Displaying items by tag: Peter Malone's Movie Reviews

CRAWLSPACE

US, 2022, 95 minutes, Colour.

Henry Thomas, Bradley Stryker, C. Ernst Harth, Jennifer Robertson, Olivia Taylor Dudley, Joe Costa, Catherine Lpugh Haggquist, Colin Decker.

Directed by L.Gustavo Cooper.

This is a tough action thriller, a portrait of a working class Everyman, family man, who is placed in a difficult situation, his life threatened by ruthless criminals, his using his wits to save himself and to outwit the criminals. Seen many times before, but always an interesting theme.

The setting is Oregon with some wonderful mountain scenery. It opens with the cutting down of trees – and the revelation that this is in illegal areas, the wood being traded for money and for drugs. And, a number of the townspeople are involved in the process as well as altering the books to cover the finances.

In this context, the audience is introduced to Robert Mitchell, played by Henry Thomas, long ago the friend of ET, plumber, new baby, happily married, but kind in letting people off paying their debts to the upset of his wife who is an accountant for the finances the logging company. Off he goes to do some work in the crawlspace of the respected citizen who, in fact, controls the logging scam.

The audience is also seeing one of the most ugly and ruthless villains on screen, played by Bradley Stryker, with his yes-man associate, overly large, C.Ernst Harth. The exchange of drugs and money fails and so they go to the house of the logging manager, killing him, not knowing that Robert Mitchell is in the crawlspace.

So, much of the action under the floor, claustrophobic, menacing criminals, and Robert Mitchell using his wits.

There may be some suspicion about the sheriff in the town who is supported by his genial deputy – and, certainly, with a twist as to who is the mastermind of the situation.

1. The title, the space under the house, contents, where the action takes place? Claustrophobic?
2. The Oregon setting, natural beauty, the mountains? The town, the isolated home, the forests, the sawmills? The musical score?
3. The setting, the sawing of the trees, illegal, transporting, cutting them up, selling them, money for drugs? The dealers, the trucks and the rendezvous, Sterling and Dooley, their task, the Russian, confrontation, sterling shooting? The money missing? They going to the house, confrontation with Tim, his owning of the sawmill, popular in the town, jogging, arriving home, hiding the money in the crawlspace, the confrontation, his death?
4. Robert Mitchell as hero, the working class Everyman, with his baby, talking his macho image, love for his wife, letting people off payments, his work as a plumber, her wanting to go back to her accountancy work, the clash? His going to work, the car breaking down, walking to work, his tools and equipment, working in the crawlspace? Overhearing the murder?
5. The background of the police, the sheriff, large and jovial, Jordan, practical commonsense, friendly? The arrival of Helen Masur, the FBI, the financial discrepancies in the accounts, she and Jordan examining them, calling on Carrie, Carrie looking over the accounts, quiet, with the baby? Carrie on further discrepancies, with Jordan, their driving out to Tim’s house?
6. The main action in the crawlspace, Robert, terrified, emerging out, with the arrow? His ingenuity in treating the wound, cauterising it? His preparing weapons? The dialogue interactions between Sterling and Robert? The taunts, pretence of deals? Robert cutting Dooley’s hand? Shots fired? Robert, clever, the drill and Sterling’s foot? The day going on, Robert hardening his attitude, his phone out of commission? Memories of wife and child?
7. The arrival of Jordan and Carrie, the twist in the plot, Jordan and her control, confrontation with Sterling? His shooting her? Sterling, Roberts confrontation, his death?? The threats to carry, Robert and his attitude towards the money, burning part of it to taunt Sterling? The threat to burn it all? Sterling’s death?
8. The sheriff, the arrest of Jordan?
9. The aftermath, family life – and the sheriff with the gift of the money for the future?

TROLLS  

US, 2016, 92 minutes, Colour.

Voices of: Anna Kendrick, Justin Timberlake, Zooey Deschanel, Christopher Mintz-Plasse, Christine Baranski, Russell Brand, Gwen Stephanie, John Cleese, James Cordon, Jeffrey Tambor.

Directed by Walt Dorhn, Mike Mitchell.

This is a very cheerful show, despite an important part of the plot having the ugly giant Bergens eat a Troll to make them happy!

The target audience for the film seems to be the very littlies, up to about the age of six or seven (perhaps a little beyond but the eights and others might think themselves a bit too sophisticated for this kind of entertainment!).This is one that the parents will have to sit through with their littlies – though they might enjoy the range of songs, variations on Greig’s Peer Gynt and the Mountain King, Simon and Garfunkel’s The Sounds of Silence, True Colours and other romantic songs, courtesy of the voices of Anna Kendrick and Justin Timberlake.

One of the reasons for the success of the film for its young audiences is the fact that it is full of movement, full of music, full of colour. And the Trolls, unlike the monsters of Nordic tradition, are variations of little dolls, especially Princess Poppy, the heroine of the piece. Most of them have very long colourful hair – which can be quite elastic at times, especially for tricks and rescues!

The Bergens are rather bigger, lacking colour, ugly faces, lopsided teeth, ruled over by a king who want his little son to be happy and eat a Troll. However, the King of the Trolls is alerted, leads them all through underground tunnels to safety, risking his life to save Poppy. 20 years later, Poppy is a live wire, wanting a 20 year celebration, loud, singing and dancing (which she is prone to move into at any moment) as well as hugging. The sad sack of the Trolls, Branch, warns them against being too loud – and, of course, they are, with the Chef of the Bergens searching for them for 20 years and, at last, finding and capturing them!

So, Poppy to the rescue, though she herself needs rescuing by Branch.

One of the enjoyable features of the search for the Trolls of the rescue is the discovery of the Bergen scullery made, Brigid, who longs to be noticed by the king. The Trolls do a transformation on her and send her on the date with the King who is entranced by her – and when she hurries away, she drops one of her rollerskates in Cinderella fashion!

The next day is Trollstice, the traditional day for eating a troll – but, the Chef captures the Trolls but Brigid does the right thing – with Poppy rushing back to help her and for the king to notice her – so that everybody will be happy (without the eating), colour will return to everyone, music and singing, hugs all round, and the little audience leaving the theatre cheered and very happy.

