals for them to rob a bank mean twists. He hides in the vault, escapes, gets the money, returns to the vault. And the outlaws surrender.

Happy finale, the wedding, the in-laws able to come to the wedding – but Owen slipping a paperclip into their piece of cake for a further escape!

1. The title, an amusing pun?
2. From Adam Sandler’s company, tone, comic style, satire, broad comedy?
3. The American town, homes, banks…? Musical score?
4. The home situation, Owen and Parker, engaged, bank manager, yoga instructor, ordinary life? Owen as the young Adam Sandler style character?
5. The preparation for the marriage, the prospect of the in-laws arriving, Parker happy, unhappy? Owen’s parents, their harsh attitudes, ignorance, criticisms of Parker? The dinner, Owen and the issues of storage, plans? Rehan and the criminal listening in?
6. At work, the bank vault, the prank and freeing the victim, Owen’s help, knowledge?
7. The arrival of the in-laws, calling themselves Lily and Billy, the star power of Pierce Brosnan and Ellen Barkin? Breezing in, no explanations, the day out with Owen, the tattooes, drinking, the skydiving?
8. The bank robbery, Owen and the hangover, his noticing the clues, his growing suspicions about the Ghost Bandits?
9. Oldham, the FBI agent, pursuing the Ghost Bandits, his intensity?
10. Owen, his theories about his in-laws, confiding in Parker, her response?
11. Rehan, the meetings with the in-laws, the deals?
12. Owen, with Oldham, the truth, the set-ups?
13. The criminals, the abduction of Parker, the demands?
14. Owen, teaming with the in-laws, the discussions with Phoebe the bank manager, learning the details of the faults, the exits? His being locked in? The robbery, success, Owen escaping, yet getting the money, putting it back in the vault?
15. The arrest, Oldham allowing the couple out for the wedding celebrations, the surrender – but Owen putting the paperclip in the cake?

DAVID LYNCH: THE ART LIFE

US, 2016, 88 minutes, Colour.

Directed by Rick Barnes, Olivia Neergaard-Holm, Jon Nguyen.

David Lynch, celebrated film director, was born in 1946, grew up in the North Western states of Montana and Idaho, moving to Washington state, then various places including Virginia, moves to Philadelphia, then to Hollywood.

While this is a film for those who follow his films, it is a film for those interested in American art.

The only voice heard throughout the film is that of Lynch himself, the continued interviews spaced between the visuals. If it were transcribed, it would provide a text for an outline of Lynch’s early years, his growing up, relationship with his family, his appreciation of his parents and their challenges, his dislike of study, falling in with the wrong students, saved by art, celebrated artist giving him studio space, his developing his imagination and techniques, bizarre, expressionistic, full of colour. There are scenes of him throughout the film painting canvases, painting small pictures…

And, throughout the film, he is continually lighting up and smoking.

There is the family background, tribute to his mother encouraging his art, his praise of his father but his father visiting him, not liking his art, suggesting that he not have children… And, there is his relationship with his first wife, Peggy. And, throughout this film, there are sequences with his baby daughter, Luna.

Art students would be able to make comparisons with artists working, especially in the 1960s and 1970s. And, with his lessening interest in making films, focusing on short films in recent decades, there is his more contemporary art.

For those who follow his films, there would be disappointment in so far as the narrative goes only to 1976, his initial experimental film, and his making Eraserhead, its success, its effect on him, and his dedication to his own style of filmmaking. There is some background of his experimenting with film, juxtaposing colour and black-and-white, editing, being creative with lighting, staging, and with his actors.

The film was released in 2016. Since 2016, David Lynch has made no feature films.

THE RINGLEADER: THE CASE OF THE BLING RING

US, 2023, 95 minutes, Colour.

Directed by Erin Lee Carr.

An American audience for this documentary might well remember the events of the late 2000s, the story of Los Angeles teenagers robbing the homes of celebrities like Lindsay Lohan, Orlando Bloom… The media called it The Bling Ring.

Audiences outside America might have come across this story through Sofia Coppola’s fiction film, based on the events and characters, The Bling Ring, featuring Katie Chang and Emily Watson.

Another documentary for television was made about The Bling Ring, featuring two of the central characters, Nick Prugo and Alexis Neiers who appeared on television sitcom, Pretty Wild. While the film offered the opportunity for interviews with these two, much of the reaction to the program was that they were very self-serving.

