Displaying items by tag: Peter Malone's Movie Reviews

WALLACE AND GROMIT IN THE CURSE OF THE WERE-RABBIT

UK, 2005, 85 minutes, Colour.

Voices of Peter Sallis, Ralph Fiennes. Helena Bonham Carter, Liz Smith, Geraldine McEwan, Mark Gatiss.

Directed by Nick Park, Steve Box.

Wallace and Gromit have become British icons – and one of Britain’s best exports.  Their creator, animator, Nick Park, brought them to the screen in 1989 in the Oscar-nominated A Grand Day Out.  They won their Academy Award in 1993 with The Wrong Trousers and again in 1995 for A Close Shave.  Wallace and Gromit were popular the world over.

Now they appear in their first feature-length film.  And they have another success on their hands, topping the US Box Office on its opening weekend at the beginning of October.  But the makers received bad news as well when the production studios in Bristol, the Aardman company, burnt to the ground the same weekend.  While they lost decades of film history, many of the clay models were out on exhibition and were not destroyed.

The films themselves are indestructible.  They have great appeal for both children’s audiences and for adults.

As the title indicates, the film is something of a spoof of horror movies.  And that is a smart move.  After all, so many horror stories have become classics of literature and cinema.  Older audiences will have quite a lot of fun noticing the parallels with horror movies and the amusing send-ups.  Of course, it starts with the play on werewolf.  This time the monster is a gigantic rabbit who has an enormous appetite for vegetables.  This is especially disastrous for the village because all the inhabitants are desperately tending extraordinarily sized pumpkins and gardens full of veg to win the competitions at the forthcoming fair.  Gromit himself is growing a giant marrow.  Wallace, of course, does not like vegetables at all.  He loves cheese.

Wallace is an inventor (and we see quite a few of the inventions from the previous films as well as a machine for collecting rabbits out of lawns – a kind of giant vacuum cleaner – without injuring them).  Not only does he now create a rabbit Frankenstein creature, trying to brainwash the rabbits to hate vegetables,  he also becomes Dr Jekyll and creates his alter ego Mr Hyde. 

When the going gets touch, the people turn on the rabbit just as they do in Son of Frankenstein – and there is the potential for a bride of the Were-Rabbit.  But, when the rabbit is pursued, he seizes the lady of the manor and climbs a tower as did King Kong of old.  Just when you thought, the writers might have run out of ideas, they set up Gromit like a British Snoopy and create an air battle modelled on World War I and the attack of the Red Baron.  You see how inventive they have been.

The script is also funny and witty.  In the middle of the chase, Gromit turns on the car radio and it is playing Bright Eyes, the theme from Watership Down!  Some of the jokes have mild and amusing innuendo that will be lost on the smaller audiences.

Nick Park has done wonders with the clay characters, patiently working with stop-motion photography for years.  It is extraordinary the expressions he can create – especially with Gromit who does not speak but whose facial gestures are worth a thousand words.

The voices are wonderful as well.  Peter Sallis has been supplying the voice of Wallace for years and it would be hard to imagine Wallace without him.  The villain of the piece, Victor Quartermain, a bounder who wants to marry Lady Tottington for her manor and money and hunt down rabbits with his rifle, is played by Ralph Fiennes sounding far more vigorous than in his films, a real moustachio-twirling performance.  Lady Tottington is Helena Bonham Carter, more lively and funny than she has ever been as well.

Fans of Wallace and Gromit will also welcome the musical score with the familiar anthem from the previous films.  The Curse will keep you smiling.

BALOTA/ BALLOT

Philippines, 2024, 102 minutes, Colour.

Marian Riviera, Will Ashley, Royce Cabrera, Gardo Versoza,Mae Paner.

Directed by Kip Oebanda.

Almost 100 years, world audiences have watched on the political struggles in the Philippines, democracies, dictatorships and the Marcos family, uprisings and freedom, the reign of Pres do to take, the return of the Marcos Next Generation…

This film is a fiction based on many stories, the setting is 2007, a local election, the pompous mayor standing for re-election, throwing her weight around, the tough candidate campaigning, a wealthy man, with a mansion, a huge collection of artworks, a great believer in individual power.

The focus is on a local teacher, Filipino star and award winner, Marianne Riviera, a reputation in her village, influencing a number of the people with her teaching and tutoring. She has a teenage son, American father, and scenes of schooling, basketball games, young people gathering, but also the protesters campaigning against the Mayor and her social injustice against workers, a woman leader campaigner because of the death of her husband in the cause.

The teacher Enemy is charged with transferring a box of ballots to the governor’s house, an attempted bribe, the death of her companion, her fleeing, chained to the ballot box into the jungle, desperate phone calls with her son, corrupt police taking over, murders, folks, her eventually going to the house of the candidate, his trying to win her over – but protesters gathering at the gate and some kind of indication of justice.

