Displaying items by tag: Peter Malone's Movie Reviews

THE MARVELS

US, 2023, 105 minutes, Colour.

Brie Larson, Teyonah Parris, Iman Vellani, Samuel L.Jackson, Zawe Ashton, Gary Lewis, Park Seo-joon, Zenobia Shroff, Mohan Kapur, Saagar Shaikah.

Directed by Nia DaCosta.

The 33^rd superhero entry in the Marvel Studios catalogue, with quite a lot going for it to be a commercial success. However, there were news headings, “Marvels land with a thud”. Practically no one has very much good to say about The Marvels.

Which is something of a pity. Brie Larson had success with Captain Marvel in 2019, appeared in one of the Avengers films, could be counted on for a successful sequel. In the meantime, there was the television series, six episodes, Ms Marvel, which starred Iman Vellani as Kamala Khan the teenager who wanted superhero powers and got them. Zenobia Shroff and Mohan Kapur appeared as her parents. All three are part of The Marvels. In addition, there is Monica Rambeau from Wandavision. The director is an African American woman, age 34, Nia DaCosta (Candy man). And, in fact, there is quite a range of ethnic and cultural backgrounds in the cast. And, as often happens in Hollywood blockbusters, the villain is British!

With three women as the central characters, super heroes, and a female villain, this is something of a breakthrough in the Marvel Universe consciousness. Samuel L Jackson, in his 13^th Marvel film, returns as Nick Fury. And this time the Marvel superheroes are operating in space, on different planets, able to travel through space in swift flight. Plenty of special effects.

Perhaps without the hype and the Marvel expectations, The Marvels might have passed as a slight and easy entertainment. The story opens with the villain, Zawe Ashton, excavating a mysterious band, to be placed on her arm, giving her powers. She searches for the other one. But, we the audience, know that Kamala Khan, 16-year-old, living with her parents and brother in New Jer aresey, has the other one. In the meantime, there are space operatives trying to maintain order in the universe, including Carol Danvers, who is Captain Marvel, and her alienated niece, Monica Rambeau.

In the comparatively brief running time, there are all kinds of fights, confrontations, family bondings, but, maybe, not quite enough zest to keep the audience excited. With the women’s sensibility of three female writers, a female director, three female superheroes, female villain, there is a clear target audience. While watching The Marvels, one might wonder what macho audiences are making of it, and its impact on the expectations of male fanboys.

And, perhaps, this will be a turning point for Marvel Studios and their next superhero adventures.

1. The background of the Marvel Studios and Marvel Comics?
2. The success of the film, Captain Marvel, the popularity of the television series, Marvel? Television is One division? This scenario drawing characters from these sources?
3. The female perspective? Three writers, the director, the cast and the central characters as superheroes? Target audience, female identification? The response of male fanboys?
4. The situation in the universe, the destroyed planet, the sun, wanting restoration? Captain Marvel and her involvement, control? The qualities, flying, escape?
5. Monica Rambaugh, audience knowledge of, her role in maintenance, her superhero powers, alienate it from her aunt? Her character, the work, becoming more involved in the crisis, responding to situations? Willing to give? Reconciliation with her aunt?
6. The family in New Jersey, the characters from the television series, the parents, Indian background, their concern? Kamala and her brother? Her room, superheroes, the fact that she had the band for her arm? Superhuman powers, becoming involved in the action, with Captain Marvel, with Monica?
7. The head of the planet, the excavation sequence at the opening, looking for the band, finding one, putting it on? The second not present? Her quest? Her rule, domination, underlings, cruelty?
8. The action adventure, the variety of the episodes, the special effects, the planet, the universe, the son, Earth? The involvement of the three women?
9. Kamala, her powers, her age, her enthusiasm, collaboration, the fights, confrontations?
10. Kamala and her parents, her brother, the support?
11. Monica going to action, closing the gaps, the son reappearing, her reappearing?
12. The villain, Captain Marvel, Kamala, defeat?
13. The possibility for more stories, especially with Kamala?

THE SLOW HUSTLE

US, 2021, 88 minutes, Colour.