1. A film for smaller children? Characters, doll like presence, small, clothes, long and colourful air? A colourful film, with movement, songs and dances?
2. The title, traditional understanding of trolls, this time different? Their look, size, colour? The contrast with the giant Bergens, ugly, lacking colour, faces, teeth? The clash between trolls and Bergens?
3. The animation style, full of colour and movement? The voice cast, some British, some American? Singing, comic touches?
4. The songs, the range of songs, from Greig and the Mountain Kings to True Colours to The Sounds of Silence, romantic songs? The range of trolls singing? And Brigid?
5. The trolls, happy, their king, Poppy as a little girl, Princess? The story about the tradition, Bergens and their wanting to eat a troll to make them happy? The trollstice?
6. The Bergens, the day, the King, his son, preparing to eat the troll, the chef, everybody wanting to be happy?
7. The chase, the King, all the trolls going through the underground passage, his wanting to save everyone, his return, saving Poppy, getting his trousers caught! And all the trolls saved? 20 years of peace?
8. 20 years later, Poppy, full of enthusiasm, singing, dancing, hugging? Brash, bright? Her friendship with Creek? The range of other trolls, shapes and sizes, voices? The contrast with Branch, lacking colour, pessimistic? Warning about the loudness of the big party? The chef, banished from the Bergen town, alert, wanting revenge? Hearing the music, seeing the fireworks, capturing the trolls?
9. Poppy, determined to save the other trolls, embarrassed by the loud party? The discussions with Branch, his hideaway, his storing supplies? Not singing, not hugging? Her going off to the rescue, in danger, the large creatures, capture, Branch coming to release her?
10. The Bergens, the King, the preparation for the feast? The role of Brigid, scullery maid, not noticed by the king? The trolls finding her room, her waking, their talking, their transforming her and her date with the King, the trolls in her hair, giving her the information of what to say? The king enraptured? The skating, the pizza? Her escaping, leaving the rollerskate behind, the Cinderella story?
11. The trolls, the escape? The chef, the container and them all being taken? Creek, the flashback, his being bought off, the betrayal?
12. The chef, with all the trolls, preparing the meal, Brigid arriving, having to serve, her decision to let them go for all they had done for her?
13. Poppy, the decision to return, helping Brigid, transforming her again, the reaction of the chef, the king, delighted?
14. Everybody singing, colour returning to the town of the Bergens, the music, shoulder tapping, everyone transformed – except the chef, her exile with Creek?
15. Peace and harmony – and the postscript about the chef and Creek being swallowed by the bigger creatures?

WILDHOOD

Canada, 2021, 108 minutes, Colour.

Phillip Lewitski, Joshua Odjik, Jordan Poole, Michael Greyeyes, Savonna Spracklin.

Directed by Bretten Hannam.

Wildhood is a Canadian film, based on the life and experiences of the writer-director. It is a road film, a quest film, a young man in search of the mother who seems to have abandoned him.

The film opens with the rough experience of the teenager, Lincoln, played by Philip Lewitsky. He and his half brother, Jordan Poole, are pursued by the police, Lincoln placed in a cell along with the mysterious First Nation woman who later appears with some explanations, dragged out of jail by his abusive father.

This is the setting for Lincoln and his brother leaving in search of his mother, Lincoln perpetually angry and resentful, yet bonding with his brother.

There are various adventures along the way, the resentful Lincoln and an outburst in a store, being helped out by a young First Nations man, Pasmay who gives the two a lift, talking to Lincoln, persuades him to share the journey to find his mother. There is a lyrical swimming sequence – initial indications of a gay relationship.

Lincoln follows various leads, addresses, clues from unopened letters and cards, visiting the house where his mother spent some time for rehabilitation, the manager not giving any information. There is also a genial First Nation cake-maker who takes them to a club, some more clues from the Drag Queen owner of the club, then an encounter with the old lady who had been in prison.

Lincoln has to face himself and his relationship with Pasmay, the film showing a sexual encounter and experience, then how to deal with finally meeting his mother.

Pasmay is a dancer at Pow Wows, demonstrating his skills, teaching Lincoln how to dance, and a final sequence, in his regalia, acclaimed dancing, then the three central characters dancing together at the end.

1. The title, childhood, the two brothers, growing up, wild, the road journey, at the destination?
2. Canadian film, the First Nations story and characters, issues? The character and journey based on the writer-director’s experience?
3. The Canadian locations, homes on the edge of towns, the range of countryside travelled, jail sequences, houses along the way, the clubs, the meeting place for the mother? The musical score?
4. Lincoln, his half brother, the stealing of the copper, the chase, arrested, in jail, with the mysterious First Nations woman, his later meeting her, her advice? His father, home life, brutality and violence? The decision to run away?
5. Lincoln, his age, character, angry, resentful, the brutal father and his response, bonding with his half-brother, the absent mother and his puzzle about her abandoning him? The need to find her?
6. The bonding between the two brothers, managing along the road, in the store, the checkout, his angry response?
7. The encounter with Pasmay? The friendly touch, the angry response, the pursuit, calling the police, getting into the vehicle, driving away? Pasmay, the gradual explanation of his background, a dancer, his talent, demonstration, a loner, his family? The gradual revelation about his being excluded, gay orientation, needs?
8. The effect on Lincoln, angry, walking off, persuaded to come back, continuing the journey? The exhilaration of the swimming sequence? Indication of gay themes emerging?
9. The talk along the way, mood swings, a car breaking down, on the Road, the cake maker picking them up, conversation, friendly, the scene of delivering the cake, the maker’s nephew and his outburst, Lincoln running away?
10. The various addresses, confidentiality, the woman at the house where his mother spent some time, the cake-maker and taking him to the club, the proprietor of the club, enigmatic, First Nation, some indications, looking into Lincoln’s eyes? The encounter with the old lady who was in the prison, walking together, her taking him to the destination?
11. His mother, the initial response to her son, walking, following, the talk, the breaking down of reserve, the explanations, the reconciliation?
12. The relationship between Lincoln and Pasmay, the swim, the waterfall, the sexual encounter, its effect on each of them? Breaking down barriers?
13. The finale, Pasmay in regalia, his dancing, and the through them dancing on the beach?

LEAVE THE WORLD BEHIND

US, 2023, 140 minutes, Colour.

Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la Herreld, Farrah Mackenzie, Charlie Evans, Kevin Bacon.

Directed by Sam Esmail.