Erin Lee Carr has directed a number of documentaries on controversial events in American society, drug scandals, gymnastics scandals, murder cases, and Britney versus Spears.

This time the focus is on Rachel Lee, Korean American, the ringleader of the Bling Ring. While there is a great deal of footage from the past, her family, interviews with her father, her growing up, friends at school, footage of the robberies from surveillance cameras, police footage, the main part of the film is a lengthy interview with Rachel Lee herself, some years after the events and some years after her release from her prison term.

Again, the question can arise from viewers as to how much the interview is self-serving for Rachel Lee. As some kind of counterpoint, the scenes with Rachel Lee are intercut with interviews from journalists and, especially, detective investigators who are able to put more realistic point of view about the teenagers, the celebrities, the crimes, the handling of the issues by the media. Interestingly, one of the detectives who is into self-promotion, was associated with Sofia Coppola’s film, against regulations, harming aspects of the preparing of the case.

Which means then that the film is a close-up study of Rachel Lee herself, her understanding of herself, her explanations.

As with some of the other characters, there are speculations about the influence of family, Rachel’s absent mother, her professional gambler father (scenes of him in the flashbacks as well as the contribution to this documentary). There are the issues of family life, affluence or not, life in the hills outside Los Angeles, the preoccupation with celebrities, aspects of envy, and the temptation to robbery. Rachel, teenager, appears as the mastermind of the Bling Ring robberies, some interviews with her associates, especially Nick, the background to the online video maker, friendly than antagonistic towards Nick, the young women involved in the robberies.

And the focus is on the celebrity life of the targets of robbery, their appearance in the media, and the use of the Internet to find out where they would be, when their homes would not be occupied, the opulent life of some of them like Paris Hilton, the robberies, jewellery, clothes, storing them, at one stage a sale at Venice Beach, the cumulative effect of the experiences.

There are also sequences of their being tracked down, the arrests, Nick giving the information to the police, Rachel’s observation on her being sold out by him, the focus on the television celebrity and her arrest. The record cases, trials, sentences, modifications. There is Rachel, accepting her responsibility, long sentence, and being modified, her going to jail, the comments on her experience of broadening horizons, the self-centred, changing for her adult life.

The impact of the film will depend on audiences accepting Rachel Lee’s explanations herself, her self-examination, her attempts at honesty about herself, her judgements about her past, the effect of the experience on her and her future life.

MADELEINE COLLINS

France, 2021, 104 minutes, Colour.

Virginie Efira, Quinn Gutierrez, Bruno Salamone, Jacqueline Bissett, François Rostain, Loise Benguerel.

Directed by Antoine Barraud.

Madeleine Collins doesn’t really appear in this film. That is part of a point made at the end of the film.

This is a film about identity, a film about someone who is present to two families. In films, this is usually a man with two families. This time it is a woman. And she is played by Virginie Efira, emerging in the last decade as one of France’s most significant and versatile actresses.

There is an opening sequence with the Virginie Efira in a dress shop, with money from her mother, trying on dresses, and collapsing with low blood pressure, then leaving the shop and the sound of a crash.

However, the main action takes place in the two households, one in Switzerland where Judith is in partnership with Abdel and his little daughter to whom she is devoted. She is a translator and has to go to various meetings. But, most often she goes to Paris to her other family, longtime husband who is an orchestra conductor, eager to advance his career, and with two teenage sons. On the one hand she has a happy domestic household. On the other, there is the glamour of the theatre, performances, socials, wealth, the buying a house.

Each of the men knows the name of the other but does not really know what is happening.

Which means that this is something of a psychological study of how Judith, also known as Margot, dependent on an admiring forger who is able to give her any identity she wants or he wants to give her (Madeleine Collins), the way she relates to each of the men in the families. It is also a story of deceit, cover, lies, becoming more and more complex and the possibilities of her being exposed. There are parents (and a welcome cameo by Jacqueline Bissett as her mother), there are clients who turn up unexpectedly…

This is a film for admirers of Virginie Efira and those intrigued by stories of coping with double households.