Directed by Sonja.Sohn.

This is an HBO documentary, made primarily for an American audience. It concerns police forces and police corruption and cover-ups.

The film has been directed by actress Sonja Sohn who appeared in a key role in the celebrated television series, The Wire, set in Baltimore. She is familiar with the city and the policing and crime issues. And this film is about the Baltimore police force.

For those unfamiliar with the story, it is fair to warn that there is no clear ending to the narrative. Rather, the situation of the death of a policeman is set, and initial sympathy for him, his reputation, scenes with his wife and family giving testimony, tributes to his work, interviews with his partner.

However, there is confusion about the death, in the middle of an investigation, off a street, his own gun, murder or suicide?

Then, reports about his being corrupt, planting evidence in the past, his being subpoenaed to appear in court and give testimony the next day. And he is shown as a very genial personality, family man.

The film has a great number of witnesses, members of the police force, local journalists investigating police corruption, a board of enquiry set up to investigate the issue and drawing the conclusion of suicide.

With all the testimony, the television audience becomes interested, involved, puzzled. And there is criticism of the board of enquiry not taking sufficient notice of particular issues and questions.

What follows is something of an expose of a large American city, the role of the police force, the potential for corruption, actual corruption. There are continued attempts to vindicate the deceased policeman.

Interesting in terms of the United States in the 2010 is, the role of police, corruption, investigation.

THE NIGHT GUARDIAN

Iran, 2023, 118 minutes, Colour.

Touraj Alvant, Laleh Marzhan, Mohsen Kiayee, Kiumars Poorahmad.

Directed by Reza Mirkarimi.

A moving film about a good man. The director, Reza Mirkarimi, has been making quality humane films for more than 20 years, focusing on ordinary people, often struggling people, but who have an innate goodness motivating them in all that they do. He has won many awards, including Catholic awards.

We are introduced to Rasool, a 25-year-old from the country, in the city looking for a job, something of a simple soul. Suddenly, a man in a car picks him up, taking him to a seemingly abandoned building, offering him the job of nightwatchman. The task seems simple. He has some basic accommodation. And he is delighted, even borrowing the boss’s phone to ring his family with the good news.

Rasool doesn’t know or even dream, but we do, that he is being exploited. The situation is a scam, partly built apartments, payments laid down and shady dealings with the finances. We realise that Rasool does have some shrewd moments but is prepared to believe that everyone is motivated by good will. In fact, while the boss does set up Rasool to take blame for the scam, even prison, he is not entirely heartless and does want to do Rasool some good and provide for him.

But, more importantly, there is an old man at the site who has been working there for a long time, has a lot of advice for Rasool, encourages him to look at the young lady who delivers food to the site. And, as always, Rasool follows advice, attracted to the young lady, visiting the home, discovering the old man is her father and is keen to find a husband for his daughter. And this is complicated because the old man, also a good man, is moving into dementia.

In fact, this aspect of the film offers us a very nice, in the best sense, love story and remains, complicated by Rasool’s sometimes reticence, his courtesy, his deference, and the discovery that his potential wife has a severe hearing problem.

There are some lovely scenes where Rasool’s family come from the countryside, are entertained in the city, two families meeting, talking, eating together, with great hopes.

As indicated, simple and good souls live in a very complex world, and can easily become victims. But, it is a pleasure to watch Rasool, the good man, his ups and downs, his surviving, some moments of resentment, but always wanting to think the best of people.

The film may not win the Oscar but it is well worth viewing.