The title is to be taken more literally than we might initially have been expecting. At first, it is used to explain an enjoyable weekend away on Long Island, the family renting a beautiful house, comfortable, swimming pool, access to the beach… And it it has been arranged efficiently by the mother, Amanda, a rather tough Julia Roberts, sales consultant, harshly sour view of clients and human nature. By contrast, Ethan Hawke is Clay, her husband, Professor of literature and media. And there are two children, Archie, 16, and Rose, 13, obsessed, even in the drive to the holiday house, with finishing all the episodes of Friends.

It all seems happy enough and off they go to the beach. Then the first sign – an oil tanker glimpsed out at sea, getting closer, finally barging ashore on the sand. All is not well. The familiar world will have to be left behind.

There are various ominous signs, some deer in the back garden appearing, phones and Wi-Fi going out, no television. Then, mysterious noises at night – and a father and daughter knocking at the door in the early hours, claiming that this was their house, that there were blackouts in New York and they decided to come back home.

Which means then that the audience has got to know the family first, is suspicious of the newcomers, but being asked to identify with the harsh treatment interrogation by Amanda or with the more genial approach by Clay. As it turns out, the owners of the house are GH, a talented financial adviser, played by two-time Oscar winner, Mahershala Ali, and his teenage daughter, Ruth (who can match Amanda in clashes, suspicions and invective) played by Myha’la Herrold.

During the rest of this rather long film, there are more ominous signs, even more deer gathering, flamingos swooping into the swimming pool, brief phone messages to say that there is a blackout and perhaps services being hacked. And, there are scenes of dialogue and interaction, GH and Amanda being able to settle some of their differences, Ruth asking Clay embarrassing questions about his life. And the two teenagers puzzled, exploring the surrounding woods, Archie getting an infection with dire consequences for his teeth, Rose, wandering, watching  the deer.

When GH goes to try to get some help and information from neighbours, he discovers chaos, bodies, and an airliner crashing. Clay has tried to drive to town to find help but encountered a frantic Spanish-speaking woman he cannot understand. And a drone follows him dropping leaflets, in Arabic, Death to America.

The audience is invited to share the suspicions, the uncertainties, the growing paranoia. And there is a dramatic scene when GH and Clay take Archie for some medical help from a neighbour, played by Kevin Bacon. Tension, confrontation, defensive…

Is this the end of the world? Who knows? Suggestions of the Russians, Koreans, the Pentagon, finances and deals, creating wariness, hostilities, a destructive civil war, and images of nuclear bombs. Some have been very critical of the final sequence, too laid back all – in a well-stocked bunker, a quiet scene, Rose discovering final episode of Friends…

Older audiences and movie buffs may be reminded of the film and/or television series based on Nevil Shute’s end of the world novel, On the Beach (and the film’s Melbourne ending).

1. The title and expectations? The family going on a holiday, leaving everything behind? The change of tone, the end of the world?
2. The popularity of apocalyptic themes, disasters, the end of the world? Tradition in literature and cinema?
3. The structure of the film, the success of chapters in their tone, meaning?
4. The plausibility of the plot, the initial sign of the tanker, menacing, coming closer to the shore, frightening people, on the beach? The loss of communications, phones, Wi-Fi, television? The story of hacking? Stories of powerful people, wealth, defence budgets, conspiracies? Targeting Korea, Russia, Iran, financiers, powerbrokers?
5. GH and his explanations, his job and moving money, his contacts, famous people, the Pentagon, plans for a people, hacking, blackouts, loss of communications, falls information, building up to Civil War, bombs and destruction?
6. Amanda and Clay, she in public relations, he lecturing in English and media, her statements about hating people, booking the holiday, packing, urging Clay, Archie and Rose? Travelling, the typical family, talk, phones and screens? The holiday weekend?
7. The drive, arriving at the mansion, delight, settling in, Amanda going for the groceries, looking at Dennis and his stocking up in the later memories, the visit to Dennis, his work and repairs, defensive, with the gun, his daughter, the request for the medication, confrontations, what any father would do, his giving the pills, Clay paying the money, and the revelation of the well-stocked bunker that he had constructed?
8. The family at the beach, the happy holiday, the tanker, the panic? Archie, 16, Rose, 13, obsession with Friends and the final session?
9. During the night, the noises, GH and his daughter at the door, sense of fear, menace?
10. The audience identifying with Amanda, Clay of the family, wary of GH and Ruth, taking sides, identifying? Amanda and her harshness, suspicions, treatment, justified or not, Clay more amenable? The request for GH to stay the night, his house, the plausibility story, in New York, the music, the blackout, not climbing 14 stories, his house? And the attitudes of his daughter?
11. GH and his playing the thousand dollars in cash?
12. The interactions between the couples? Amanda and her stances, Clay more amenable, GH in his principles, Ruth and her looking down on Amanda? The information about the emergency, staying the night?
13. The next day, the deer at the back, Rose looking at the deer, more and more numbers, going out with Archie, his being stung, finding the hut, mysterious form, looking towards Rose’s room? Amanda, breakfast, everybody a coffee, something of a truce?
14. Clay, driving into town, abandoned, the Spanish-speaking woman and her frantic request, his not understanding, driving off? The drone and the dropping of the “Death to America” leaflets? His fears? Ruth, sunbathing, Archie in the pool, photographing her, later watching the photos, in bed? The flamingos in the pool?
15. GH, going to the neighbours, finding the devastation, the dead bodies, seeing the plane crash?
16. The increasing communication, understandings and misunderstandings? The brief messages about the blackout and the hacking? GH and his time with Amanda, his explanations about his connections, the apologies, playing the music, the dancing?
17. Clay, talking with Ruth, her blunt questions, sexuality, Amanda and her comments about Clay and his behaviour?
18. Archie, becoming unwell, the morning, his teeth coming out, the drive to Dennis, the confrontation, the money, the tablets, the guns?
19. Rose and her disappearance, going to the mansion, the discovery of the videos and DVDs, Friends, the final episode?
20. Amanda and Ruth, some understanding, searching for Rose?
21. Looking across at the city skyline, the explosion of the bomb? The end, leaving the world behind? And the symbolism of Rose, discovering the bunker, so well-stocked, comfortable, but sitting and watching the last episode of Friends?

GODZILLA – MINUS ONE

Japan, 2023, 124 minutes, Colour.

Ruunosuke Kamiki, Minami Hamabe, Sakura Ando, Munetaka Aoki, Hidetaka Yoshioka.

Directed by Takashi Yamazaki.