At the end, it is 2010, another election time – and Teacher Enemy looking straight into camera indicating that probably very little has changed.

1. A film for the Filipino audience, politics, corruption, rich and poor, elections? For the international audience, a perspective on the Philippines? The history of politics in the 20^th and 21^st-century is?
2. The setting of the small town, the visuals of the town, homes, school, election officers, the streets and demonstrations, the contrast with the mansion and the artworks, the countryside, the jungle? The musical score?
3. The setting, the 2000s, Filipino memories of politics at the time, elections and the provinces, local elections, the candidates, campaigns, supporters, demonstrations, protests? Behind-the-scenes, corrupt police, folks, murder, buying of votes?
4. The focus on Teacher Emmy, her status, as a teacher, the influence on people, relationship with her son, teenager, his friend, Jimbo, Jimbo’s mother? Scenes of her teaching porous students, urging them on? Her role with the elections, the supervision, the voters, her being invited to demonstrate against the Mayor, her reticence, her own personal perspective on the candidates?
5. The background of the candidates, the mayor, her pushy style, relationships and ex-lovers, ownership, plantations, unjust wages, the wife demonstrating against the death of her husband, leading the protests? The gay men, the two sisters, taking sides and demonstrations? The wealthy candidate, his mansion, guards, the range of artworks in his house? His henchman?
6. Seeing thugs in action, pursuit of people, buying votes, murders, bodies abandoned? The leader against Teacher Emmy, in the car with the ballots, the fellow teacher, the driver proposing payment, the gun, the teacher shot, Emmy hitting the driver with the ballot box, her escape into the jungle, hiding, the pursuit, her phone, contact with her son, with Jimbo and his mother, the violence of their deaths? The threats to her son, the phone calls, the information she gave, going to the house of the candidate, being allowed in, still holding the box, her injuries, the reception by the candidate, his boasting of his wealth and art, her decision to play up to him, the food and drink, the conversation, his plans? Her son’s phone call, warning him away? Holding her ground, the reaction of the candidate, violence, payoffs, his plans and his power struggle? In the wheelchair, the confrontation with the protesters, his arrest? And is campaigning for the next election in jail?
7. Enzo, his age, American father, friendship with Jimbo, computer games, basketball, with the girls, persuaded to go to the protests? His support of his mother? The death of Jimbo and his mother? The phone calls, his desperation, his being arrested, in the cell, Morales and the food, support, the old policeman and corruption, taking into the jungle, the empty gun on the shots, Morales, shooting the policeman? Morale is indebted to Teacher Emmy, his gay identity and Emmy support? His continuing to help with Enzo? The arrest of the candidate?
8. Teacher Emmy, the rescue, her working with the wife of the murdered man, the confrontation with the mayor, the ballot box, confronting the Mayor, her making promises and signing them, legal cases?
9. Three years passing, Teacher Emmy and her classes and prestige, and so and his legal studies, the friendship with Morales?
10. The prospects of the election, the candidates, the promises, the candidate in jail, the focus on Teacher Emmy and the focus on the audience perspective on elections and corruption?

THE BRUTALIST

US, 2024, 215 minutes, Colour.

Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Isaach de Bakole, Alessandro Nivola, Michael Epp, Emma Laird, Jonathan Hyde, Peter Polycarpou.

Directed by Brady Corbet.

The Brutalist is a vast film in scope and length. Beginning with an Overture, it becomes cinematic orchestral and in its two acts and epilogue cinematic operatic.

The screenplay is by former child actor, Brady Corbett, who directed Childhood of a Leader, Fox Looks, working with his partner, Mona. The scope of the storytelling is quite complex. It is multi-themed, beginning with Nazi persecution of the Jews, business close-up in the oppressive dark, concentration camp consequences. It then moves to re-settlement in the US and good use of the Statue of Liberty, Ellis Island, speeches and translations, then out into the vastness of America, a brother. In New York, then a train to Philadelphia.

Throughout the film there is a documentary evidence, radio news commentaries, about the significance of Pennsylvania in the history of the US.

The central character, Laszlo, is an architectural genius, and in prewar Germany, found unacceptable to national socialism, interned, along with his wife and niece. For most of the film, there is voice-over of letters from his wife, still in Europe.

This is the post-war USA, American business, migrants making good, shrewd businessman with no family backgrounds highly successful.

This is the story of Laszlo’s rise, not without its many pitfalls and falls. At first working with his cousin, Alessandra Mueller, participating in the commission from the son of a millionaire, Harry Van Buren is in (Joe all one) elevate his father, Harrison Van Buren’s personal library. Progress is made, Laszlo’s skill in design, his fine eye for detail, his modern furniture style, making a great impact until suddenly, Harrison bursts angrily onto the scene and dismisses everyone. Harrison is played by guy Pearce most convincingly.

