Displaying items by tag: Peter Malone's Movie Reviews

THE ROYAL HOTEL

Australia, 2023, 91 minutes, Colour.

Julia Garner, Jessica Fenwick, Hugo Weaving, Ursula Yovich, Toby Wallace, Daniel Henschel, James Frecheville.

Directed by Kitty Green.

Writer-director, Kitty Green, notes that she grew up in a hotel. Which means that she knows what she is talking and writing about here. But, some years ago, she was impressed by a documentary, Hotel Coolggardie, which recorded the experience of two young women, from Europe, working for a time in the pub in the mining area of Western Australia. It focused on how the young women dealt with the situation, with the customers, with the response of the men who frequented the pub.

Kitty Green, along with writer, Oscar Redding, have produced a fictionalised version of Hotel Coolgardie.

This is a drama although it is advertised as a thriller (with a lot of discontented audiences who expected more thriller conventions). But, as a drama, set in an outback pub, many audiences will immediately remember the film version of Ken Cook’s novel, also made as a television miniseries, Wake in Fright. That was the story of an Englishman in Broken Hill, caught up with the drunken match oh culture, succumbing to it, waking in fright.

One of the phrases to describe this is “toxic masculinity”. And, this is the theme of this film – though not quite as aggressive, though definitely aggressive, as Wake in Fright.

Two young Canadians are holidaying in Sydney, played by Julia Garner (who worked with Kitty Green in The Assistant) and Jessica Fenwick. They run out of money, go to an employment agency, the only immediate job available way out in the outback, train, bus, car pickup and they arrive at the Royal Hotel.

A lot of what happens at the hotel is what we would be expecting. Live is more the goodtime girl and joins in the spirit of nights at the pub. Hannah, on the other hand, is strong-minded, doesn’t smile, but is wary of the men. The pub is owned by Billy, inheriting it from his family (played by Hugo Weaving), but Billy is unwell, alcoholic, chauvinist torts the young women. His partner, also work’s chauffeur at the hotel, is veteran first Nations actress Ursula Yovich, an anchor for the hotel, the Billy and for the girls.

The men come in each night from the mines, most of the miners, some of them with science and engineering background, especially Matt, a meteorologist played by Toby Wallace, who offers some friendship to the girls. There is also the minor, Teeth, James Frecheville, seemingly more subdued than the others, and more sympathetic. In fact, everybody survives well enough day by day, not as bad as Wake in Fright, though that is not particularly reassuring for Hannah.

And, while most of the men fail to respond well to the challenges, the most sinister character is Dolly, played with a mixture of smiling insinuation and violent outbursts by Daniel Henschel (many audiences still remembering his sinister serial killer in snow town).

On the one hand, the picture of life at the hotel, each night, is presented as realistic. However, the ending, looking realistic, is far more to be seen as symbolic, an apocalyptic ending to this kind of life at the Royal Hotel.

1. The title, sounding pretentious, the hotel in the outback, the family owning it for generations, the mining town, the surroundings?
2. The Australian literary and film tradition of Wake in Fright? The pub, the locals, the male ethos, presence of females, harassment and misogyny? The owners and coping? The aboriginal presence? Alcohol? The women coming in to serve at the bar? The documentary, Hotel Coolgardie, and this screenplay as a fictionalised version of documentary revelation?
3. The situation of overseas visitors in Australia, holiday, travel, enjoyment, issues of money, jobs? Hannah and Liv, Canadian backgrounds, getting away, furthest away, in Sydney, the touristic look, the clubs, music, drinking, dancing, flirting, the Norwegian and Hannah? Liv going to the bar, the card refused, the girls needing to get a job, the agency, as in the bush?
4. The visuals of the South Australian landscapes, the highways, the desert, the distances, Martin backgrounds, off the beaten track, by train, bypass, deposited, Carol and the car picking up the girls, the dust? Arriving at the hotel, the locked door, the rooms, the English girls upstairs spaced out?
5. Life at the hotel, the miners, Gladys and her drinking, the absence of women? Billy, managing the hotel, from his father, his moods, age, issues of money, owing the aboriginal delivery man $4300, not paying the girls, explaining how everything worked, his rules, exclusions for behaviour, but letting people in? The rituals?
6. The importance of Carol, aboriginal background, picking the girls up, working the kitchen, managing the hotel, her relationship with Billy, control of him, urging him to pay, forbidding him to drink, his collapsing, behaviour in the hotel, the final collapse, taken to hospital? Carol taking him, leaving everything behind?
7. Anna and Liv and their personalities, live more as the easy-going, not having the money, taking the job? The contrast with Hannah, more controlled, edgy? The trip, the arrival, the accommodation, the British girls and their stories, learning the ropes from Billy? Carol and the cooking? The girls gradually getting used to things, going to the swimming pool and its being empty, sunbaking? The friendship with Matty, his taking them for the drive, the distance, the service station, the key to the toilet on a box, finding the pool and falls? The good effect? And seeing the kangaroo?
8. The range of men, their behaviour, the drinking, the sexist remarks, the crude four letter comments, what is called “toxic masculinity”?
9. Matty, meteorologist, friendly, taking the girls out, with Hannah, drinking, the sexual approach, her refusal, his reaction, sleeping the car, his apology? His later making advances, a mixture, with Dolly, the effect of drink and flirting, Hannah rejecting him?
10. The contrast with Teeth, quiet, the miner, more polite, friendship with Liv, making progress, but the drink, the reactions, crashing the car, Billy banning him, his return, disgruntled at the end?
11. Dolly, sinister, smile, driving the British girl, returning, sitting at the bar, drinking, the seeming charm, but the advances, at the door and Hannah barricading the door, the later confrontations, live excusing him, and the suspicious, her wanting to leave? In the bar with the loner and the Jubilee couple having champagne, Dolly and his behaviour, Hannah and her stances, the violent reaction? Dolly coming upstairs, the confrontation with Hannah, pushing her, her injury? Dolly getting the support of Matty?
12. The ultimate effect on the girls, the experience of wake in fright, the misogyny, the need for self-preservation, the snake in the bottle, smashing it, the lighter for the candle on Liv’s birthday cake, the Canadian flag? And with the lighter, setting the hotel alight, their walking away?
13. Marketing emphasising the film is a thriller, the bloggers reacting badly? The film, however, as an Australian drama, the outback, men and women, realistic and symbolic, and the final five and walking away as more symbolic than realistic?