This 2023 addition to the Godzilla franchise, as the introduction indicates, timed for the 70^th anniversary of the first Godzilla film, released in 1954. Since then, 33 Japanese Godzilla films, four American films, including a confrontation between King Kong and Godzilla and its sequel for 2024.

Audiences have expectations of Godzilla films, of the portrayal of the monster, of the destruction, especially Godzilla walking through cities and destroying them, from Tokyo to New York, human stories as background, and the plans to confront and destroy Godzilla.

These are here but this is a prequel story, an origin story, starting at the end of World War II.

It is important to say that this film has been a commercial success, critical success, and, looking at the bloggers on the IMDb, of 89 posts, only three negative.

And this reviewer concurs. This is a very watchable Godzilla film. In fact, the narration and incidents are very much in the older, traditional style of storytelling. The human background story is nicely developed, audiences identifying with the characters, some emotion, a child, a reticent romance, a kamikaze pilot< Koichi, wracked by guilt for not trying to destroy Godzilla and the consequent deaths of soldiers. Another advantage is that this is all presented in a very “realistic” way, places and dates indicated, audiences identifying with them, from 1945 just before the war ends, an offshore island, then the end of the war, Tokyo after the war, the rebuilding of Tokyo and the country, the role of General MacArthur in the rebuilding of Japan, US-Soviet tensions, inadequacies of the Japanese government. And another advantage is that in the plans to destroy Godzilla, they are explained in quite some detail, offering some plausibility, scientific information about ships, planes, bombs, and the strategies.

The scene is set with Godzilla appearing very early in the film, terrorising the troops on the island in 1945, the audience, familiar with Godzilla, appreciating Godzilla’s return. The visuals are the same – and, the comment was made that the sounds in the original were recorded amplified for Godzilla sounds here.

With the human story in the rebuilding of Tokyo after the war, there is a context for Godzilla’s return and the massive destruction visualised as Godzilla treads through Tokyo. And there are some touches of tragedy.

The last part of the film offers the plans for luring Godzilla to a particular spot in the ocean, away from Tokyo, the scientific means to overcome Godzilla, to be sent all hello I will to the bottom of the ocean, technical details explained, the use of a plane that had languished after the war, intended to be a kamikaze plane but with the atomic bomb and the surrender, never used.

As expected, the plan does not work as hoped for, a move to Plan B, and, the possibility for Koichi to redeem himself, to work again with the mechanic who condemned him initially on the island after Godzilla’s massacre, and some heroics which the audience can cheer on.

This is a well told story, audiences identifying with the human element, expectations of Godzilla sequences well fulfilled, the confrontation dramatised, some happiness in the ending but, of course, the camera going down, to the company of beating music and of strong orchestral and choral music that has accompanied Godzilla throughout the film, and, there, at the bottom of the ocean is Godzilla returning to restored life.

1. The 70-year-old franchise of Godzilla movies? Origins, monsters, nuclear warfare, threats to civilisation? Defence? Created in the 1950s, 33 films from Japan, four American films? The development of franchise, the visuals, the variety of plots? Multi-media?
2. This title, an origin story, 1945-1947, starting with the end of the war, the isolated island, the repairs for the kamikaze pilots, co-each year arriving, his reputation, discussions with the mechanic, his fears? The sounds, the attack of Godzilla, the guns, the mechanic urging Koichi to fire, his fear, the destruction of the plane, the mechanic and is laying out the dead bodies, his denunciation of Koichi?
3. The visualising of Godzilla, elements of the dinosaur, the giant monster, the sinister eyes, face and head, tail, spikes? The sound – and the recording of the original and magnifying it?
4. The end of the war, the destruction of Tokyo, Koichi and his return, the ruins, the denunciation by the woman, the deaths in her family, his search for his parents? The chase of the woman through the ruins, her thrusting the baby at him, his sitting with it, the later return, her going with him to his place? The feeding of the baby?
5. Into 1947, people settling, the changes, the baby growing, the woman not the baby’s mother, the neighbour and her looking after the baby, Noriko eventually getting a job, in an office, in Ginza? Koichi and his getting a job, well-paid, the number of mines, Japanese and Americans, tracking down the mines, their destruction, cutting the wires, their servicing, firing the gun, the wooden boat so that the iron would not magnetise the mines? Koichi, nervous hand, shooting?
6. Seeming peace, Noriko and the baby, growing up, drawings, mummy, saying daddy for Koichi? His wariness? The visit at home from the crew of the mine hunting boat, the professor and his knowledge and talents? The surprise about the family situation?
7. The re-emergence of Godzilla, the boats, the destruction, the advance on Tokyo, the spectacular scenes of destruction, special effects, Noriko in the train, hanging, into the water, found by Koichi, the advance of Godzilla, Noriko pushing him out of danger, his grief at her death? The baby and care? The neighbour?
8. The screenplay and its anchoring the situation with a sense of realism, the straightforward storytelling, traditional, anchoring the times with the dates, with reference to the war experience of Japan, the scene with General MacArthur, the discussions about the relationship with the Soviet Union, the Bikini Atoll explosions, the Cold War… The comments about Japanese government, post-war management?
9. The plans for the destruction of Godzilla, the professor and his theories and plans, the government keeping at a distance, the call for volunteers, Koichi going, the crew of the boat, the captain and his support, the young man who had not fought in the war? The gathering, the professor explaining his plans, the technical details, sense of realism? To lure Godzilla, surround Godzilla, the theory with the Freon, Godzilla going to the depths, to be stranded there? Koichi and his objections, the plea to stay?
10. Koichi, his nightmares with Godzilla, shaking hand, sense of guilt, the dead on the island? The plan for the fighter plane which was not developed for the end of the war, the need for the mechanic, Koichi writing all the letters, challenging him, the mechanic coming out of hiding, attacking Koichi, the explanation, his agreement, his delight in seeing the plane, fitting it out, the enormous bomb, the ejector button (not shown until afterwards), the support for the strategy?
11. Godzilla’s return, the electric power, firebreathing? The details of the plan, the ships, the support, finally surrounding Godzilla, the mines, his descent, ascending again, the Freon, the seeming failure, Koichi, luring to the intended spot, his being needed, flying into Godzilla’s mouth, the enormous explosion, Godzilla’s head? The sadness for Koichi? And then the ejector seat, the parachute?
12. The final message, Noriko in hospital, their being reunited?
13. The end, Godzilla in the depths, and the audience knowing that Godzilla would reappear, destructively?