1. The work of the director for more than 20 years, a strong humanity?
2. The traditions of Iranians cinema, strong on human values, local focus, yet universal appeal, values and themes? Many awards? Catholic and ecumenical awards?
3. The setting, the city of Teheran, the streets, the buildings, accommodation, the different areas, the local monuments, the background of the mountains? The musical score?
4. The portrait of Rasool, his age, coming from the country, his military service, skills and lack of skills, a good man, rather naive? The beginning, looking for work, not succeeding, being picked up by the boss, targeted by the boss, offered the job of nightwatchman, his accepting, gratitude? The partly built complex, open spaces, rooms? Rasool settling in?
5. The background of the building, the boss, his wife, the meetings, the plans, the investments, the money, the scam? The range of people investing and the later reactions? The workers, on the job, then leaving, the previous watchman being sacked, his later return, stealing, the conversation with Rasool?
6. Rasool, occupying himself, conscientious, disturbances in the night, intruders? The visit of the boss, his liking Rasool – the later betrayal, the boss making Rasool sign the documents, incriminating himself, getting the boss of, Rasool and the imprisonment, the effect, leaving, disillusioned with the boss, yet the boss getting him comfortable accommodation?
7. The old man, working on the site for so long, his skills? The discussions with Rasool? The delivery of the food, Rasool observing, following the young woman, searching? The old man in the setup, the revelation that this was his daughter, Rasool and the house, the welcome, the hospitality, the later visit of Rasool’s family and their welcome?
8. The young woman, her deafness, her work, the arranged marriage, the relationship with Rasool, bonding with him, support?
9. The old man, friendly, erratic, the discovery that he was the girl’s father, the arrangement of the marriage, his mental health, deterioration and behaviour, dementia?
10. Rasool, the strange adventures of his life, the job, the family, responsibilities, his being transformed when dressed up to represent the boss, the happy celebration of the marriage, life together with his wife, settling, the apartment, the hopes for the future?
11. The story of a simple good man – and his friendships, but his being exploited?

JOE

US, 2013, 117 minutes, Colour.

Nicolas Cage, Tye Sheridan, Gary Poulter, Ronnie Jean Blevins, Adrienne Mishler, Sue Rock.

Directed by David Gordon Green.

Nicolas Cage has made well over 100 films, sometimes many in the one-year, all kinds of films. He made a name for himself (omitting his surname Coppola because of the associations) during the 1980s, winning an Oscar in 1995 for Leaving Las Vegas.

Joe stands well as one of his better films. It was directed by David Gordon Green who began his career with small budget dramas, moving at this time into comedies like Pineapple Express, in later years making a Halloween trilogy and a sequel to The Exorcist.

The setting is the back blocks of Texas, Joe having served time in prison for assault, making his way with a troop poisoning trees that need to be got rid of, living alone, frequenting the brothel, some women friends, and a pet dog. Into his life comes Gary, an early performance by Tye Sheridan who was to have a significant subsequent career. He is 15, is brutalised by his father, asking for a job, bonds with Joe, Joe compassionate for Gary and his troubles, becoming a father figure. It is not easy, the brutality of Gary’s father, a long-time thug enemy shooting at Joe, the search for his dog, allowing Gary to buy his truck from him…

The film builds up to a dramatic and violent conclusion, confrontations, and Joe trying to do his best for Gary.

Before the film was released, Gary Poulter, a local vagrant who was employed by the director to act as Gary’s father – with some critics highly praising the performance as an embodiment of alcoholic brutality – was found dead, drowned in a shallow pool.

Direction, writing and performances make this film better than might have been anticipated.