LEO

US, 2023, 102 minutes, Colour.

Voices of: Adam Sandler, Bill Burr, Cecily Strong, Jason Alexander, Rob Schneider, Alison Strong, Jo Koy, Sadie Sandler, Sunny Sandler.

Directed by Robert Marianetti, Robert Smigel, David Wachtenheim.

Leo is a benign lizard, who learns that a lizard’s lifespan lasts till 75 and his animal friends do a calculation that he is now 74. Leo and his turtle friend, Squirtle, are pets in the classroom in a primary school. As they chat to each other, voicing their observations on the new children at the beginning of the school year, we realise that they are quite astute judges of character, able to read the children very quickly, discern the qualities, comment on the burdens each child is carrying.

Actually, this is quite amusing, all in rather bright animation, quite an amount of singing, even in the opening credits, throughout the film, entertaining jingle kind of music with lyrics that comment on the characters.

And Leo is a funny-voiced Adam Sandler. Squirtle is voiced by Bill Burr.

Young children will be able to identify with the school group here, each child quite idiosyncratic – but about to discover something of their real selves with the aid of Leo. Leo is a benign do-gooder. The class teacher goes on maternity leave and a harridan arrives in her place, out with technology, in with huge books, discipline, demerits… And ruling that a child has to take one of the pets home for the weekend.

They choose Leo and are surprised to discover that he talks. And, he befriends them, challenges them, supports them, gives them a better vision of themselves – but they are to keep it all secret. A good part of the film shows Leo and his techniques, the effect on the children, their better selves.

There are some humorous situations, funny characters – and, of course, some mildly rude jokes. And there is a very active drone character!

There are quite some complications with the new teacher, Leo even having an encounter with her, remembering her when she was a girl at school. But, she has to be the villain of the piece and even with some happy self-discoveries, and the children succeeding in a competition and meriting a special outing, she decides to get rid of Leo, to fulfil his dream of visiting the Everglades, abandoning him there (and some funny sequences with fierce animals, friendly animals, and Leo a bit sophisticated for this kind of jungle life).

So, this is a happy film, happy film for children, a nicely challenging film for parents and teachers, and with the hope of a better world always possible.

Adam Sandler produced this film and his wife and two daughters voice some of the characters.

1. An entertaining animation film? For young audiences? Parents? Teachers?
2. The style of animation, the drawing of the characters, the situations, school, homes, the fair, the Everglades? Bright colours? The musical score, the insertion of all the songs, their easy tunes, the significant words?
3. Leo and Squirtle, school pets, their life, observing the children over the decades, astute in assessing characters, the conversations? Leo concerned about his age, contriving to meet all the animals and to work out how old he was – age limit of 75 and discovering he was 74? His earnestness in wanting to do something with his life? And friends in the Everglades – and their being over 100!
4. The range of children, the new class, the various types, the girl who talked incessantly, the girl with the pushy parents, the boy from the Bronx, the shy boy, the boy protected by the drone, the big bully boy…?
5. The pushy parents, the challenge to the new teacher, threats? The principal? The overprotective parents?
6. Classes, the pregnant teacher, morning sickness, leaving, the replacement teacher, old, large, severe, out with the social media, the huge times, vacuuming all the hearts and stars, the demerits?
7. Sending a pet home each weekend with the child? The reluctance, the talkative girl, at home, learning that Leo could speak, the conversations, talking about her problems, her continued talking? Each weekend, the range of children, everybody having a turn, Leo and his confiding, singing, encouraging? The effect on the children?
8. The goal of doing well in class, the reward of the trip, the children doing their best? The history pageant and the children being historical figures? Winning?
9. Leo, talking with Squirtle, long years together, the children taking Leo not Squirtlel? Leo’s disappearance, Squirtle or taking an initiative, revealing the truth, working with the drone, getting to the Everglades?
10. The lavish party, the spoilt girl, discovering her being ordinary, and the freeing of all the animals?
11. The child with the drone, the parents protective, the boy assertive against the drone, the drone’s behaviour? But Squirtle and the drone, working together, with the bus, the expedition, the rescue?
12. The teacher, talking with Leo, memories of the past, the substitute teacher, her own severity? Her ambitions? Flirting with the sports master on the bus? Harsh with children, her ambitions, putting Leo in her pocket, his not hearing the results, deceiving him, driving him to the Everglades?
13. The children at the fair, learning the truth, the Bronx boy driving the bus, into the Everglades, the confrontation with the alligators, finding the animals that the children had freed from the birthday party, thwarting the alligator by the girl talking him into submission!
14. The happy reuniting, the teacher employed by the principal for the next year – Leo and Squirtle in their tank, and the rowdy new children?
15. An entertainment with moral encouragement.

DOI BOY

Thailand, 2023, 93 minutes, Colour.

Awar Ratanapintha, Arak Amornsupasi, Bhumibhat Thavornsiri.