PALM TREES AND POWER LINES

US, 2022, 110 minutes, Colour.

Lily McInerney, Jonathan Tucker, Gretchen Mol, Quinn Frankel, Armani Jackson.

Directed by Jamie Dack.

This is a small-budget independent film, winner of several awards at small festivals. In many ways, there is a similarity of theme with Cat Person, a young woman and her encounter with a man aged 34 – and the repercussions for the woman.

This feature film is based on a short film of the same name, 2018, by the writer-director, Jamie Dack.

The evocative title highlights the atmosphere of the Californian town. It is summer, vacation. The film focuses on Lily McInerney’s Lea, age 17, absent father, rebellious against her mother, taunting her about her boyfriends. She has casual sex with one of the group, he simply taking it for granted. When the boys leave the diner, she and her friend, Amber, try to go without paying and are pursued.

A man in the car follows Lea, chatting with her, breaking barriers, offering her a lift home, she flirted, exchanging numbers, and a relationship ensuing, outings, conversations, and she keeping it secret from her friends.

The man, aged 34, is Tom, played by Jonathan Tucker, ingratiating himself with Lea, flattering her, outings, attention, and then the sexual encounter.

However, the film then turns sinister, the audience realising that Tom was grooming Lea, getting her to trust him, wanting her to service, sexually, a friend, and money. The film shows the effect on Leo, the sad effect, her returning to her mother, much more sympathetic.

But audiences may be surprised at Leah’s final behaviour, making contact with Tom again, wanting to team up with him. If this has been the past and the present, what will the future be like?

1. Striking title? Life in California? Prospects?
2. The American town, summer vacation, homes, buyers, motels, the beach? Musical score?
3. Lea’s story, at home with her mother, clashes with her mother, rude to her mother, her mother’s boyfriends, taunting her? The absent father? Age 17? The summer, not doing the reading, hanging out, her friends, Amber as her best friend, confidences, sharing, giggling…? The blunt sexual encounter with Patrick, the aftermath? In the diner, the boys’ talk, leaving, not paying, the pursuit?
4. The encounter with Tom, cruising after her, talking, offering her a lift, pleasant, charming, age 34, exchanging numbers, her being noticed, flattered, communicating with Tom, going out, watching the sunset, sitting on the car, talk, his asking for a kiss, her confiding in Amber, secrecy, Amber telling Patrick, the group’s reactions, Lea and her anger with Amber?
5. Going home with Tom, his explanations about his life, his father, jobs, independence, complete freedom, temporary home at the motel, the noisy friend upstairs, the sexual encounter and the effect on Lea? Staying with Tom? Going to the beach, talking?
6. Tom inviting her to leave, going to the motel, the sexual encounter, the realisation that Tom had been grooming her, trying to persuade her to service his friend? Her reaction, refusal, tears, the friend arriving, talk, the encounter, her reaction, talking with Tom and his thanking her, her running away, phoning Amber to pick her up, going home?
7. A better response to her mother, going to work with her, cleaning the windows?
8. The visit to Tom’s motel room, the talk with the woman upstairs, the phone call, and her talking to Tom, wanting to meet him again?
9. Relationship of a man of 34 with the girl of 17, the law, exploitation? Suspicions about Tom, unmarried, free? Pursuing Lea? The realisation of the grooming? And audience response to Leo getting in touch with him again – and the future?

WHAT LUCIA SAW/ LLEGARON DE NOCHE

Spain/ El Salvador, 2022, 104 minutes, Colour.

Juana Aosta, Karra Elehalde, Carmelo Gomez, Ben Temple, Angel Bonanni, Ernest oh Collado, Gerald B.Fillmore.

Directed by Imanol Uribe.

The Spanish title is more sombre, “they arrived by night” the English title certainly arresting.

In fact, Lucia is the housekeeper for the Jesuit community at the University in El Salvador. And, what she saw, or rather glimpsed, with the El Salvador military infiltrating the Jesuit compound – and then their killing six Jesuits and the female staff.

This film is based on an actual story, events in 1989. Celebrated Jesuit liberation theologian, John Sobrino, belonged to the community but was absent at the time of the massacre.

The screenplay is complex, starting with Lucia and her husband arriving in Miami to be interrogated by the American authorities, the FBI. There has been a difficult relationship with the US and the countries of Central America during the 1970s, 1980s, and an American anti-Communist stance. There has also been support for Latin American countries, especially in military training in the School of America. Which means then that the El Salvador authorities are also part of the interrogation.

Gradually, with flashbacks, the narrative builds up the story of Lucia and her husband and their little daughter, victims of guerrilla warfare and military clashes, the father a baker, losing his business, no food, walking the roads, getting lifts, and given refuge by the sympathetic Jesuits at the University, accommodation and continued work for Lucia.

There is a sympathetic portrait of the Jesuits, especially one of the lecturers, guitar playing, friendly, as well as interviews with the Director and his decisions to give hospitality to the family. There are scenes with the other members of the community, meals, prayer, one of the community rather old. Which means audience sympathy when, eventually, the military arrive and the scenes of the killings are shown.

Lucia and her husband are continually interrogated, hurried early in the morning to the offices, the officials not particularly sympathetic and, at one stage, an El Salvador “Dr” present at the interrogations but later revealed, as the audience expects, as in El Salvador Colonel.

The pressure on Lucia and her husband is that they say they saw the guerrillas killing the Jesuits. This is a moral challenge for the couple, simple people, suddenly in a foreign land, interrogations and translations. A rather buccaneering priest from Washington comes to Miami to help them, tracking them down, confronting the interrogators, with threats from Washington.

However, in the conversations, and the realisation that they are expected to lie, the couple decide that they will agree with the lie, that the guerrillas were to blame, in order to escape prison or worse.

At the end, information is given that Lucia and her husband were transferred to Spain and survived the interrogations.

The director is from El Salvador but lives in Spain and the writer is also from El Salvador.

The story should be seen in the context of other films about Central America at this time, Oliver stone’s Salvador, the story of the priests, nuns and laity killed in the 1970, Choices of the Heart, and, especially, John Duigan’s Romero.