1. Acclaim for the film? Awards?
2. The career of Nicolas Cage, this film standing out, performance, themes, issues?
3. The Texas settings, the back blocks, the town, streets and shops, homes, the brothel, the bridge, the woods and the trees? The musical score?
4. The title, the focus on Joe? The introduction, his job, poisoning the trees, his team and collaboration, living alone, the visits to the brothel, the women as his friends, in trouble, his temper, clashes with Willy Russell, Russell shooting him, his treatment of his wound, getting out the bullet, the black tape for bandage? The revelation of his 29 months in prison, his anger?
5. Gary, Tye Sheridan in an early role, his award, 15, the opening and the scene with his father, speaking directly to his father, his father hitting him, father walking away, the brawl? Home life, financial support, his mother, Dorothy, her not talking (and intimations of her being sexually abused)? His needing a job? Approaching Joe, making a good impression with his answers, conscientious, the work, the payment? Bringing his father, his father and the other men, drinking their water, not working well, their being fired? Gary and the brutal treatment by his father? Gary encountering Willy Russell, asking for the lift, the taunt about Dorothy, his bashing Willy Russell?
6. Gary, approaching Joe, admiring him, getting the job back, getting money, wanting to buy Joe’s truck? Joe agreeable? Testing out the driving with Joe? Joe and his response to Gary, an innate goodness, a father figure, Gary’s response?
7. The confrontations with Wade, Wade at home, brutal, demanding money, bashing his son? Wade and the vagrant, following him, talking friendly, bashing him, taking his money and drink? The confrontation at home and Gary desperate?
8. Joe and his dog, the dog with the brothel, the confrontation, bringing his own dog, the dog fight and Joe’s dog winning, going off, asking Gary to help him find the dog, their driving around, finding him?
9. The new truck, Gary and Joe going to the dealers, giving Gary the keys to the truck, his father taking it? Catching up with his father, in the truck, Joe threatening him, being ousted?
10. Joe, driving his truck, the confrontation with the police, arrested, his friend advising him to keep his nose clean? The policeman pursuing Joe, Joe confronting him?
11. The buildup to the climax, Willy Russell and his friend, bargaining with Wade, the money for Dorothy, Joe arriving, the confrontation, the guns, the accomplice shooting Joe, shooting Willy by accident? Joe wounded, shooting the accomplice, shooting Willy? Stumbling towards Wade, the confrontation, Joe and his collapse, Wade throwing himself over the bridge?
12. The arrival of Gary and the police, Gary embracing Joe, father figure? Joe dying? Gary looking over the bridge and seeing his father’s body?
13. Later, Gary with Joe’s dog, driving the truck, continuing the work?

YOU DON’T NOMI

US, 2019, 92 minutes, Colour.

Directed by Jeffrey McHale.

Paul Verhoeven’s Showgirls was released in 1995, winning so many Razzies (and his turning up to accept), strongly critical reviews, often laughed at.

The film is set in Las Vegas, showgirls, strippers, clients at the casinos, a blend of the glamorous and the tawdry, especially featuring rivalry between two showgirls played by Elizabeth Berkely and Gina Gershon.

Here is a documentary, almost a Silver Jubilee celebration of the film, a re-appraisal. In the title Elizabeth Berkely’s character is called Nomi Malone. And it is emphasised that Nomi can be understood in many ways, and negative in no Me, or a demand Knowe Me, or an abrupt assertion No! ME.  All relevant in this reappraisal.

Throughout the film there are many reviewers giving their opinions, from the time, and some in retrospect. And the writer-director uses the device of many chapters throughout the film, indicating that critics had different perspectives on Showgirls as a masterpiece – a cult film after all the years or a masterpiece of drek.

The film is in strong defence of the presence and performance by Elizabeth Berkely and regretting the severity of the response to her performance in the film and its effect on her potential and career. There are sequences from the television series in which she starred, Saved by the Bell, indicating why she was cast in the film. And, there are plenty of clips from the film itself as well is interviews with her over the years. And there are many scenes dramatising the clash with Crystal, played by Gina Gersho, and some interviews with Gina Gershon herself.

What may be of more interest to film buffs and this analysis of Showgirls and defence of it, especially with the bravado of Verhoeven himself at the time and decades later with interviews, is the survey of Paul Verhoeven’s career, with ample clips from many of his films, from those in Holland including The Fourth Man and Spetters, to the range of his Hollywood films including Flesh and Blood, Hollow Man, Robocop, Starship Troopers – and, of course, a lot from Basic Instinct and Sharon Stone.

This gives an opportunity for audiences to appreciate the director’s very forthright Dutch approach to his themes, treatment, sexual provocation, nudity, crass behaviour (and his including scenes of mirrors, fingernail care, vomiting from so many of his films).

Worth checking out the comments on IMDb, bloggers enjoying their comments on Showgirls:

• an over-the-top disaster that you can’t look away from…!

• This is not a documentary. It's a 90min movie review by a bunch of irrelevant "critics" spouting their irrelevant opinions no one cares about and no one asked for. They sit around pontificating the meaning behind every little thing and how the movie is full of "misogyny" and "racism". None of which is true,

• When does trash become art?