1. The title? Area of mystery? Identity?
2. The Swiss settings, homes? The Paris settings, concert and orchestra, socials? The musical score?
3. The prologue, the visit to the store, looking at the dresses, trying them on, the collapse, low blood pressure, the aftermath and the accident? With reference to the rest of the film? To Judith that her character?
4. A film about a double life, a middle-aged woman, her background, the visit of her parents and her relationship to them? Her marriage to Melvin, many years, his career, the two sons, the household, her travels, his travels, the scene of buying the house? The socials, the concerts, her leaving with her low blood pressure? Her friendship with the singer?
5. The relationship with a Dell, Her relationship, the little girl, not married, their life together, a love for the little girl and devotion, a contrast with her other family?
6. Judith and her work, translations, the jobs, seeing her in action, but her creating situations, her lies, travels? Going from one family to the other? The effect on her?
7. Annabelle, the death of his wife, the birth of his daughter, the relationship with Judith, setting up a household, her devotion, love, his feeling our absences, bringing another woman home, Judith’s reactions? The visit of her parents? The other woman in the house? Their observations, the little girl calling out to Judith as her mother?
8. Melville, his career, promotions, concerts, the growing separation? Doris and his observations, listening, his own secrets and orientation? His reaction to Judith?
9. Juggling the two lives, the times, the travels, the passport, the forger and his devotion to her, saying she would have as many names as she wished, giving her a final card and name?
10. The police, her upset, wanting documentation, her refusal? Picked up by her father?
11. The chance encounter, the Canadian, her name is Marco, at the social, her awkwardness, Abdul and his reactions?
12. Judith, her identity, the two families, separations, alienations, wanting her own life, identity?

CHILDREN OF THE CORN

US, 2020, 93 minutes, Colour.

Elena Kampouris, Kate Moyer, Callan Mulvey, Bruce Spence, Stephen Hunter, Jayden McGinley, Andrew S.Gilbert.

Directed by Kurt Wimmer.

The first version of Children of the Corn was made in 1984, at the time when so many adaptations of Stephen King’s stories were being made, successfully so. And, this has continued in the succeeding decades, for cinema and television.

This is a rather slight Stephen King story. It has been written and directed by Kurt Wimmer, best known for writing action screenplays rather than for directing.

In some ways, this is an old-fashioned horror film, the setting up of the atmosphere of the cornfields and a strange presence, the threat to the cornfields by so much industrialisation and pesticides, the creation of a cornfields’ monster. And, there is the portrait of the small town in Nebraska, the glimpses of the adults, dealing with the destruction of the corn. But, more, there is the portrait of the children, seemingly possessed by the power in the corn.

This film was filmed in New South Wales, farm and town locations, and several of the cast, the adult males, Australian character actors, Bruce Spence, Callum Mulvey, Andrew S.Gilbert.

Top billing is given to Elena Kampouris s Bo (the daughter in the My Big Fat Greek Wedding sequels), who is meant to be a character of commonsense, enterprise, offering advice to the adults, mediating with the malevolent leader of the children. She is played, frighteningly effectively by Kate Moyer. One difficulty with the atmosphere of the film is the director’s decision to give so many close-ups for Bo, her fears in terror, trying to force the audience to identify with her.

There is a sense of menace throughout. There are some very gory killings of the adults, especially the bulldozing of soil over adults in a pit, a mass grave. Ultimately the corn stalk creature emerges, menacing. As with so many stories, there seems to be a satisfactory resolution – until a final image of horror.