1. Audience knowledge of events in El Salvador, the 1970s-1980s, military rule, guerrilla warfare, persecution of the Catholic Church, the status of Archbishop Romero, his death and the death of his associates? The context for this story?
2. The background of the director, in Spain, but from El Salvador, or the background of the writer? The perspective of the filmmakers, of the central characters, the totalitarian government, the role of the military, ruthlessness, elimination of opposition? And the alliance with the United States, the FBI and investigations?
3. The title and the focus on Lucy, the initial background, life with her husband, outside the capital, the military oppression, the uprising of the guerrillas, his being a Baker, building his own bakery, but lack of materials, food, the decision to move, on foot, the little daughter, helping move the truck from the mud, getting the lift, coming to the University?
4. Lucy, her work at the University, housekeeping? The money for the family? Her friendship with the priests and the staff? Her respect for them? The friendship with Father Nacchio, friendly, allowing them to stay, his playing the guitar? With the Rector, his immediately welcoming them, giving them accommodation?
5. The community, staff of the University, Jesuits, academics, the scene of the lecture, reflection and philosophy, the questions of the students? The Jesuit is trying to remain neutral in terms of the government and the guerrillas? Yet the preaching of social justice? Their personalities, age, community? The background of liberation theology and its status in Central America, the stands of the church? The official church and Pope John Paul II?
6. The structure of the film, Lucia and her husband and daughter, arriving in Miami, the protocols, the agents, the international representatives, the interrogations?
7. The interrogations throughout the film, the personnel interrogating, the Americans, the alleged Salvador Ian Dr but is really being military, the hostile attitudes? Lucia as a witness, her husband as witness? The accommodation, their being woken up, demands to come to interrogations, the severity? Their wanting the couple to witness that it was the guerrillas who killed the Jesuits? But Lucia knowing what she saw? Her integrity? The repetitions, the pressure on her husband?
8. The accumulation of the flashbacks, Lucia working, the other domestic members of the staff, the family coming to stay? Friendship with the Jesuits? The military raid, Lucia woken, her glimpse of the military?
9. The pressure of the interrogators, calling her and her husband liars? The pressure on them both to say that they were lying, to save themselves and their family, and for the Salvadoran government to save face, internationally?
10. The buccaneering priest arriving, demanding to see Lucia, the priest had been in Nicaragua, their being kept waiting, the surly attitudes of the officials? The priest following the cars, knowing the truth, the violent attack, his apology? His concern about the truth, his Washington connections?
11. Lucia and her husband finally caving in, their statements? The president and his press conference? The complacency of the military in attendance including the interrogator?
12. The final information, Lucia and the family in Spain, and never any official report arrests for those who killed the Jesuits?

MUMMIES

Spain, 2023, 88 minutes, Colour.

Joe Thomas, Eleanor Tomlinson, Hugh Bonneville, Sean Bean, Celia Imre, Santiago Winder, Shakka, Dan Starkey.

Directed by Juan Jesus Garcia Galocho.

An unexpected and entertaining animation film, especially because it comes from Spain, Spanish writers, Spanish director, Spanish technology – but with the central part of the action taking place in contemporary London.

This is a film which young audiences may well enjoy with its characters, adventures. However, it is also a tongue-in-cheek entertainment for an adult audience, especially those with some familiarity of exploration and excavations, digging up ancient Egypt, transporting souvenirs for museums in Europe. And the popular music scene.

The original version has a Spanish voice cast but for English-speaking audiences there is an excellent cast, Joe Thomas and Eleanor Tomlinson in the central roles, Sean Bean as the Pharaoh, Hugh Bonneville is a sometimes dim-witted, ambitious and villainous Lord Carnaby. And, in support, is Celia Imre as the mother.

There is ambiguity in the title of the film. There are the Egyptian mummies but Lord Carnaby’s mother is continually phoning him, criticising him, demanding he go to the theatre, a torment in his life, and villainous mummy, so to speak.

The action opens with a Ben Hur kind of chariot race introducing us to the hero, Thurt, the charioteer, triumphant, but his wheels falling off his going into depression, wanting isolation, autographing fan cards. He has a chance encounter with the Princess, harsh in her manner, told by her father that she has to marry, and the sacred bird will indicate the correct suitor. The charioteer’s precocious younger brother throws a boomerang and it bounces off various surfaces finally hitting the charioteer. He wants to live alone. The Princess doesn’t want to marry, feels imposed on.

In the meantime, we see Lord Carnaby and his dimwitted associates excavating, finding treasure, especially a ring, which the charioteer and the Princess want to recover. And, here is the inventiveness, they have to leave the Egyptian Afterlife and go into the contemporary world, the audience looking at our world through their eyes and amazement, although the younger brother adapts very very quickly to the technology and to the slaying.

The main action then takes place in London, the charity and Princess thinking that such a big metropolis must be Rome. Their adventures take place in the theatre putting on a new musical of Aida with all its costume and Egyptian sets, the Princess seeing the ring and taking over the singing, great applause, being taken up by an enthusiastic rapper, Ed (Shakka). The Princess is applauded, makes a record, goes viral, loves the fame. But they are captured by Lord Carnaby and what follows is a struggle in the Museum, a car and bus chase through London, and a final return to the Afterlife, a couple in love, happy ever after.

An unexpectedly enjoyable experience.