But the central performances that of Adrien Brody (who won an Oscar for the pianist in 2002). He is sympathetic, sometimes upsetting, many outbursts, a growing sense of his own worth, his reaction to being challenged.

The film echoes the American confidence of the 1950s, progress and peace, buildings and achievement, the plans for building Harrison Van Buren’s community Centre in honour of his mother. There is the exhilaration of the design, very modern, the meeting of city officials, the inevitable as with material supply, budget overruns, interference from bureaucratic advisers, outbursts. And accidents, possibilities for being sued, compensation, he is in delay.

Unexpected is a sequence when Laszlo and Harrison go to Carrara to choose marble from the quarries there amazing visuals of the cliffs and quarries. But there is a key episode in Carrara that has something of a devastating effect on Laszlo and will offer a challenge to Harrison.

And, finally his wife, Felicity Jones, arise from Europe, wheelchair written, with the taciturn niece. And further complications with the Van Buren family, and with the niece and her fiance deciding to go to live in Jerusalem.

The film begins with an overture good end with an epilogue – and The Brutalist does, are vindication of Laszlo’s career and achievement, exhibition at Venice be a gnarly, and a tribute to Laszlo by his niece.

Often grim, sometimes overwhelming, moments of joy, and a perspective on American history in the post-World War II years.

1. Title and tone? Contemporary art and architecture? Personalities in themselves and their communication?
2. The scope of the film, orchestral and operatic, overture, acts and epilogue? The sound, the music, chords, heavy, light background? The visuals, the use of this division and its style? Editing and pace? The vastness of the impact?
3. The structure, the effect of the overture, setting the tone, from the concentration camps, the crowds, the darkness, the suffering, the release, the focus on Laszlo, the communication with Erzsbert? The freedom, the voyage, the Statue of Liberty and the various angles? Freedom and future?
4. The first part, from 1957 to the early 1950s? Migrants arriving, Ellis Island, the speeches and translations? Into the city – the glimpse of the women, the brothels, Laszlo and his friend? This impact after the years in the camps?
5. To Philadelphia, the train, the meeting with Attila, the welcome, change of name, his store and furniture, marriage to Audrey, Catholic? Their work and reputation, Laszlo criticising the furniture? But his working, his modern designs, Harry Van Buren and, the visit, the commission, the library, the background story, the father and his devotion to his mother, her illness? The surprise?
6. Gradual information about Laszlo, his studies in Germany, his skills, designs, Jewish background, Nazis and concentration camp? His skill in design, creative, demanding? The vision for the library, the visuals, the space, the cupboards opening, the shelves, the issue of the ceiling, its crashing? Harrison Van Buren arriving, the viciousness of his outburst, the dismissal? Laszlo and his reaction, the false accusation by Audrey, being ousted?
7. Laszlo, shovelling coal, the previous encounter with Gordon and his son, Laszlo going to the queue for the bread, their working together? Laszlo and his personality, accepting his fate? The continued communication with Erzsbert?
8. The arrival of Harrison Van Buren, his apology, researching Laszlo’s background, their discussions, the repayment, the possibilities for the future? The further conversations, Harry and his vision, as a tribute to his mother, the details of his background story, single mother, rejection by her parents, their later coming for money, his interviewing, withdrawing the $25,000, giving them 500? His mother’s death? His folio of photos of Laszlo’s work in Germany? The discussion about Laszlo’s past? The discussions about building the centre, the gathering of people and Mayor to present the project?
9. The focus of the film on the building of the project, the long years, the plans, the materials, Laszlo and his explanations of the structure, shapes, worship, the role of the Cross, the sunlight? The happy progress, Gordon and his work? The encounter with Leslie, they working together, ups and downs?
10. The financial difficulties, the time, Leslie and the consultant, Laszlo and his impatience, insulting, Harry and his mediating? The visit to Carrara, the marbles, Laszlo’s friend, the choice of the material, the celebration of the night, the drinking, the strange encounter, Harrison and his behaviour, talk, Laszlo his vulnerability, audience reaction to what they saw, what they thought they were seeing? The aftermath?
11. The train derailment, the lawsuits, the financial difficulties, Laszlo offering his payment of the building to continue?
12. Erzsbert, with their niece, the opening of the film and the interrogation of the niece, her growing up, mute, Erzsbert and her being confined to the wheelchair? Pain, the issue of drugs, Laszlo and his use of drugs for his broken nose and pain, dependence on Gordon?
13. Erzsbert, in herself, the meals with Harrison and his family, journalist training, Harrison getting the job, some financial independence? The tentative relationship with Laszlo, the gradual change in Laszlo, the communication and love? Her pain, the drugs, her collapse, hospital?
14. The niece, quiet, Harry Van Buren, his complaint, the incident with the niece, swimming, out into the woods, his return, behaviour? The effect on the niece? Her later fiance, the meal and discussion, going to Jerusalem?
15. Erzsbert, her going into the meal, her denunciation of Harrison and the rape? Harry and his defence? Margaret and her care for Erzsbert? Harrison and his retreat into the building, the search throughout the building and tunnels, his death?
16. The epilogue, Venice and its beauty, the biennial, the catalogue, the visuals of Laszlo’s architectural achievements, in the wheelchair, his age, the emotion of his niece’s speech, his response? His achievement?
17. Part of American history, post-World War II, the migrants, the Jews, prejudice and racism, finance, exploitation, achievements? The focus on Pennsylvania and its achievement and history? The final impact for the audience and being immersed in this world and experiencing the characters, likes, dislikes, difficulties, challenges?