• An extended video essay about a film that bombed.

The film shows how much can be made of any film with a range of different viewpoints commenting, extensive clips to prove or disprove a point, and the question whether this kind of documentary would urge viewers to watch Showgirls – or watch it again.

WE MADE A BEAUTIFUL BOUQUET

Japan, 2021, 124 minutes, Colour.

Masaki Suda, Kasumi Arimura.

Directed by Nobuhiro Doi.

This is a Japanese story, a Japanese romance, very much of the 21^st-century, a focus on young adults, a film for a young adult audience who appreciates the contemporary references to arts, entertainment and social media.

While the film opens in 2020 with a symbolic discussion about two people sharing earphones to listen to music and the point made that each hears different aspects of the same music. As the film goes back and we follow the story of two young people who met on a chance encounter in the rain, missing the train, we realise that this is what is happening to them, bonding together but perceiving life from their particular earphone.

The film goes back to 2015, indicating the progress of the relationship year by year. The film also uses the device of showing the same episode from the point of view of each of the characters, their interpretation, inviting the audience to agree with both or, perhaps, prefer to respond to a particular perspective of one.

The performances are joyful, the characters emerging from a certain younger shyness to a great bonding, shared contemporary culture, theatre, movies, television, social media, particular authors, particular personalities.

As they grow older, the demands of life, a sense of responsibility, become very important, it is interesting how the film shows the response of each, the young woman studying, getting a responsible job, but wanting something in which can be more per personally involved. The young man, on the other hand, finding it hard to get a job after many interviews, drawn into business, becoming more and more involved, his time, interests and energies, travel, meals…

With the consequent falling apart of the relationship, he wanting to propose but his idea of marriage very traditional, not acceptable to her.

A beautiful bouquet – but only temporary.

1. A Japanese story? A story of young Japanese in the 21^st-century? For a young audience?
2. The Japanese settings, cities, apartments, restaurants, workplaces, business, events management? Realistic settings? The musical score?
3. The title, with reference to Mugi and Kinu? The time of making the bouquet? The aftermath?
4. The opening, 2020, the restaurant, the couple with the earphones, sharing the earphones, the music, and the comment about each hearing a different perspective of the music because of the limit of one ear phone? This is a symbol of what happened with the couple?
5. The device of going back into the past, showing the couple year by year?
6. The accident of their meeting, the social, the rain, missing the train, passing the night, the next morning? Encountering each other again?
7. Kinu, very young, prospects, lack of experience, family? Mugi, same age, more reclusive, attractive? The potential for a couple?
8. The emphasis on contemporary media, theatre, the movies, social media, games, the details in the screenplay for younger audiences to identify with and believe?
9. Their time together, getting to know each other, friends, the decision to live together, the bonding between them?
10. The passing of the years, teens into their 20s, the shared interests, but the challenge to do something more?
11. Kinu, her studying, achievement, accountancy, the job in the hospital, efficient, her wanting something more, the invitation to managing events, the sequences, her success?
12. Mugi, being urged to take responsibility, to earn money, his range of interviews, not being employed, finally being accepted, his training, his response, with those on higher levels, the demands, his commitment to his work, the affected home, travel, meetings, meals, phone calls?
13. The film’s device of the voice-overs, showing the same episodes from the point of view of each? Audience sympathies moving from one to the other? More appreciation for Kinu and her emotional experiences? Less appreciation for Mugi and his being caught up with the demands of his work?
14. The consequences for the relationship, that life, the sexual relationship? The issue of marriage, Mugi and his wanting to marry, his conventional image of marriage, his job, children, Kinu at home?
15. The sadness of the breaking down of the relationship, the scattering of the leaves of the bouquet, each of them finding a new partner, and the rueful encounters and memories of the past?

ALBERT BROOKS: DEFENDING MY LIFE

US, 2022, 88 minutes, Colour.

Albert Brooks, Rob Reiner, Judd Apatow, James L. Brooks, Larry David, Jonah Hill, Conan O'Brien, Chris Rock, Sarah Silverman, Steven Spielberg, Ben Stiller, Sharon Stone, Wanda Sykes.