Directed by Nontawat Numbenchapol.

Noted Thai documentarian, Nontawat Numbechapol, has made his first feature film, incorporating many of the social issues explored in his documentaries. With a running time of only 93 minutes, there is almost too much material on the one hand and, yet, insufficient treatment of some of them on the other.

And, the structure of the film seems rather piecemeal, set incidents and themes, touching on aspects, introducing characters, then letting them go. And, by the time of the ending, with audience interest in several of the characters, their each being given a final appearance (one of them a disappearance), sometimes enough to see what the future might be, other times not.

The film is set in Chang Mai, in the northern part of Thailand, and sufficiently near the border with Myanar. The film shows the streets, the buildings, the neighbourhoods, but then explicitly focuses on a gay club, Dho Boy, the Drag Queen compere, the audience, a striptease sequence, quick glimpses of activity amongst the men at the club, then the closing of the club and those working there needing new jobs. In fact, throughout the film, there are some gay incidents and an emphasis on homoeroticism.

However, the action focuses on Ji, who attends the club but who has a pregnant wife. He is enigmatic, sitting in the club watching, pressurised by some stand over men, then going out, abducting gay protester and killing him. Then, it emerges that he is part of the police force.

The action also focuses on a monastery in Myanmar and the armed forces demanding that some of the monks be recruits in the Army. One of them, Wan, later called Sorn, decides to leave and make his way to Thailand, teaming up with another man, crossing the border in the boot of a car, offered a job at Doi Boy, performing, acting as a prostitute, yet heterosexual with a girlfriend, and the girlfriend and others performing as prostitutes at a karaoke bar. The former monk encounters ji and gives him a sensual massage.

Then there are the protesters, the gay couple, one of the murdered by Ji, the other abducted, on the hit list to be killed, but Ji giving him the opportunity to be saved, by going back into Myanmar, to the monastery, to disappear. While Sorn and his companion have been trying to get passports, delayed, police interference, Ji pressurises Sorn to accompany the expedition to the monastery. The protesters have been marching against human trafficking. They are also protesting against disappearances.

There are various tangles on the way, the local military, helping the protester to escape, then accompanying him to the monastery, a homoerotic sequence of nude bathing on the way, then the young man, head shorn, robes, and his presence at the monastery, exiled from Thailand, uncertain. While Ji has given the protester an opportunity for a new life, he is also left Sorn’s passport for him to return home.

Ultimately, Ji seems to have disappeared, his wife searches for him,n Sorn’s girlfriend is persuaded to liaise with a wealthy client, and Sorn is seen walking towards the border.

Significant themes but the film is something of a satisfactory/unsatisfactory mixture.

THE OLD OAK

UK, 2023, 113 minutes, Colour.

Dave Turner, Ebla Mari, Claire Rogerson, Jen Morrison, Trevor Fox.

Directed by Ken Loach.

Director,  Ken Loach, has been the foremost UK filmmaker on social issues. His first feature film, Cathy Come Home, appeared in 1967. The Old Oak at a screening at the Cannes Film Festival, 2023, just before Loach turned 87. So, in all probability, this is his last film, 55 years of exploring and promoting justice issues. In fact, he is the film director who was won most awards from Catholic Officers and Ecumenical juries.

He is in the north of England, Durham County. It is 2016. This is the year of the Brexit referendum vote, though it is not mentioned, but the criticism of its policies are very clear. It is also the period with a large number of refugees fleeing the Middle East, especially Syria, and decisions being made by European governments. This is not a film that would get the support of Nigel Farage and his followers.

As with so many of his films, Loach uses locals, many non-actors, for his authentic-looking-and-sounding cast. In the leaders Dave Turner (who did appear in I, Daniel Blake and Sorry, We Missed You, Loach’s previous two films). He is TJ, the owner of the local pub, The Old Oak, with its back room full of photos from the mining strike days, frequented by some of the old locals, rather depressed with his wife and child leaving. However, he helps out with some of the local charities.

And, we see him with a Syrian refugee family arriving in the town, the daughter, Yara (Ebla Mari in her first film), who has learned English and speaks it will, does the translations, a photographer – and, immediately one of the harassing locals takes her camera from her bag, fools around with it, breaks it. Yara later goes to TJ for some help and advice about her broken camera. This begins a strong friendship.

On the one hand, there are the old boys from way back, always at the pub, yarning together, hostile to the newcomers, wanting a meeting to discuss the issues – TJ refusing to let out the room. However, he does allow for local charities into the room, cleaning up, establishing a kitchen, providing meals for locals in need, especially of the refugees. He is helped by the very earnest, Laura.

Because the Cathedral at Durham is contributing to the charity, TJ and Yara visit the Cathedral, her first glimpse of something of the Christian tradition in architecture and worship, listening to a choir practice. (Since 1996, Ken Loach’s constant screenwriter is Paul Laverty, for some time in a seminary and the Scots College in Rome, who has brought a sense of spirit, spirituality and the transcendent to Loach’s films.)

Commentators have noted that there is more sentiment in this film than in many of the previous Loach films, and, indeed, despite all the problems and the antagonisms, a final sequence of everyone coming together, a huge banner and, during the final credits, a continuing protest/affirmation procession through the town.

A tribute to Ken Loach and his 55 year cinema career – and the issues he has espoused.