EMILIA PEREZ

France, 2024, 132 minutes, Colour.

Karla Sofia Gascon, Zoe Saldana, Selena Gomez, Adriana Paz, Edgar Ramirez, Mark Ivanir.

Directed by Jacques Audiard.

Even if you have heard about Emilia Perez and heard about its drama and its music, its impact is still surprising, very surprising.

This is the work of French director, Jacques Audiard, who has directed some strong and tough films like A Prophet, Rust and Bone, even a Western, The Sisters Brothers, but they don’t quite prepare us for Emilia Perez.

Even without the music, the singing and the dancing, there is a strong narrative. On the one hand, at the centre, is a young lawyer, Rita (Zoe Saldana, Golden Globe, Best Supporting Actress), getting murderers off charges, rather disgusted at and her profession. But, she is abducted, is confronted by a cartel chief who has a special commission for her, his disappearance, getting his wife and children to safety in Switzerland.

Even when we know the plot, the reality of the special commission is still something of a surprise. The issue is trans-gender, the cartel leader and his forming into Emilia Perez. Both roles are played by Karla Sofia Gascon, herself transgender, an imposing performance.

As mentioned, there is a wide range of songs, inserted to dramatise particular characters, different styles of music, dramatic lyrics, sometimes song and dance routines. Rita sings about her life and her attitudes towards her life, the cartel chief sings, Emilia sings, as does the chief’s wife, Jessi (Selena Gomez) and, one of the doctors Rita consults in Tel Aviv about the surgery,

Face out. Four years later. Rita is working as a lawyer in London, invited to a dinner, sitting next to an imposing rather glamorous woman – who looks deep into her, and Rita recognises Emilia Perez.

Which means that the second part of the film, while in Mexico, is a story about Emilia trying to bond with her children, posing as an aunt, suspicious of the behaviour of Jessi who links up with a past lover, but, more importantly, the opportunity for a cartel chief to do some kind of good, some reparation, disturbed by the relatives of those who have disappeared, starting a foundation to dig up graves, identify bones, restore some kind of peace to bereaved families. And a complication in a relationship with one of the wives who actually does not grieve the death of her brutal husband.

It has to come to a head, of course, and it does so in a rather Mexican cartel violence fashion.

Punning on the director’s name, some have called the film ‘audacious’. In many ways it is. In many ways unpredictable. And, so often when we are wondering where it is all going, the characters burst into self-identifying songs.

1. The impact of the film? The drama? The music and songs? The interconnection? Real, surreal? The wards and nominations?
2. The work of the director, the French origins of his story, the Mexican settings, French language, Spanish, English? The range of the cast?
3. The impact of the songs, dramatising each of the characters singing, the lyrics, the musical rhythms and style, the musical numbers, choreography, within the context of the narrative, the hospital, clubs…?
4. The initial focus on Rita, as a lawyer, her background, Spanish-speaking, defending the murderer, alleging his wife suicide, the performance in the court, the verdict, his reaction, her reaction, her song?
5. The phone call, the rendezvous, her being abducted, in the presence of Manitas, threatening, his song, the surprise of the request? Her intervention? Transgender issues? In the context of his leaving the cartel and his brutality? His wife, the children?
6. Rita, the consultation in Bangkok, the interview with the doctor in Tel Aviv, his song? Rights and wrongs of the procedure, its taking place, post surgery, masked, success of the operation? Rita and the money, her life, in London?
7. The character of Jessi, the children, Rita organising them to live in Switzerland?
8. The meal, sitting next to the woman, looking at her, recognising Manitas, Emilia? Look, manner, filling, clothes, talk, with Simon? A new commission for Rita, to recover her children?
9. The return to Mexico, getting Jessi and the children from Switzerland, Emilia posing as their aunt, her mothering them, demonstrative, Rita urging caution? The reaction of the children, Mexico City, going to school, life at home?
10. Jessi, personality, young bride, the later revelation is by Emilia about money tales and Jessi’s sister, marrying her, the children? Happiness and unhappiness? Enjoying the life in Switzerland? Making contact again with Gustavo? The relationship, the outings? The sensuality of her song?
11. Emilia and her change of attitude, yet her capacity for ruthlessness, the approach by relatives of her victims, the setting of the foundation, Rita doing the business, the interviews, the money available, the digging up of the groups, identifying the bones?
12. The visit of Epifania? Her dead husband, the knife, the interview with Emilia, the truth about her husband, glad that he was dead, the bond with Emilia, the later meetings, the affair, the emotional impact on Emilia, as former male, as female, as trans?
13. Jessi, wanting to go with the children, with Gustavo, the disappearance? Emilia, her pursuit, ruthlessness? The confrontations with Jessi, tying up Emilia, getting loose, the fight, her revealing the truth, Jessi’s dismay?
14. Chase, the dangers, Rita coming with the money, Emilia as hostage, the guns, the shooting, the car, the explosion?
15. The ending with Epifania, cult of Emilia, procession and hymns, statue, the women, mourning Emilia, with Rita, her experience, the spirit of Emilia, her continuing the work and caring for the children?