1. Remake, the original in 1984? Stephen King story?
2. The locations, the Nebraska town, the cornfields, homes, streets, barns, meeting halls? New South Wales locations standing in? The musical score?
3. The horror elements? The mystery in the cornfields? The background of the fertilisers and the destroying of the crops? Evil powers and the creature in the corn? The effect on the children? The initial killings, the reaction of the farmers, the possession of Eden and her leadership?
4. The atmosphere of the opening, the rustling through the cornfields? The later images of the fields, vast, aer go ial shots, the decay and destruction? The final burnings?
5. The opening, the boy emerging, confronting Even, into the orphanage, killing everyone? Saying she was safe? The police, the sheriff, the meetings, the issue of Eden and the pastor looking after her? The situation with the crops, the meeting, the speech about the insecticides, the decision to sell the crops to the company and destroy them? The reaction of the children?
6. Bo, her brother, the other children, relationship with her father, plainly to leave to study, concern about the crops? The meetings, her opposing her father? Her friends, contacting the journalist, The planned campaign, the confrontations with Eden? The plan for the trial, with her father at home, her brother, his drinking? The cuffs, taking him to the trial?
7. The character of Eden, her age, orphan, possessed, her command, unemotional, the Red Queen and Alice in Wonderland? Her power over the children? Are ruthlessness? The sheriff, and him up, his death? Putting the adults in the pit, covering them with earth? The confrontation with the pastor, accusing him, gouging out his eyes?
8. The focus on Bo, the continual use of close-ups on her face, terrified (overreliance on her terrified face)?
9. The revelation about the journalist, hanging her up, transporting her, tearing her apart?
10. The buildup to the confrontation, the barn, Bo, the gasoline, it’s leaking out of the barn, Eden and her demands, the match, Bo and the threats? Her escaping, in the car, Eden in the back of the car?
11. The buildup to the finale, Bo and the cigarette lighter, Eden, the creature coming out of the corn, the confrontation, the other children? The dropping of the cigarette lighter, the flames, through the corn, the creature destroyed, Eden in the corn?
12. The aftermath, the horror trope, the creature and taking over Eden, the confrontation?

ARGYLLE

UK/US, 2024, 140 minutes, Colour.

Bryce Dallas Howard, Sam Rockwell, Henry Cavill, Bryan Cranston, Catherine O'Hara, Arianna DeBose, Dua Lipa, Richard E.Grant, John Cena, Samuel L.Jackson, Sofia Boutella, Louis Partridge, Ben Daniels.

Directed by Matthew Vaughn.

Has there been any research done about film fans who decide that they are against a film before they see it, still determinedly actually pay for their ticket, then spend a great deal of their time lamenting about the time wasted in watching the film and devoting more time and energies to badmouthing it, especially on social media, and on movie blogging sites? The immediate response to Argylle would be a good case in point. A great deal of social media time and space devoted to lambasting it.

The accompanying question for discernment would be: why not look at the cast and the director, discern that it would be an action show, espionage, probably a lot of spoof, and, with the history of the director, lots of colour and over the top action: give it a try. There would be quite a number of things to enjoy. And, that is probably the point, Argylle was made for enjoyment rather than for minute critical analysis.

Matthew Vaughn has had an interesting career, from the gangster Layer Cake, X Men, Kick Ass, the Kingsman series. And, this time he has had a $200 million budget. A lot of it up there on the screen in colour, special effects, spectacular action sequences.

The basic idea is enjoyable, Bryce Dallas Howard is Elly Conway, a rather mousy writer of spy thrillers. After a signing she is actually whether like Frederick Forsyth, John Le Carre, she is a spy herself!  But, soon she does get herself into spy situations, a scruffy fan on a train, Aidan (Sam Rockwell enjoying himself all the way through) revealed through as many fight variations you can have on a moving train, to be a spy, reader of all Elly’s novels, out to protect her.

We have already seen part of one of her novels in action, with Henry Cavill as her muscular hero (despite that awkward Mohawk hair style), in action in Greece, with his tough associate, John Cena, an agent killed, and an unsatisfactory to Elly’s novel. And, Argylle will reappear throughout the film, in Elly’s eyes alternating between Argylle and Aidan.

While Elly’s mother, Catherine O’Hara, is keen to help her daughter with her writing and plot development, we discover the malevolent influence of the renegade Directory the, Bryan Cranston. Plenty of star power in this film, including Oscar-winner Arianna DeBose as an IT expert spy, Samuel L.Jackson as the retired head of the CIA, Sofia Boutella as an exotic mastermind.

Maybe by about a third of the way through or more, there is the temptation to think that this is perhaps a bit more routine than hoped for. But, then the twists start. And then twist on twists! And, the spending of the budget on big action sequences, the audience thinking that one that involves all kinds of smoke and technicolour clouds isn’t bad, but then there is the ice-skating on an armaments floor covered in gasoline, a number of the spectacular leaps and action shots during the skating, some tension in the revelation of who is spying on whom, and a desperate fight interrupting the sending of an important file, a surprise rescue and a final explosion.

This is rather a different role for Sam Rockwell and he seems to relish it. And, a bit more admiration for Bryce Dallas Howard by the end – and, as she grows older, she will enjoy sitting down with her grandchildren to watch it again!