1. Final work of Ken Loach? Over half a century of social concern, forthright on issues?
2. The north of England, County Durham, the history of the mines, the closure of the mines, the consequences? The people of the village, long lives there? Migrants, hostile attitudes, racist attitudes?
3. The town setting, streets and houses, shops, the vistas of lines of similar houses, interiors, the musical score?
4. The title, the pub, the bar, the customers, the back room, disorder, cleaning it, using it for charity? The symbolism of The Old Oak?
5. 2016, Syrian migrants, all over Europe? The plight in Syria, violence, bombings, deaths of civilians, the migrant treks, the response in other countries of Europe? England?
6. Introduction to the family arriving, TJ and his help, the jeering onlookers, taking Yara’s camera, fooling around, breaking it, her reaction, tears? The Syrian background, language? Going into the house?
7. TJ and his story, his age, running the pub, the regular customers, going to school with Charlie, Charlie and his invalid wife, the chatter in the pub? Maggie as his assistant? His personal story, his wife leaving him, his son not speaking to him? The flashback to his attempted suicide, the arrival of the dog, fond of the dog, the walks, the threat of the big dogs and the boys, the dog racing into the woods, mauled to death, TJ and his grief, burying the dog on the seashore?
8. Yara, the visit to TJ, help with the camera, his taking her into the old room, the range of photos from mining times, solidarity, protests, those who eat together stay together…? Admiration? Yara, her age, story, learning English, speaking well, translating? Her place in her family, the absent father and the photos, the mother, the younger children, the boys at school, the bullying of the boy at school, its being on social media? Their life at home, managing? Other Syrian families in the town?
9. The scene with the children and the relay race, Linda and her collapse, Yara helping her, taking her home, in the kitchen, her mother arriving, severe response, ousting her? Her later coming to apologise, bonding, getting Yara to the hair salon to take the photos, the mothers’ later support, Linda and the flowers at the end?
10. Laura, charity work, friendship with TJ, delivering the parcels, people grateful? The help from the Church in Durham? Laura, discussions with TJ, the decision to redo the room? The resentment of the men in the pub, wanting to use it for a meeting about the migrant issues? TJ refusing because of repair and insurance? The exuberance of the renovation, the electricity, the kitchen, the crowds coming, the meals, the range of people, children? The collapse, the water and the flooding – and the young man revealing that the pub drinkers were responsible, TJ going to confront Charlie? And Charlie with his wife appearing at the end in support of the migrants?
11. The photos, Yara and her skills, the exhibition, the crowd, the musical accompaniment?
12. The visit to Durham Cathedral, Yara and the explanation of the Cathedral, the building, her visit, the choir practice, and TJ sitting in the Cathedral?
13. The Solidarity banner, huge? The promotion?
14. TJ, the collapse of the roof, the flooding, his exasperation, despair, going to the water, Laura rescuing him?
15. The finale, the celebration of the death of the father, the photos, the flowers, the tribute, the crowd?
16. The final credits, the flag and banner, the procession, Ken Loach’s final film and final images of hope?

THANKSGIVING

US, 2023, 107 minutes, Colour.

Patrick Dempsey, Rick Hoffman, Nell Verlaque,, Gina Gershon, Milo Manheim, Addison Rae, Karen Cliche, Ty Olsen, Jenna Warren, Tomaso Sanelli.

Directed by Eli Roth.

The poster look sinister – echoes of Halloween, Friday the 13^th, Scream… And, wise advice at the opening of a review, this is what is called a “slasher” movie, characterised by frequent gory deaths and gruesome climaxes. For fans, a definite yes. For non-fans, a definite no.

Eli Roth is noted for his horror films, a 20 year career, Cabin Fever, Hostel and the more family friendly, The House with Clocks on the Wall. Thanksgiving is certainly one of his best films.

America has had Halloween at the end of October, Thanksgiving is in the third week of November but the horror emphasis here is on the shopping sprees on Black Friday (which has migrated to Australia even with, the Sunday before, pre-Black Friday sales!) One reviewer noted that the Black Friday sequence emphasises the Blackness!

In fact, the screenplay for Thanksgiving is quite clever, more thoughtful than many of the slasher derivatives. While it starts with a dinner and an introduction to key characters, the host, the owner of the store which is opening for Black Friday sales, alarm bells ring loudly as vicious hordes line up at the barriers to the store, the manager trying to calm people, 10 minutes to opening… But, some of the young people at the dinner join with school friends, use their privilege and get into the store, taunting the outsiders from within. The scenes of mayhem when the crowd breaks through, smashes the door, tramples the attendant, brutally grabbing goods, smashing people, injuries and deaths, are extraordinarily alarming in their violence as well as this vision of American consumerism and greed.

Then, one year later…

The characters have been rather better established than in many of the other films, the adult generation of shop owner, wife, the benign sheriff of Plymouth, Massachusetts, where it all takes place. Then there is the younger generation, several loud in their way, others more sympathetic, led by Jessica, the daughter of the owner (Nell Velaque, reminiscent of young Julia Roberts), her boyfriend who is caught up in the mayhem and his rival who is keen on Jessica. When the murders starts, they are two obvious suspects.

This is a murder mystery, a surprise final revelation, though the motivation is strong but does not seem to warrant the violent mayhem.

With the setting of Plymouth and the celebration of Thanksgiving and memories of the Pilgrims, the screenplay is shrewd in introducing a mask, but that of the Mayor of Plymouth, John Carver, and his black robes. For those of us who are disgusted with the violent crowds on Black Friday, we are not so sorry when some of them are the immediate targets for the gory killings. And the killer setting up a video (lots of use of phones and videos here and tracking devices) Thanksgiving table with place names for all the targets, and several heads appearing after the murders.

There are threats, abductions, incarcerations, the sheriff doing his best to solve the situation, Jessica and others trying to help, but some grizzly episodes nonetheless. There is a Thanksgiving day parade, turmoil, more abductions, and a final scene at the mock Thanksgiving meal.