Directed by Rob Reiner.

Albert Brooks has had a long career as a comic, stand-up comic, performer, film star, director. His life started with some irony because his family name was Einstein and his parents, his mother singer and dancer in the movies and on stage, and his father, Harry, a very popular comedian in film, radio and television, Parkyakarkus, decided to call their youngest child Albert, Albert Einstein. (To avoid any mixup, young Albert became Albert Brooks!).

For a great deal of the film and its complete framework, Albert Brooks sits in a restaurant with his boyhood friend and school companion, writer-director-actor, Rob Reiner, who directs this film and many clips of each man’s parents. They enjoy their conversation and their reminiscences, and so do we. (Except for an angry blogger who felt that this was all too chummy and not critical enough!)

In just under 90 minutes, through the conversation and through clips, we have Albert Brooks’s personal life, the stages of his career, his achievement, his marriage and family – with some testimonies from his wife and his two children. And, there are a great number of admirers as indicated in the list of contributors above. Not only are they in admiration of Brooks but they will remember and describe their first memories of his comedy and many of them indicating that it spurred them in their own careers – and this ranging from Larry David and Conan O’Brien to Jonah Hill, Chris Rock, Sarah Silverman, Ben Stiller too great admiration from Steven Spielberg.

And, for movie buffs, all of his films are given the context, their initial impact, especially Real Life and Modern Romance, to his entertainments like Lost in America, his starring with Meryl Streep in Defending Your Life, inviting Sharon Stone to star with him in The Muse. Rob Reiner asks Brooks about his relationship with his mother and there are many scenes of Brooks’s film, Mother, Debbie Reynolds embodying on screen his actual mother.

And, it is surprising to find how many films Albert Brooks appeared in as an actor, starting with the role in Scorsese’s Taxi Driver in 1976, an Oscar nomination for Broadcast News, and clips from a very interesting career range of performances. And his children reflecting on his voicing the father in Finding Nemo.

So, in a way, this is an entertaining way to spend 90 minutes. For those who know very little about Albert Brooks, anti-opener. For those familiar with him, very entertaining and interesting.

MOVING ON

US, 2022, 85 minutes, Colour.

Jane Fonda, Lily Tomlin, Malcolm McDowell, Richard Roundtree, Sarah Burns.

Directed by Paul Weitz.

From 2015 to 2022, Jane Fonda and Lily Tomlin appeared in the television comedy series, Grace and Frankie. They also teamed up for this film as well as 80 for Brady.

Audiences will enjoy seeing the two leading ladies in their early to mid-80s, still commanding the screen. And, so often villainous, Malcolm McDowell at age 80. And veteran actor (Shaft) Richard Rountree. The film is been directed by Paul Weitz, writer and director of a range of American comedies starting with American Pie.

The situation is a funeral, Jane Fonda’s Claire coming from Ohio for the funeral of a friend, encountering another friend from the past, Evelyn, played by Lily Tomlin. The target is Malcolm McDowell, Howard, the husband of the dead woman, but Claire wanting revenge for his sexual assault on her from the past. She intends to kill him.

On the one hand, this is a comedy drama in the Me#Too era, a challenge to men who have concealed their assaults. On the other hand it is a comedy drama of mishaps, Claire’s attempt to buy a gun, Evelyn getting a gun from another resident of the Aged Care facility (in exchange for crisp bacon), the gun turning out to be a flare…

And, unexpectedly, Richard Roundtree turns up as former husband of Claire, now with his own family and grandchildren, rekindling past love.

While Claire does her best in her attempts to kill Howard, she is saved by his having a heart attack!

Slight, serious in its current exposure of male sexual assault in the past, and a reminder that strong performers can continue for as long as they can.