1. A film for children? A film for adults?
2. The title, the Egyptian mummies? And Lord Carnaby’s continual phone calls and criticisms from his mother?
3. The Spanish film, Spanish writers and director, the British version with British voice cast? Musical score? Songs? A musical of Aida?
4. The imagination of the film, ancient Egypt, the Egyptian afterlife, 21^st-century excavations, discoveries, artefacts, exhibitions? The characters from the afterlife in the 21^st-century, Egypt, London? Spotlights and their appearing as skeletal?
5. Introduction to Thurt, the amphitheatre, the chariot race, echoes of Ben Hur, victory, the chariot wheels, his retiring, loss of self-confidence, yet being a star, autographing all the cards? With his young brother, with the dog? The sudden discovery that he was to be married to the Princess?
6. The Princess, the clash with the charioteer in the street, her haughtiness, the pharaoh, her chaperone, to be married, her wanting independence, the announcement of the charioteer, the bird and its choice (and the little brother’s boomerang)? The issue of the ring?
7. Lord Carnaby, the satire on British excavators? His two dithering assistants? The excavations, the discoveries, the ring, his ambitions, transferring everything to London, his museum? The setting up of the exhibition? His relationship with his mother, her continually dominating, phoning at the wrong time, demanding he go to the theatre, the theatre performance? Her phoning him even when in the same room?
8. The adventures of the charioteer, the Princess, the little brother and the dog, venturing out into the modern world, amazed, the audience looking at 21^st-century through their eyes? The transport, going to London, thinking that it was Rome? The younger brother adapting to the 21^st-century, all the technology, all the slaying? The dog enjoying himself?
9. The tension between the charioteer and Princess, not wanting to be married, he to be a bachelor, she to be free, her ambitions? The sparring, their being forced together? The traffic and the dangers? Going to the theatre, the new musical of Aida, the sets and costumes, the stage manager pushing the men, on stage, the performance, the Princess intervening, taking over, the ring, her song, glimpsed as skeletal yet the applause?
10. The encounter with, rapper, entrepreneur, praising the Princess, saving them, giving them accommodation, the charioteer and his jealousy? Going to the shops, the credit card, the display of different costumes? Going to the studio, the Princess performing its song? Its success, going viral? Her being pleased, acknowledged, applauded?
11. Going to the museum, their being trapped by Lord Carnaby, drugged, the brother and dog to the rescue, Ed intervening, his being drugged, all the action, yet the two assistants and their dithering, at the drinks and sweets machine, the cardboard cutout of Lord Carnaby, the bewilderment, the escape, the drive through London, the brother driving the bus, the dog with the pedal, Lord Carnaby in pursuit, the manoeuvres, his finishing up on the barge on the Thames?
12. The Princess, her decision, the return to Egypt’s, the pharaoh and his welcome, her mother, the charioteer and his proposal? Happy ending – and her singing?
13. An inventive imaginative animation entertainment?

NON C’E PIU RELIGIONE/ MESSY CHRISTMAS

Italy, 2016, 94 minutes, Colour.

Claudio Bisio, Alessandro Gassman, Angela Finocchiaro, Nabiha Akkari, Mehdi Meskar, Laura Adriani.

Directed by Luca Miniero.

This is a comedy for an Italian audience and those who are familiar with Italians and Italian style. It will also be of interest to Catholic audiences and their particular perspectives on the changes in the church after the Second Vatican Council. There is quite an amount of dialogue, especially with a visiting Bishop and his secretary, echoing some of Pope Francis’s comments about clergy being the servants of people, open-mindedness about issues, dialogue with Muslims…

The setting is an island off the coast of Italy, the year is 2015, the year of the increasing numbers of refugees coming from the Middle East into Europe as well as of migrants sailing from Libya to Italy. There is quite some hostility shown by the locals towards the incoming refugees, some bigotry, kebab-eaters…

The main issue is the traditional presentation of a Christmas pageant, important for status and for tourism. However, the child who has been the live baby in the crib is far too large. There are no births in the village. How will they cope? This leads to discussions between the Catholics and the Muslims, especially with the three central characters, the Mayor who grew up on the island and has now returned, a nun who is vigorously different, with whom he was infatuated when he was very young, and their mutual friend who has converted to Islam and has married a Muslim wife.

So, the social theme of the time, attitudes towards refugees, dialogue, getting to know them, accepting the cultural and religious differences.

The wife of the convert is pregnant and so a possible candidate for the baby in the crib – and a lot of discussions about how appropriate this is. However, the Mayor’s daughter has arrived back from London, pregnant, refusing to name who the father is, declaring she is now a Buddhist.

We can see where this might be leading, a local child for the crib, some collaboration between Catholics and Muslims, a young Muslim who has grown up on the island an obvious candidate to be the foster father of the new born child.

So, some audiences will be looking at it for the dialogue about refugees. Others will be looking at the Catholic dimensions and changes. Or all of the above.

1. The title? No more religion? Religion in the 21^st-century, religion in religious Italy, changes? Open-mindedness? The English title, Messy Christmas?
2. The island setting, the Mediterranean, isolation from the mainland? The traditions, the mayor and his election, local but returning, liked and not liked, the importance of the Christmas pageant, having a live baby, the traditions of Mary and Joseph, the Magi, comets and stars…?
3. The screenplay and its attitude towards religion, the Catholic Church? Respect for the traditions? But contemporary comments about changes in the church, Pope Francis and his urging clergy not to be clerical, the Bishop and his secretary and the quotes about being humble, the Bishop washing people’s feet, modifying the traditions, not being exact…? Tongue in cheek comments on the Catholic church and changing perspectives?
4. The mayor, his past, the friendship with Bilal, with Marta, memories of the kiss or not? The mayor and his daughter, living in England, the farewell? His coping with everybody in the village? The issue of the Nativity pageant, tradition, tourism, the Bishop?
5. The film produced in the year of huge migration from the Middle East to Europe? The continued boatloads arriving on the islands of Italy, from North Africa? The acceptance and non-acceptance of Muslims, kebab-eaters, prejudices and bigotry? The baker and the issues of the variety of bread, the customers, Muslim requirements about seeds…?
6. The issue of the baby, the boy growing up, too big, collapsing the crib? His mother playing Mary? The issue of the Magi, the baker as the comet/star, the musicians and players, issues of the animals, an ox?
7. The enjoyment of the to-ing and fro-ing about the baby, and the other characters? The role of Sister Marta, an unusual nun, dominating presence, with the veil, in the kitchen without the veil, variations on the veil later, the other nuns? Her influence, intervening? Traditions? The pressure on her to change, the gradual changes? And her past with the mayor and Bilal, the references, the discussions, finally the truth?
8. Bilal and his conversion to Islam, Italian, fake beard and its itching, his Muslim wife, her pregnancy, his wanting her to be Mary? Her dressing up, the group dancing to the English record? Clashes with the traditional Mary and who would be in the pageant? Bilal and his negotiations?
9. The greater acceptance of traditions, the gradual steps and accommodations? The priest, the church and the congregation, the mayor intervening with announcements? The Muslims wanting a prayer space, dividing the church, the Catholics facing the alter, the Muslims facing the other direction all, prayer, increasing loudness…?
10. The other members in the town, Ali, young, helpful, growing up in Italy? His friendship with the mayor’s daughter? Her returning pregnant, the mayor going through the list of who could be the father, with the help of Marta, her defying her father, not revealing the father, going into labour, everybody trying to help, Marta running, Ali helping, missing the ferry, on the boat, the procedure? The parallel with the mayor’s daughter, the irony of her name being Maddalena, the parallel to the conception and birth and the unknown father, the presumption of Ali, her declaring that she was Buddhist, the Asian face of the baby – and Ali to be the foster father of the child?
11. The Bishop, his arrival with the secretary, in regalia, the mayor upset, warding off, all the discussions about what the Bishop would do, changes in the church, clergy more humble, issues of money, issues of tolerance, not strict letters of laws…?
12. The friendship of the older three – a miracle sequence in the sea and their splashing each other?
13. Italian humour, perspectives on the history of the Italian church, the issues of migrants, Muslims, welcome or not, coexistence?