WOLF MAN

US, 2025, 103 minutes, Colour.

Christopher Abbott, Julia Garner, Sam Jaeger, Matilda Firth, Benedict Hardie, Zac Chandler.

Directed by Leigh Whannell.

A few years ago, Australian writer-director, Leigh Whannell, who has had a successful career with horror films, the Saw franchise, of the Insidious franchise, directed the remake of The Invisible Man, which was very successful with both critics and box office. He has now followed up with Wolf Man. But, it is not so much in the tradition of the previous Wolf Man horror films but rather a new development, a 21^st-century perspective with reference to Native American traditions.

There is quite a contrast between the impact of The Invisible Man and Wolf Man, the visibility and invisibility. A filmmaker can work more subtle variations on horror and terror when the terrorising character is invisible, able to appear or disappear, those terrified not knowing where the invisible man is, present or absent, suddenly menacing. With the Wolf Man, everything is visible. This is very much the case here.

The setting is Oregon, forested mountains and valleys, a recluse taking his young son out hunting, trying to prepare him for the sense of menace and the tradition of a strange creature, somehow or other infected, wolflike manifestations, and, according to the Native American traditions named here, “the face of the Wolf”.

The action, in fact, takes place 30 years later. The young boy, Blake (Christopher Abbott) is npw a writer in New York, married with a young daughter, Ginger (McK enna Roberts) full-time parent, his nervy wife Charlotte (Julia Garner) a journalist. When news comes about the will of his dead father, he suggests they all go to Oregon which will bond them as a family.

As we guess, big mistake!

Most of the film takes place overnight, the family arriving with a huge van for removals lost in the forest, encountering a friend from the past, but suddenly confronted by the mysterious presence. The truck crashes, Blake is scratched and bleeding, Charlotte and Ginger terrified.

So, we see the gradual transformation of Blake into a monstrous version of himself, his daughter terrified, Charlotte able to assert some kind of authority to help.

This is a film of horror with the transformation, gradual and ugly, into the Wolf Man. It is also a film of terror for Charlotte and Ginger. And for audiences who appreciate and respond to this kind of horror and who have an enjoyment of menace and terror, this is what Wolf Man sets out to offer.

1. The popularity of Wolf Man stories? Classic films? 21^st-century interpretation?
2. The beauty of the Oracle mountains and forests, the father and son, their home, the equipment and communication, hunting, the rifles? The stern father, the boy and his attention, fears, going to ship the deer, his father’s reaction, and up on the lookout, his father’s explanations? At home, the effect of the father on the boy? The personality of the Father, war, communications? Then the story of his disappearance?
3. 30 years later, New York City, Blake, writer, looking out his daughter, Charlotte, at work, her moods, difficulties at home, phone calls? Blake and his daughter, protecting her, her reading his mind, the meals?
4. The news of his father’s will, the suggestion to go to Oregon, the fan, travelling through the forest, the desd end gate, Derek on the lookout, the fears, his friendliness, back story, guiding them to the house? The apparition of the road, swerving, the crash, Derek falling out, being taken away by the creature? The creature, the struggle, Blake being scratched, mother and daughter on the roof of the van, walking through the woods, finding the house, getting the lights going, the threats, locking the door?
5. Blake and his transformation, the arm, the blood, Charlotte ending the wound, his later tearing it off, chewing on his arm, the impact on Charlotte, the impact on Ginger? Her age, dependence on her father, not so close to her mother, her mother having to protect her, her being bewildered by the transformation of her father?
6. Blake and the further degeneration, his face, the touch of the Wolf, facial hair, the blood, his trying to protect them, Charlotte and her getting the engine going, trying to escape in the car, Blake leading of the creature?
7. The revelation that the creature was Blake’s father, the confrontation between the two, the fight, the destruction of the creature? Blake and his death?
8. A grim ending, the action taking place overnight, the pessimism of this variation of the Wolf Man story?