1. The title, getting older, but also taking in hand consequences for past life?
2. The situation, the funeral of a friend, old friends gathering, grief, past hurts, and the intention to kill?
3. The California setting, homes and grounds, apartments, aged care? The musical score?
4. The focus on Claire, Jane Fonda in her mid-80s, strong screen presence, travelling from Ohio, at home, her daughter, taking care of the dog, her surly grandson? The flight? Going to the funeral, the confrontation with Howard, his manner, her confrontation? Meeting Evelyn, memories of the past, their times together? The friendship with the dead woman? The complication of relationships? Claire and the confrontation with Howard’s daughter, later getting Evelyn’s correspondence, and the acknowledgement of the truth?
5. Evelyn, Lily Tomlin in her mid-80s, capitalising on her screen presence, the past, acerbic, the cello, unable to play well, the pretense of an apartment, living in aged care, her care for the little boy, encouraging his cross dressing, her clash with the boy’s parents, urging him to be true to himself? The lesbian character, telling Claire about her relationship? Her going to the funeral, her speech, after gatecrashing, the declaration about her sexual relationship with the dead woman? The effect on Howard, on his daughter, on the congregation?
6. Claire and Evelyn trying to buy a gun, not able to in California because she was from Ohio, at the reception, getting the knife from the kitchen, having to give it back? Still intent on killing Howard? The final revelation of the events of the past, Howard and his callous description of what happened, blaming Claire, the effect on clear for her life? Wanting Howard to admit the truth?
7. Evelyn, the aged care patient, his love for bacon, the gun, Claire cooking the bacon, in exchange for the gun, getting the orderly to get the box from the cupboard? The revelation that it was a flare?
8. Claire meeting Ralph, the revelation of the past marriage, separation, reasons? Ralph and his second marriage, his family, supportive? Claire meeting them? The invitation to stay the night, the effect on each of them?
9. The attempted killing Howard, Evelyn distracting from the attempt, Claire using the flare as a signal, Claire and her confrontation with Howard, his having a heart attack, the collapse, the hospital, the visit, making peace with Howard’s daughter?
10. Evelyn’s advice about not going to prison, and the satisfaction of Howard’s collapse?
11. The touches of black comedy, and the veteran cast?

HONEY/MIELE

Italy, 2013, 96 minutes, Colour.

Jasmine Trinka, Carlo Cecchi.

Directed by Valeria Golino.

Honey is the codename for a woman whose work is to assist with suicides. Her actual name is Irene and she is played by Jasmine Trinka. The film has been directed by long-time actress in Italian films as well is American films, Valeria Golino.

For most audiences, the theme of the film will be to response. It is a question of assisted suicide, moral issues, ethical issues, legal issues, psychological issues – for the person wanting to die, for relatives and friends, and, as in the case for Irene, the effect on the person assisting.

The film has an Italian setting, an atmosphere of Italian cities, sense of realism. And, monthly, Irene travels to Mexico to buy the drugs for the assisted suicide procedure.

Irene does have some life, visits with her father, a woman friend, sexual liaison with associates. And she has a contact who gives her the names of potential clients. She visits them at home, explains the situation (also for the audience), notes that they can withdraw at any time. There are several examples of the procedure, the focus on those dying, the focus on those associated, and the camera watching Irene during the process, some compassion, concern.

Ultimately, this gets too much for her, complicated by her association with an older man, Carlo Cecchi, who asks her help, questions her in detail, but does not want an assisted suicide. There is clash, Irene wanting to retrieve the drugs, her returning to his apartment, the conversations, breaking down of barriers, conversations, and a friendship.

This all has an effect on Irene who then wants to withdraw from her work assisting suicides.

With the performances of the central actors, this becomes more than just a film treatise on assisted suicide but helps the audience to appreciate the emotional and psychological demands.