UPROAR

New Zealand, 2023, 110 minutes, Colour.

Julian Denison, Minnie Driver, Rhys Darby, James Rolleston, Mark Michinson, Erana James.

Directed by Paul Middleditch, Hamish Bennett.

Most audiences will enjoy Uproar, especially New Zealand audiences, Maori audiences, and all those sympathetic to Maori history in New Zealand. There are some very serious issues but there is a great deal of humour and a lot of cheerfulness.

We are in Dunedin, 1981, the Springboks to tour New Zealand, rugby games, protests, demonstrations, statements by the Prime Minister Muldoon, media coverage… Quite an amount of footage from the times has been incorporated into this story, making the protests feel even more authentic.

However, this is the story of Josh, 17 years old, a student at an elitist boys college, but with Maori background, rather alone in the school, sometimes awkward in manner, and a very heavy build. He is bullied, spend his lunch break reading in the library, dropping crumbs (pretending that it is dandruff) and upbraided by the starchy librarian who demands silence when there is practically no one in the library.

The important thing is that Josh is played by Julian Denison. Audiences first saw him as the young friend in Paper Planes. But most audiences – and there were many – remember him best as the young boy in The Hunt for the Wilderpeople. He has since been in some American films including Deadpool 2, but here he shines, has a wonderful screen presence, and we enjoy every moment that he is on screen.

He feels trapped in his life. His father died several years earlier. He and his older brother, the football champion at the college (and played by James Rolleston who, a decade earlier, made a great impact in Boy) but the victim of an accident, somewhat depressed, recuperating at home. Their mother, British, and feeling not particularly welcomed when she came to New Zealand with her married husband, is played with some force by Minnie Driver. She works as a cleaner at the school, and the principal, haughtily self-important, and the family are dependent on his decisions. He wants the older brother to be the coach of the top football team – and he does. He wants Josh to play in the football team, lending his considerable weight to the scrum.

Josh also delivers papers and is friendly with some of the local Maori girls who are gearing up to join the protests. But, there is a possible saviour for Josh, in the form of Brother Madigan, the enthusiastic but somewhat self-effacing, literature teacher who encourages Josh to join the drama club, to do auditions, to develop his talent. But, his mother will have none of that.

As the film progresses, things become more complex, the Springboks visit, matches at the school, city protests and Josh becoming involved, graffiti on the Maori Hall, and the increasing pressure on Josh, seemingly forever trapped.

Audiences will enjoy the way the final stands is made on the football field, a wonderful sit-in, to the dismay of the college principal. And, the moral of the story is to be oneself, to be honest, and the hope for appreciation.

1. An engaging New Zealand film? 1981, memories of New Zealand history, Maori history? Football, the Springbok tour, protests? Racism?
2. The Dunedin settings, the city views, the beach on the coast, homes, the streets and deliveries, the Maori Hall, the school, assemblies, corridors, football fields, locker rooms…? Authentic feel? The musical score?
3. Josh and telling his story? The screen presence of Julian Denison, engaging? Age, increasing size, self-conscious and not self-conscious? His family history, the sad death of his father, his being young, his mother, British, not easily accepted in Maori families, hard work at the school, Jamie, football career, awards, the accident, depression, convalescence? The family dependent on the school?
4. The everyday routines, Josh at home, helping Jamie with the convalescence, exercises? The deliveries, chat with the two women, going to school, ridiculed, the football kicked at him, reading the library, district librarian wanting silence, eating, his exploration of dandruff instead of crumbs on the desk, his friendship with Brother Madigan, the invitation to the drama club, eventually going, Madigan’s praise, “not crap”, telling his mother? His being trapped in his situation, Maori, but not identifying with all aspects? The girls and their influence, required to play football, in the scrum, his practising?
5. 1981, South Africa,, apartheid, the Springbok tour, the protests, Maori protests against racism, the glimpses of the prime minister, Muldoon, his statements, the protests, police? The actual rallies, some silent, in the city, the phalanx of the police, the batons, the protesters marching forward, the clown, his being bashed, Joshua filming everything, his glasses, knocked over, crawling to get them, escaping with the camera – and his photo on the front page?
6. The principal of the school, the assemblies, the ethos of this kind of public school, the speeches, Joshua and the touch of humour, the captain of the rugby team, the response of the schoolboys? The coach and his speech? Subsidiary to the principal? The principal and the ethos of unity, yet a elitist, the footballers and the racism, the graffiti on the Maori house, Josh identifying the captain and his similar graffiti? The coach, giving them all the alibi, if his sleeping, Jamie telling the police, the police investigation?
7. The background of the protests, the local games with the schools, Josh and his presence on the field, Jamie invited to coach, the deals with the principal, Shirley and her continued work, Jamie and his status, Josh playing football?
8. Brother Madigan, character, eccentric, teaching literature, the boys in the reading, his faith in Josh, the New Zealand play, Foreskin, his proposal to Josh, declining, agreeing, at the session with the five things in the awkward boy trying to name food? The speech from As You Like It, filmed, the delivery, the goblet or not? The audition, the praise of the examiner? The possibilities for the future, his mother forbidding it, her desperate speech about keeping the family together, her own isolation within the community, dependence on the school? Josh and his doing his audition, filming, Madigan watching it, taking it for Shirley to watch, the transformation?
9. The boys, the captain of the team, the graffiti, the burning of the hall? The response of the community, helping in the cleanup? Josh and is leading the singing and the exercises?
10. The culmination of the protests, the school and a status, the interventions of the principal, the speeches of the coach, inspiring and banal, onto the field, the previous victory in the celebration, Josh sitting on the field, his mother joining him, Jamie, Madigan, some of the players… And the exasperation of the principal?
11. Shirley driving Josh to the sea, member of his father, her speech?
12. Josh, trapped in his situation, finding himself, the support he received, his future?