1. The films of Matthew Vaughn? Heroes and superheroes? Reality and fantasy? Action? Colour? Effects, action?
2. The big budget, the strong cast, the action sequences, choreographed, the special effects, extravagant? The overall effect? “Mindless entertainment”?
3. The introduction, the episode in Greece, Henry cavill as Argylle, in action, in the club, the dancer, seductive, explosions, the revelation about controls and the Directory, the glimpse of the Director, the death of the agent in the car, and the dancer scooped by John Cena as he drank his coffee?
4. And the revelation that Argylle was a character, Elly Conway as the author, the series of books over five years, bestsellers, the book signing, the fans, asking whether she was a spy like Frederick Forsyth and John Le Carre? Her being quiet and demure, mousy?
5. Her relationship with her mother, the phone calls, the discussions of the plot, the mother’s contributions, wanting to come to see her to discuss the developments?
6. The train sequence, Aidan sitting in the seat, hair, suspicious, reading Argylle, the discussions, his being a spy, the consequent mayhem, the fights all through the train, rescuing Elly?
7. The revelation of the Directory, Rogue agency, Ritter as director, his manner, treatment of his underlings, his rifle, shooting? His wanting to get Elly? The revelation about Elly, the stories paralleling reality?
8. The narrative of the plot, comic book, images of Argylle mixing with Aidan during the fights? Argylle and his advice to Elly?
9. The importance of Alfie the cat, his appearance, bond with Ellie, her carrying him everywhere, his being in danger, Aidan’s allergy? His part in the heroic action? The discovery of the actual Alfie, in France, Samuel L.Jackson, the visit, the explanation of Pinot Noir, yet his complete set up in France, in the past with the CIA? His determination to unmask and capture Ritter?
10. The twists? Dramatically effective? Tantalising? A further twist and revelations? Aidan telling Elly that she was a top agent, her disbelief? Gradual returning of memories? Her mother’s arrival and the truth about her mother, psychologist, the capture of Elly, transforming her character? Her father, Barry – and his threatening Elly, Ritter and his control?
11. Ritter and his staff, interrogations of the Elly, discovering where Alfie was? Elly rediscovering her past skills?
12. Aidan, his roles in the past, his love for Elly, overhearing him, sense of betrayal? Issues of trust?
13. The visit to the Keeper of Secrets, the background of Bakunin, his code, Ritter wanting it, the killing of Bakunin, the interaction with the Keeper of Secrets, her court, socials, Aidan and Elly dancing, not drinking, having possession of the code?
14. The buildup to the confrontation, Ritter and his forces, Elly, in the dress, her wig, transformed? Going into action, the gasoline on the floor, the troops, the memories of her skating, the accident, but her skills, getting the knives escapes, the choreographed skating, the aerial manoeuvres? The buildup with the smoke, the variety of colours, a technicolour extravaganza?
15. The irony about the psychologist, Aidan shooting her, the bullet proof vest, her reappearing, Aidan and Ellie trying to transmit the code to Alfie, his watching the sports, the interrupted transmission, the fight, the psychologist and her control, Ellie trying to defeat Aidan? The arrival of the agent (in the background story of the experiments, trajectory of bullets, life saved)? Her getting rid of the psychologist? The successful transmission?
16. Argylle and his reappearance? In the novels? His being a James Bond style character? The atmosphere of this kind of international espionage throughout? The irony of the transformation of the mousy author into the super agent? And the romance? And the books?

MAY DECEMBER

US, 2023, 117 minutes, Colour.

Natalie Portman, Julianne Moore, Charles Melton, Elizabeth You, Gabriel Chung, D.W.Moffett.

Directed by Todd Haynes.

May December is a phrase that indicates a relationship between a younger person and an older person – with the note, that the older person is considerably older. This film is based on an actual case in Washington State in the 1990s, a married woman with children and her relationship with a 12-year-old. In fact, the woman went to jail, gave birth to a child in prison, and, when released, married the boy.

However, this film does not focus on the 1990s except in retrospect, in memories, in judgements. Rather, the setting is 24 years later, the couple still married, now with three children, one of them graduating from high school. Which means then that an audience will have a point of view on underage sexual relationships, the law, crime and punishment. However, what the film is interested in is the aftermath, what was the effect of the relationship, what was the effect of the marriage, now almost a quarter of a century later?