No spoiler to know that Jessica is going to be the heroine. But, the perpetrator is a surprise. And a momentary trick final sequence which, of course, turns out to be a moment of Jessica’s nightmare!

1. The reputation of Eli Roth, horror films? Critical acclaim for Thanksgiving?
2. The American tradition of Thanksgiving, the pilgrims, the meal, the celebration, the tradition, Thanksgiving meals, processions, costumes and floats? The later sales tradition of Black Friday? The impact for an American audience? Outside the US?
3. The town of Plymouth, Massachusetts, the traditions, the Pilgrims, John Carver as the governor?
4. The film as a “slasher” movie, for slasher audiences, not for those who do not appreciate the violence, Gore, deaths, the grizzly climax?
5. The initial dinner, the father owning the store, his new wife, Jessica and the resentment, going to the movies with Bobby, the presence of the mayor, the manager and his wife? Leaving the dinner, going to open the store?
6. The Black Friday sale, the crowds, the barriers, 10 minutes to go, friendship, fanaticism, brutality, swearing and abuse, the leader and his shouting, the security guard, the picture of materialism and consumerism, greed?
7. The group of young students, Jessica and her relationship with Bobby, Ryan and his attentions, Scuba and Yulia, Fletcher and Gabby? Arrogant, going into the store, the reaction of the crowd, their taunting from inside the store?
8. The crash, breaking the barriers, the security guard at the door, the key, his being crushed? The violence? Amanda, her being brutalised, her death? The aftermath, the arrival of the sheriff, his control, the members of the police force?
9. Audience attitudes towards the shoppers, especially the bartender, a year later, in the bar, the attack, the freezer and her face, the bin and her death, her torso on the sign, the visuals of the Thanksgiving dinner, the places and names, her head? The later killing of the security guard trying to escape, his head?
10. The sinister figure, the horror movie tradition, the mask, the irony of the pilgrim governor?
11. The range of killings, the pursuit of the youngsters, Yuliya and her father and his assistant, her death? The abduction of Fletcher and Gabby? Scuba and Jessica, helping, relying on the police, out on their own?
12. The issue of Thanksgiving and the new Black Friday, opening the store, the owner, his clashes with his daughter, praising Kathleen, reconciliation with Jessica, deciding not to open the store? Kathleen, her reactions?
13. Bobby, his return, suspect? The alienation from Jessica, reuniting, talking, working together, yet still a suspect?
14. Jessica, her relationship with Ryan, his smug attitudes, suspect?
15. Fletcher, with Jacob and his association with the gun seller? Scuba and Jessica buying the gun? Fletcher and his getting Jacob to do his assignment, his reading it in class, tricked, the teacher and her writing blog?
16. The role of the sheriff, pleasant personality, in charge, his team, the expert on IT? Pinpointing where the captives were? The sheriff and his plan, the parade, after the parade, the empty building, the police?
17. The parade, the attack, the violence in shooting, the abduction of the family? Kathleen and the cooking?
18. Jessica, Scuba, being tied up, the confrontation, severing the bonds, the escape?
19. Jessica and discussion with the sheriff, his shoes, the clue, the revelation, his motivation, Amanda? Jessica and her shrewdness, the gas in the large figure, firing the weapon, the explosion, her escape? Everything on video?
20. Bobby, Ryan, Jessica – and Jessica’s nightmare?

TIME ADDICTS

Australia, 2023, 92 minutes, Colour.

Freya Tingley, Charles Grounds, Joshua Morton, Elise Jensen.

Directed by Sam Odlum.

Time Addicts is the first feature film, based on one of his short films, by writer-directors, New Zealand-born, Melbourne filmmaker, Sam Odlum. In terms of science fiction, his sides and influence from Philip K.Dick, The Scanner Darkly. In terms of style he references Korean films.

This is a small budget venture, filmed on the streets of the Melbourne suburb, St Albans, but mainly inside a deserted and dilapidated house, dark and sinister atmosphere.

The two central characters are addicts, on the streets, always looking for a fix, being refused by dealers, in debt. And they frequently bicker. At one stage, one character inevitably akss the M-rated question, here in PG terms, “what is going on?”.

They check in with a drug dealer, Kane, who is quite hostile to them, since on a mission to pick up a cache of drugs from the deserted house.

Most of the film takes place in the house, the two discovering some drugs, experimenting – with one of them disappearing. And this begins the time travel. He finds himself in 1995, the house in much better condition, encountering a woman there who invites him to a sexual liaison. On the other hand, the young woman is hesitant, take some drugs, hallucinates and sees her other self.

Ultimately, they are both back in 1995, making some discoveries about the woman there who is pregnant, and the young woman’s realisation that she herself is in the womb, but her companion is her father. Various kinds of questioning and identity crises.

There is further time travel and confusion when the dealer arrives, looking like the 2020s, active in 1995, yet his having been seen as an old man wounded in the dilapidated house. Threats, confrontations.

There is a tantalising development in the time travel at the end, one character going way back to the past and writing a letter for the future, and the young woman and the dealer and the relationship.

Very much a 21^st century drama, thriller, for a younger audience rather than an older audience.