MAGIC BEACH

Australia, 2024, 76 minutes, Colour.

Directed by Robert Connolly

An Australian film for a younger audience, especially for those who have read Alison Lester’s childrens book. And, there is the appeal to those who read the book as children or who had Magic Beach read to them as they were growing up. And, of course, the appeal to the parents who read the book to their children.

During the opening credits, there is the use of illustrations from Alison Lester’s book, to excite the audience imagination. And they are contrasted with real life children, families, of the reading of the book.

While Robert Connolly is the director (and is familiar with films with a family appeal, having directed Paper Planes and Blueback) but there has been an invitation to a group of animators to take a particular story and write, design, animate according to their particular talent and style, interest and inspiration.

And, acknowledging the animators: Susan Kim Dantga, Pierce Davison, Jake Duczynski, Emma Kelly, Anthony Lucas, Simon Rippingale, Kathy Sarpi, Susie Shapones, Marieka Walsh, Eddie White, Lee Whitmore.

So, while there are scenes with the children, some walking along the beach, some going into the water, some sitting in boats with binoculars, children and adults communicating with sign language, the final group of children and everyone on the beach, the stories within the story are very varied, the young boy on the beach suddenly riding a white horse, racing with horses underwater, the young girl, with a mermaid story, more a pictorial fantasy. – and a dog story. There are some adventures, pirates and smugglers along the coast, a group of children sitting in a boat with binoculars out to sea, a range of stories with different kinds of appeal, some more realistic than others and, if the audience is not liking this particular story then there is another one soon to come.

For older audience not familiar with the book and its illustrations, the experience might be less engaging. But, for those familiar with the book, the young children’s audience, there are stories to excite, to delight, and to open up the imagination.

BABYGIRL

US, 2024, 114 minutes, Colour.

Nicole Kidman, Harris Dickinson, Antonio Banderas, Sophie Wilde, Esther McGregor.

Directed by Halina Reijn.

Very much a women’s film, in terms of focus, issues, relationships with men. It was written and directed by Dutch actress, Halina Reijn, who also directed the American film, Bodies, Bodies, Bodies. And, bodies play a significant role in this film. And its star, Nicole Kidman, won the Best Actress award the 2024 Venice Film Festival.

The film is better reviewed from the female perspective, with some empathy, understanding as well as critique. And, of course, it offers a challenge to the male reviewer.

It opens quite graphically, the focus on business executive, self-made business leader, Romy, Nicole Kidman, her sexual relationship with her husband, Jacob, a theatre director, Antonio Banderas. Vigorous but not fulfilling, and Romys need for turning to pornography for some kind of gratification or fulfilment. At work she is most competent. But, some in insecurities.

The catalyst for surfacing the uncertainties and possibilities for change/or not, is a young man, Samuel, Harris Dickinson, seen on the sidewalk controlling an aggressive dog. And he turns out to be one of the aspiring interns at the company, very forward, claiming Romy as a mentor despite her objections.

It would be interesting to hear some psychologists interpretation of each of their characters and the interactions and sexual behaviour. With the lay reviewer, they don’t seem quite credible, especially Samuel’s character and the motivations for his behaviour, where he came from, what his intentions are, what he gets out of the relationship.

In fact, the film parallels those dramas with the dominatrix and the subservient male client. Samuel becomes the dominator, not in the expected violent way but paralleling the behaviour of the female dominatrix. And the audience continually asking about Romy’s behaviour, self-consciousness, memories of her past and inadequacy, issues of power, issues of gratification and fulfilment.

There are some family scenes, Romy and Jacob having two daughters, but the focus is on that sexual interaction domination and submission between Romy and Samuel.