The occasion for this story is the decision of a company to make a movie about the woman, Gracie (Julianne Moore). A well-known actress Elizabeth (Natalie Portman), comes to town to be with Gracie, to glean all she can that will enhance her performance. In one sense it is perfectly normal for this kind of research. On the other hand, there are all the personal relationships, the probing of the past, sensitivities. But, the way that Todd Haynes, a long-time director of women, Julianne Moore in Safe and Far From Heaven, with such productions as Mildred Pierce, Carol, introduces Elizabeth, we are wary of her, her motivations, professional approach, personal approach and insinuations.

There are frequent scenes of the two women together, especially looking together into a mirror, reminiscent for film buffs of the photos and posters for Ingmar Bergman’s 1960s Persona, the persons, the masks…

And, significantly, there is Joe, the boy in question, now husband and father, played by Charles Melton.

While the screenplay is well-written, dramatic interactions, emotional crises, a strong sequence where a cheeky kid in a class asks the actress about performing sex scenes and she gives quite an intense reply about the process, the detachment, the involvement, the feelings. The way that the audience will understand each of the characters here is often by their body language, their looks, movements, the ways they suggest the inner emotions for the audience to interpret.

It has been remarked that emotions can be buried deep. And, this is the case for the central characters and it is over to the audience to interpret the words and actions to explore these emotions.

However, perhaps the most accessible character is Joe, who is the character who intrigues. And an often warmly striking performance from Charles Melton. Audiences are used to adult predators, used to performers who also perform in real life. But here is Joe, the history of the relationship, his age and inexperience, the marriage, the children, his decades of being husband and father, and the audience wondering how he is still lost in his past, coming to terms, not coming to terms, needs, hopes, love for his children, trying to be supportive of his emotional wife, often allowing himself to be manipulated by her .

The musical score, pounding at times, his adaptation of Michel Legrand’s score for the British film, The Go-between.

The action in May-December is very much December, time passing, the effects of what happened in May, how much for good, how much for ill.

1. The title, relationships, older and younger, considerably older?
2. The screenplay based on an actual case, the 1990s, the older woman, the schoolboy, the relationship, the law, in prison, giving birth in prison, out of jail, the couple marrying, more children, the passing of the decades?
3. Audience judgements about the issue, moral, legal? The important aspect of the film is understanding what happened in the past, realising that decades had passed, the consequences of the initial experience for Gracie, her family, for Joe?
4. The town, homes, streets, beaches, school? Authentic American atmosphere? The musical score (the adaptation from the film, The Go-Beetween)? Highly dramatic and pounding?
5. The situation, the company making the film, Elizabeth coming to the town, to get to know Gracie, to learn, background for her performance? The motivations? Status as a well-known star? Her personality, initially tentative with Gracie, the interactions, listening, observing, standing with Gracie at the mirror, Gracie applying the make up, the touches of intimacy? The coming to meals, meeting with Joe, the children? Intentions, infiltrating the family?
6. Gracie, age, experience, her former husband, willing to be interviewed, his version of the story, his relationship with his children? Gracie and her relationship with Joe, husband and wife, Joe as father? Her relationship with her older children? With her children with Joe? The scene of getting the address for the graduation? Charlie and his moods?
7. The scene at school, Elizabeth and celebrity, the provocative question about filming sex scenes, her intense reply, stage by stage of the experience, detachment, technical aspects, feelings? The audience having this in mind for the sequence with Joe? The daughter and her negative reaction to Elizabeth’s answer?
8. Joe, his age, casual work, his hobbies, the plans, explanation to Elizabeth, the skills? Relationship with his children, with Charlie on the roof, the marijuana, his first time, his relationship with his children? The relationship with Gracie, looking after her, the jobs, her taking him for granted but loving him?
9. Joe, the past, audience trying to understand, knowing what happened, looking at Joe, his body language, listening to him? Sympathy for him? The encounter with Elizabeth, her being seductive, his response, the sexual encounter? The aftermath?
10. The daughter coming home, the airport scene, family together, preparation for the graduation, the graduation scene, the whole family present?
11. Elizabeth, the encounter was Gracie’s older son, insinuations, requests for the job as a music supervisor?
12. The effect of the visit, Elizabeth so often present in the house? Gracie and her becoming wary? And how she was going to be portrayed in the film? The growing sense of alienation? Elizabeth leaving?
13. In the future for the children, going off to college, leaving home? The future of Gracie and Joe?