1. Title, two addicts, travelling through time?
2. An Australian film, Melbourne settings, the house in St Albans? Interiors? The musical score?
3. The premise, drugs, addiction, consequences, hallucinations, time travel?
4. Denise and Johnny, age, background, drugs, hanging out together, dependency, attempts to get drugs from the dealers, other succeeding, their failing, their debts? Going to Kane, his business, appearance, style, threats?
5. The mission, willing, reluctant, bickering? Finding the house? The interiors, mystifying? A sense of presence? The old man and the wound? Finding the drugs, questioning, testing?
6. Taking the drugs, the effect on Johnny, disappearance, into the past, his leaving messages for Denise, the encounter with Tracy, her aggression, the sexual experience, Denise’s arrival, 1995, Tracey pregnant, the father, Denise in the womb, Tracey later giving birth?
7. Tracy, in the house, the drugs, her other self, the confrontations, re-meeting?
8. Johnny and the past, the relationship with Tracy, the interactions with Denise, their talking about the 2020s, in the light of the pregnancy and birth?
9. Kane, arriving, the threats, violence, his identity, Denise’s son from the future, different ages, the old man? The fighting with Johnny, rivalry, threats, wounds?
10. Johnny, his eventual disappearance, into the past, his change of appearance, the desk, writing the letter to Denise, talking about the future from the perspective of the past?
11. Kane, at different stages, the relationship with Denise, her decisions, disappearance?
12. Older audiences and the reaction to this kind of drug time travel story? Younger audiences?

THE BALLAD OF LEFTY BROWN

US, 2017, 111 minutes, Colour.

Bill Pullman, Kathy Baker, Peter Fonda, Stephen Alan Seder, Joseph E Anderson, Lewis Pullman, Joe Anderson, Tommy Flanagan, Jim Caviezel, Diego Josef, Michael Spears.

Directed by Jared Moshe.

With a title including the word, ballad, this is a Western with a difference, a celebration of the past, a critique of the past, the song of a legend. However, the legend is a very limited man, Lefty Brown, played so expertly by Bill Pullman, always on the side, shot in action, a limp which led to the nickname Lefty.

Montana, 1889, a film with beautiful landscapes.

The frontier is changing, Peter Fonda playing a candidate for Congress, Jim Caviezel playing the governor, Tommy Flanagan playing the Marshall, all of them riders in the past together.

When the Congressional candidate is killed, he and Lefty apprehended horse thieves, Lefty is blamed by the Congressman’s wife, Laura, Kathy Baker. Lefty then goes on a mission to apprehend the killers only to find that he is being blamed for the death.

So the ballad continues as Lefty rides through Montana, in search of the killers, coming across an eager young shooter with talent, Jeremiah (Diego Josef) and the two bond. The Marshall goes in pursuit of Lefty to save him from breaking the law – but is persuaded by Jeremiah to become part of the search.

One feature of the action here is the arrival of the killer, Frank Baines (Joe Anderson), gunfights, Jeremiah saving Lefty, other horsemen arriving and the link made with the governor.

This builds up to a final confrontation, Lefty confronting the governor, the governor explaining the situation why the Congressman had to die, his opposition to a railroad deal – and Laura overhearing it, wanting vengeance but Lefty taking the treatment of the governor into his own hands to save Laura from the law.

Something of a slow burn, very good cast, the top performance by Bill Pullman – an underrated Western.

1. The tone of the title, the western story, but a legend in ballad?
2. Montana, 1889, the visuals of the mountain landscapes, the open plains, the town? Interiors, homes, bars? The rugged terrain? The musical score?
3. The Western frontier, the 19^th century, the frontier lessening, politics, deals, the railroads? Yet the gunfighters, guns for hire, lynchings, murders?
4. The situation, Lefty and his friendship with Ed, Ed moving to Congress, relationship with Laura, the missing horses, the two going to find them, the ambush and Ed’s death? Lefty surviving, returning, Laura blaming him for not protecting Ed? Yet Ed, and his ruthlessness, hangings?
5. Lefty and his decision to find the killers, his always being a second, illiterate, meaning well? Bill Pullman’s performance? Riding the range, searching for clues, the encounter with Jeremiah, Jeremiah and his age, ambitions, Western traditions, bonding with Lefty?
6. The governor, the Marshall, the past, the riding with Ed and Lefty? The Governor and his smooth manner, supporting Laura? The Marshal, his drinking, riding to protect Lefty, the interactions with Lefty and Jeremiah, Jeremiah and the stories, persuading him to help?
7. Frank Baines, the killer, his gang, for hire, motivations, the attack, the wounding of Jeremiah, the fights, the escapes, Jeremiah shooting Frank?
8. Jeremiah, his wounds, Lefty looking after him? Jeremiah moving into action, saving Lefty?
9. The riders, the recognition of a rider from the Governor? Lefty and the decision to return?
10. The confrontation with the Governor, his confessing the truth, Laura overhearing, the deals with the railroads, Ed’s opposition, the Governor hiring the killers?
11. Laura, her antipathy towards Lefty, wanting him to die? Discovering the truth, wanting to take the law into our own hands concerning the Governor?
12. Lefty, Justice for the governor, rituals of hanging, Lefty not wanting Laura to be involved, executing justice – going on his way, expecting to finish in prison?

CHRISTMESS

Australia, 2023, 99 minutes, Colour.

Steve Le Marquand, Darren Gilshenan, Hannah Joy, Aaron Glennane, Nicole Pastor.

Directed by Heath Davis.

The Christmas spirit manifests itself in many different ways. Most Christmas movies are cheerful shows, generally entertaining for the whole family. This film is a bit different as can be seen by the title, and audiences wondering what the mess will be that this Christmas will bring.

In fact, this is a seriously themed film, with some funny moments, and with a lot of heart, looking at drug and alcohol addiction and rehab. Given this theme, it is inevitable that there will be some mess at Christmas.