1. The title, the tone? Identity, sexuality, relationships, power?
2. The New York setting, the world of business and enterprise, management, interns, interactions? Home life? The world of affairs, hotels? The musical score, pounding at times?
3. The impact of the opening, Romy and Jacob and their relationship, sexuality, her going to the computer for pornography, her later taunts of Jacob, contrast with her experiences with Samuel? The focus of the film on personality, sexuality, sense of inferiority, ambition and achievement, exercise of power? Domination – by the male but echoing the dominatrix? Intimacy, secrecy, fulfilment?
4. Romy’s story, her background, sense of inferiority, studies, skills, achievement, the company, relationship with the staff? With Esme? With the interns? Seeing her in business meetings, her reports, communication video…?
5. Jacob, the marriage, their children, home life, intimacy? His work in the theatre, the rehearsals, Romy’s visit? The performance, the achievement, the celebration, Romy leaving?
6. The introduction of Samuel, the incident with the dog on the street, his control, coming to the office with the interns, his approach to her, her asking about the dog? His choosing her as mentor, but not being on the program, her resistance, the first meeting, the seven minutes, the interview, the discussions? The credibility of Samuel’s character, his background, much unexplained, his approach to Romy, sexual, dominating?
7. The development of the relationship between the two his demands, his analysis of her sense of inferiority, his commands, her reactions, leaving, returning, the kisses, the propriety, the danger of public knowledge, losing her position in reputation? The party, watching him dancing, his tie, taking it?
8. The sequences of their being together, his commands, her humiliation, resistance, acquiescence, the milk in the saucer, on all fours…? The sexual impact for her? The significance for Samuel?
9. His turning up at her house, her reactions, the children’s party, with Esme? His relationship with Esme, different? Her role in the company, ambitions, taking Romy’s role as her model, at the house, with Samuel, her later confrontation with Romy, saying she knew everything?
10. The interactions with Jacob, the tensions, the taunt, later apology, his suspicions, his outbursts, his demands, ousting her, her meeting with Samuel, his discovering them, the fight, some resolution?
11. The influence her daughters, Isabel, age, friends, relationships, sexuality? Her behaviour with her parents, the socials, the party? Concerned about her mother?
12. The ousting of Samuel, his going to Japan? The discussion with the boss, the standing up to him, ousting him? The reconciliation with Jacob and the family?
13. The credibility of Romy’s personal and sexual journey?

KURT VONNEGUT: UNSTUCK IN TIME

US, 2021, 127 minutes, Colour.

Directed by Robert B.Wiede, Don Argott.

And so it goes...

In his heyday, Kurt Vonnegut was considered one of the most influential writers in the United States. In succeeding decades, he was less popular but, eventually, made a comeback at the end of the 1990s. He was born in 1922. He died in 2007.

Writer-director Robert B.Wiede, made contact with Vopnnegut in the 1980. Contact and friendship continued over the succeeding decades, enabling Wiede to film Vonnegut in a great number of interviews, during travels, giving speeches… As well as Vonnegut ifilming in his private life. With such an amount of material available, as well as footage from television, this film is able to offer a portrait of Vonnegut in his own words.

While the film does trace the chronology of Vonnegut’s life and career, it does not do so in linear fashion, rather introducing Vonnegut, highlighting aspects of his personality and talent and inserting the chronology of his life and writing. Fortunately, a great deal of home movie footage was found, the family, with Vonnegut as a child, growing up, the depression, loss of their house, renting, the sadness of his mother’s death by overdose, the decline of his father. There is a focus on his brother Bernard, an expert in physics, and the sadness of the death of his sister.

In the interviews, often quite frank, with his daughters and his son as well as his adopted sons after the death of their mother, his sister. Initially, this led to a big happy family, but his marriage with his very supportive and encouraging wife, broke down. He left, married his second wife, achieved a great deal of fame, a public American celebrity…

The film also incorporates many interviews with literary experts, including novelist John Irving who was a student of his in Iowa, to get background to appreciate Vonnegut’s writing and its reception. A great deal of attention, as expected, is given to Slaughterhouse 5, the many drafts, corrections, changes of inspiration, and the drawing on, get his memories of World War II, taken as a prisoner of war, the bombing of Dresden and its consequences. When he was not writing, Von negut also sketched, many of his paintings and drawings, reminders of the style of Picasso. Attention is also given to his Breakfast of Champions and, in his later years, his writing of essays for various magazines, and his social and political Man Without a Country (2005).

The film is very personal documentary for Robert B.Wiede, in process for several decades, taken up, let go, an archive of material, and Vonnegut himself sending tapes of speeches and of material. In the meantime, Wiede was successful in screenwriting and documentaries, especially, winning awards for his work with Larry David in Curb Your Enthusiasm.

With Wiede on screen so often, this makes the documentary very personal. Many have responded well to his presence. Others have criticised it, noting that he appears, in their opinion, far too often, diverting attention to himself and his own life and career. And this seems particular case in his insertion of his wife’s illness in the 2010s.

Irrespective, say, of the Wiede personal material, this is a very good introduction to the life and work of Kurt Vonnegut, as shown by the author himself.

RIVER WILD

US, 2023, 91 minutes, Colour.

Leighton Meester, Taran Killam, Adam Brody, Olivia Swann.

Directed by Ben Ketai.

River Wild is a popular action pastime adventure. It is a credit to the 1994 at the River Wild with Meryl Streep and Kevin Bacon, keeping the basic plot outline of the journey on a river and the menacing by a criminal. However, the rest of the characters are different, as are their interactions.