1. The theme of assisted suicide? Moral issues? Legal issues? Psychological issues? For those dying, for family, for those assisting? Compassion? Business?
2. An Italian setting, the city, apartments, streets, cafes, atmosphere? The visits to Mexico? The settings for the assisted suicide? The musical score?
3. The title, the codename for Irene? A sweet-sounding name?
4. Irene herself, her relationship with her father, her studies, her contacts for clients, the travels to Mexico for the drugs, drugs for putting down animals? Three years assisting in suicide? The contact and the discussions, her buying the drugs, the procedure, her explanations, giving the clients the option to pull out at any time?
5. The settings for the suicide, the man with his wife, sitting up, the music? The young man, the vodka, the open window, Irene not staying to the end?
6. Carlo Grimaldi, the contact, his age, attitudes towards life, divorce, the discussions with Irene, her reaction? His detailed questions, autopsies…? His not wanting to kill himself? Her bringing him the drugs, her returning to try to find them? The discussions, her return, the phone calls, her concern, the breaking down of the barriers, the outings, the meal at the restaurant, his visit to her house? The friendship? The importance of swimming for Irene?
7. Irene and her personal relationships, the men in her life, their relationships? Her friend and her questioning?
8. The effect on Irene, her wanting out of her work, the discussions with contact? At home, Carlo’s visit, appreciating the sea? Her going to his house, his previous comment about throwing himself out of his apartment, five floors up?
9. The human and humane portrait, Irene’s questions, the questions for the audience?

LOOK AWAY

UK, 2021, 90 minutes, Colour.

Kari Krome, Julia Holcombe, Sheila Kennedy, Jackie Fuchs.

Directed by Sophie Cunningham, Ben Steele.

This is a very disturbing documentary. It is very much a result of the Me Too# movement and revelations, subsequent court cases and imprisonment of offenders.

The particular focus here is the music industry. And, even more specifically, the American music industry of the 1970s. The title of the film comes from Iggy Pop’s song of the same name and his having had a sexual liaison with a 13-year-old.

The film uses quite a number of interviews, lengthy interviews, an opportunity for abused women to speak, to be heard, to be seen. The perpetrators are seen in archival footage. And, there are quite a number of commentators, journalists, women involved in the music business, reflecting on the period, critical of what went on, confirming the interviews of the abused women.

A lot of attention is given to Julia Holcombe, a rather wild 15-year-old who became infatuated with Steven Tyler of Aerowsmith, was introduced, they bonded, a relationship and her touring with him, his wanting to make her his ward and adopt her, which happened. Julia is very frank and plain in her telling of the story.

Kari Krome, songwriter, seen in 70s footage, is very frank in her comments about behaviour, and especially in relation to Rodney Bingenmaier, proprietor of popular LA club, English Disco, where he fostered an atmosphere of freedom, enabling this kind of sexual behaviour, unlimited.

Sheila Kennedy, a Penthouse model, offers a certain graphic description of abusive behaviour by Guns ‘n Roses lead singer, Axl Rose.

The young bassist for the girls’ group, The Runaways, Jackie Fuchs, gives quite a horrendous account of the manager, Kim Fowley, and her being subjected, drugged, to gross abuse. After leaving The Runaways, Jackie Fuchs became a lawyer and tells her story, after almost half a century, with conviction.

In only 90 minutes, this documentary, frank, frightening, direct, makes quite an impact and invites a great deal of reassessment of culture in the music industry, especially in the 1970s, the status of the rock stars and their personal and private behaviour, no holds barred, no limits. To be judged in the light of 21^st-century new awareness.

According to Sophie Cunningham, the purpose of the film "is not necessarily about seeking justice in the legal sense, but having a voice – and trying to instigate change. Although we are focusing on a certain era in this film, the music industry is still functioning in a very, very similar way.

Through the lens of 2021, laid out in black and white, it all seems pretty shocking. But perhaps more shocking is that for years, this kind of behaviour wasn't at all shocking.

"I think a lot of the times the artists themselves have written about their escapades with their girlfriends or what they got up to during this era and you never really hear from the women," says Cunningham.

"Musicians were these godlike creatures, especially at that time. There were power structures that enabled them; as long as they were selling records and as long as they were making money for the big record companies, I think there was a general understanding [they] could pretty much get away with anything and also it could all just be written up as an excess of the time.

"It's very, very easy to think 'It was different then, it was hedonistic, the world was a different place'. But I think it's clear from the women who've spoken out that their experiences as [teenage] girls impacted them in the same way that they would if it happened to [teenagers] now. It's not a different era, it's just that we look at it differently."