This is a very Australian film, characters and tone, situations, the work of writer-director, Heath Davis (this reviewer praising his fee previous films, Broke, Locusts, Book week). It was all filmed at Campbelltown, just south of Sydney He has worked before with Steve Le Marquand and has invited him to portray Chris Flint, middle-aged, a television star, even with a Silver Logie, who has been self-indulgent for decades, drugs and alcohol, down and out, alienated his daughter whom he hasn’t seen for 20 years, and we meet him just as he has dried out and has to go to a halfway house.

In fact, most of the action takes place in the halfway house. Initially Chris meets Joy, in rehab, a singer with hopes for publicising her songs (Hannah Joy). Then he meets Nick, a very genial Darren Gilshenan, who works in a shelter but cares for and supports Chris and Joy in their quest for complete rehabilitation, the audience going along with Chris and Nick to a very moving AA meeting. There are enjoyable moments at meals, watching TV, a photograph with Chris and his Santa clothes, and a rehearsal of how Chris might go to Noelle’s house and tried to reconcile.

And, it’s Christmas, with Chris able to get a job at the local mall as a Santa, but he can’t bring enough acting skills to the role and it is all upended when his daughter and her son arrive for a photo opportunity.

There is talk about Christmas, the Gospel basis, the singing of the carols, and the hopes of good cheer amongst everyone. However, the people living in the street of the halfway house resent the newcomers lowering house values and prices and refuse to help Chris with the Christmas turkey which he is trying to prepare when, after some are some negotiations with his daughter, Nick a great help, she decides she will come to Christmas lunch. And, symbolically, her name is Noelle.

Just as we might have thought that this will be absolutely heart-warming, a Christmas gift movie tied with a bow, there is the reality of the temptation to relapse, the pressures of addiction over the years, the blows to self-confidence, the difficulties of relationships…

So, Christmas in a realistic setting, a mixture of joy and sadness, quite a quietly devastating moment of sadness when Nick explains to Chris why he has committed himself to supporting those in rehab.

But, hopeful, if rehabilitation can be once achieved, why not, even with deep struggle and pressure, again?

1. The title? The tone? Christmas spirit?
2. The location, Campbelltown New South Wales, suburban, the streets, homes, centres, shopping malls? The musical score? Christmas songs? Joy’s songs and the lyrics?
3. Chris’s story, initial impression, with the doctor, ending his time in rehab, keeping sober, going to the halfway house, ringing his agent, stranded, arriving late, meeting Joy and her reactions, Nick is the carer? Explanation of his background, TV actor, Silver Logie, drugs, drink, no mention of his wife, not seeing his daughter for 20 years?
4. The halfway house, the neighbours and their hostility, especially refusing to help with the Christmas dinner, the brownies’ dealer and his throwing out the turkey (and the final revenge by putting the dead tree in his bin)? The regime, Nick and his work at the shelter, his abilities with rehab, the rules in the house, no lying?
5. Nick, genial personality, relationship with Joy and Chris, his rules, work at the shelter, issues of the meals, watching TV, Joy singing, Chris and his moods? The issue of the cooking, the barbecue, Chris bringing the gas? The sausages and the vegan sausage?
6. Looking for a job, the notice about the Santa, Nick driving him, the costume, trying it on, the photo with Joy and Nick and its later reappearances? The welcome, the woman photographing the children, his looking bored, smoking, reprimands? Noelle and her arrival with her son, her reaction, his pursuing them, fired?
7. The AA meeting, the members and their stories, moving to listen to?
8. The discussions about Noelle, the rehearsal seen about going to the door, the three going, the bad reaction, Nick going to the door, getting some kind of agreement? Christmas Eve, joy and her singing, seeing her girlfriend and her breaking down, Chris enjoying the evening, talking with Noelle, her thinking about coming to the lunch?
9. The neighbour with the brownie, Chris out of it, the up and not working, the rejection by the neighbours, the ham, the hamburgers, Noelle not coming, waiting, Chris and his exasperation, taking the drugs hidden in the Bible, with his daughter’s photo, drinking the vodka, finding it in the car, blaming Nick with his bruised face?
10. The rules, Chris having to leave, the initial lie about his family and his stating that he did that before arriving, but breaking rules with the drink and the drugs, the truth about Nick and the assault and his taking the vodka from the drunken woman?
11. Nick, the true story of why he was a helper, trunk, the death of the child?
12. Chris packing, leaving, the bond with Joy, helping her with her songs, the farewell to Nick, going into rehab – and some hope for the future?

A SAVAGE CHRISTMAS

Australia, 2023, 92 minutes, Colour.

Thea Raveneau, Max Jahufer, Helen Thomson, David Roberts, Ryan Morgan, Darren Gilshenan, Gary Sweet, Rachel Griffiths.

Directed by Madalyn Dyer.

The title is correct. First of all, because the family name is Savage. Secondly, the interactions between members of the family are often quite savage.

This is a Christmas story, the familiar tale of a family gathering to celebrate together. But, as with those so many stories of families gathering together for a meal and interaction, some of the behaviour and attitudes can be quite upsetting.

We are immediately introduced to Davina and Kane (Thea Raveneau and Max Juhafeer, Max being one of the script writers) walking up the drive of Davina’s parents’ property. We are instantly alerted. The couple look to be transgender. And they are. And, we realise that this will be significant for the Christmas discussions, especially as we learn that Davina has not been home for three years and her family has not yet met Kane, her partner, a vet.

When we meet the parents, played by Helen Thomson and David Roberts, we are immediately put on the critical alert. They seem something like caricatures of wealthy people, self-absorbed, making a fuss hoping that Christmas will go well. We have glimpsed their oldest son, Jamie (Ryan Morgan), being physically threatened to pay back a loan. We have seen their daughter, LeIa (Rekha Ryan), on the phone, being abandoned by her husband and children. And, here they all are for Christmas.