While the initial focus is on Joe, Leighton Meester, she joins her brother and a group of young women eager to go on the river. She is not expecting an associate from childhood, Trevor, Adam Brody, who has been in prison on drug charges, has a sense of menace, is revealed as psychopathic as the film goes on, an injury to one of the women, an attempt to get help and the psychopath shooting the Ranger, developing drama, including a hiker trying to help the group, building up to a final confrontation and plenty of scenes on the river and, especially, on the rapids.

In fact, Leighton Meesterand Adam Brody and her husband and wife in real life – an opportunity for them to be in a heightened dramatic situation on screen.

1. The title, the basic screenplay from 1994? Variations on characters and events?
2. The mountain scenery, the river, rapids? The musical score?
3. The initial focus on Joey, her personal worries, joining the group, her relationship with her brother, meeting the young women, her antipathy towards Trevor? The initial interactions, on the river, the personalities of Grey his guide, the young women and their background? Camping, the incident with the young woman, her injuries, the allegations that Trevor attacked her?
4. The crisis, to help the young woman, the decision to go during the night, to seek the Ranger, the dangers in the right, people falling out of the boat, continuing on?
5. The episode with the Ranger, Trevor and his reaction, the Ranger putting the gun, the fight, his death, Trevor wanting Grey’s support, memories of going to prison for him in their drug days?
6. The girl, her injuries, dying, the decision to bury her, Trevor taking control, tying people up, his plane to escape to Canada, seeing the hiker on the bridge, Joye attracting his attention? The continuing of the riot, the plans, the night, the hiker returning, Trevor shooting him, another burial?
7. The confrontation with Grey, the viciousness of the fight? The knife, the two women free, the visitor running away, getting help? Joey, the pursuit, jumping from the cliff, returning to help grey, his injuries, boats, falling out, generally reaching out, the fight with Trevor?
8. Joe, surviving, her medical knowledge, bandaging herself, the helicopter, the rescue?

ADVANTAGEOUS

US, 2015, 93 minutes, Colour.

Jacqueline Kim, James Urbaniak, Freya Adams, Ken Jeong, Jennifer Ehle, Samantha Kim.

Directed by Jennifer Phang.

Advantageous is a rather quiet, futuristic film with elements of science-fiction. It originated as a short film by writer-director, Jennifer Phang, and this feature film won awards at the Sundance Festival.

The film was cowritten with the leading actor, Jacqueline Kim, actor, singer.

The setting is a futuristic city, not grim, the sun shining, vast high-rise buildings, some drones in explosive action over the city, but generally a city that most audiences would recognise, sufficient similarities with the present.

The focus of the film is on Jacqueline Kim’s character, Gwen, an expert in promoting procedures for enhancing beauty. She has a strong reputation but she is growing older and the powers that be are looking for a younger face to promote. She is interviewed, very slightly by Jennifer Ehle cautiously by James Urbaniak with whom she has a relationship. She is persuaded to undergo a facial transformation, a more European face chosen, her going through the process, emerging as the younger face for promotion.

However, the important aspect of her life is her commitment to her daughter, an intelligent youngster, the future before her. Gwen decides to go through the procedure, get the money to facilitate her daughter’s further education.

As said, the film is rather quiet even when exploring futuristic themes, competitive business and exploitation, family betrayals. The ultimate message is a hope for the future generation.’

1. Science fiction? Science future? American society, individuals, hopes and ambitions, moral choices, the future and hopes?
2. The visuals of the city of the future, similar to contemporary images, vistas of high-rise, drones and attacks? The contrast with familiar and ordinary sequences at home, officers, school? The musical score?
3. The title, the tone, advantages, especially for the next generation?
4. Gwen’s story and Jules’ story? Gwen and her personality, age, her care for Jules, the later revelation about the relationship with Han, his paternity Gwen not revealing it? Her bringing up Jules, concern, prospect for school entries, prejudices, racism? Her work, the promotion of beauty, advertising, campaigning, the interview with the company, her relationship with Dave Fisher, the smooth interview with Isa Cryer? The prospect of her changing her image, contracts, payments, absence from home, the benefit for Jules?
5. The background of business in the future, the technology available, means of communication, voice, screens? Interviews? Smooth talk, more sinister aspects behind the scenes? Gwen and her signing the contract, going away? The transformation? The choice of the new image, not Asian?
6. Jules, age, bright and intelligent, her comments, her friends at school, the visuals of the girls, the games, conversations? Her relationship with her mother, strong relationship, her concern for her mother? Her mother going away? Her going to the camp, communication, her mother’s return, accepting the new image, continuing family life?
7. Lily, the contacts with Gwen, not for a long time, Gwen deciding to visit, the confrontation with Han, his relationship with Lilly, the boys, the revelation of the truth, Lilly’s reaction, the reaction of Han?
8. A quiet, more contemporary to the times look at the future, society, technological developments, the quest for beauty and non-ageing, the future for children?