While we are curious about Jamie and Leo, it is being relationship between Davina and her parents that is all important. On their Christmas tree, there are photos of their children when they were young, Davina a top footballer, David, in his school days, destined to be a champion, the pride of his father who was also a football champion. Jamie did police work but now wants to be a songwriter, rapper. Leo is upset, trying to show a brave face in pretence.

When Jamie wants to get money from his parents’ safe, he discovers a number of letters, indicating that David and Leia were adopted, Leia not knowing this till now. Added to the party is the over-cheerful uncle Dick (Darren Gilshennan) who also reveals some family secrets. And, if this was not enough, the bully threatening Jamie turns up for the dinner, and played by Gary Sweet.

The rest of the action is a combination of the violent and the farcical, and much of the action transferring to hospital after the set-to. And Rachel Griffiths as an overworked nurse. But, and this does not always happen of course, there is the possibility for some truth-telling, some admission of feelings, some possibilities for reconciliation. (But continuing the farcical tone where the father’s prized football medal is enough guarantee for repaying Jamie’s loan – except that the mother’s pet Chihuahua has swallowed the medal, everybody participating in an anxious vigil.

Underneath the satiric and sometimes farcical presentation, the film is urging audiences to think more deeply about identity and relationships.

1. The title? Expectations, savage tone? Christmas spirit?
2. A Christmas film, family reunion, Christmas dinner – this Savage family, savage interactions?
3. The location, the property, the drive, the house, the grounds, the interiors? The hospital? Musical score?
4. The opening, the property, the drive, Davina and Kane arriving, walking? The into cutting of Peter and his demands on Jimmy? James and Brenda, owning the property, wealth, the new, the initial impression for the audience, the arrival of Jimmy Jr, the arrival of layer, her previous phone call and her husband not coming, the arrival of Dick, Santa Claus, the Christmas snow? Impressions of the family?
5. The transgender theme? Divina, the change, background is David, champion football player, her father support and dreams, adopted, coming out, career, the television chef show, the relationship with Kane, Kane Tran is, vet? The relationship? Acceptance, clashes, the Christmas tree with the photos of the children? Presence at the dinner, interactions, Kane and the Sri Lankan dish, Brenda getting the dog to eat it?
6. The revelations, Jimmy needing $20,000, layer opening the safe, no money, finding the letters, the discovery of the adoption, the effect on layer? Jimmy, police work, becoming a rap singer, bursting into song? The revelation that Dick was his father, the effect on Brenda, on James?
7. The arrival of Peter, his demands, the gun, the threats, at the table?
8. James, his reputation as a footballer, Divina as David, playing the football match?
9. The interactions, comic, satiric, the violence, the chandeliers and Brenda, Divina overpowering Peter? Dick and his being hurt? Calling the ambulance?
10. The hospital, the cameo by Rachel Griffiths is the nurse, worn out, saying Brenda had gone, meaning upstairs? Brenda and her recovery, Peter in the next bed, his sons present, dig in the further bed? Interchanges?
11. The issue of the medal, Peter wanting it, the presence of the dog, Brenda’s pet, taking all the tablets, swallowing the medal, finally getting the medal?
12. The final part of the film, all the resolutions, bonding, admitting the truth, a future?

ASIA

Israel, 2020, 85 minutes, Colour.

Alena Yiv, Shira Haas, Tamir Mula.

Directed by Ruthy Pribar.

Asia is a multi-award-winning film, at Sundance, many awards in Israel, Oscar nominee for Best Foreign Language Oscar.

The running time is only 85 minutes, time to establish two central characters, the initial focus on Asia, mother at 17, fleeing Russia and the father of the child, settling in Jerusalem, working efficiently as a nurse, in a relationship with one of the doctors, but going to bars, drinking, pickups. There is also the focus on her daughter, teenager, mixing with teenagers, drinking, dancing, flirting, meeting at a skateboarding arena.

There is distance between mother and daughter. However, the film focuses on the growing illness of the daughter, her mother’s increasing care and concern, sensitive sequences between the two because of the health and disabilities, a small subplot where they are concerned about the daughter’s sexual experiences, the mother persuading a trainee nurse at the hospital to have a relationship with her daughter, the daughter’s reaction, the nurse’s embarrassment at the experience.

In many ways, this is a rather grim film, especially with the prospects of the daughter, but hopeful with the transformation of the mother.

The film has feminine sensibility, especially with the writer-director, and the two leading ladies, filmmaker Alena Yiv, and rising star, Shira Haas (so effective in the miniseries, Unorthodox).

1. A Jerusalem story, vistas of the city, homes, skateboard arenas, hospitals, clubs and bars? The musical score?
2. Multi-award-winning in Israel, Oscar nominee?
3. The title, the focus on Asia, her story, from Russia, pregnant at 17, leaving Russia, settling in Jerusalem, working as a nurse, interactions with the patients, with the staff, her affair with the doctor, going to bars, drinking, pickups?
4. Asia and her daughter, Vika, age, at the clubs, her friends, drinking, dancing, the skateboarders, flirtations? Her relationship with her mother, distant? Living together, tensions?
5. Vika and her illness, sudden, for a teenager, debilitating, going out, her friends? Care from her mother, the growing bonds, talking, care? The sexuality issue, her mother’s concern, her friendship with the nurse, his being in training, ambitions for qualifications, her setting him up with her daughter, the awkwardness of the situation, Vika’s response, his embarrassment?
6. The brief running time, the establishing of the mother-daughter relationship and its improvement, the characters, issues of health dying? Insights into mother-daughter experiences?