Displaying items by tag: Peter Malone's Movie Reviews

BRAND BOLLYWOOD… down under

Australia, 2023, 93 minutes, Colour.

Directed by Anupam Sharma.

An interesting and entertaining documentary, especially for movie buffs, but beyond… A subtitle: Australian’s love affair with Bollywood.

The screenplay points out that the biggest group of migrants to Australia after the British is the Indian migration. Which means that this is a documentary both for Australia and for India.

In fact, the film has three special focal points. First, there is cinema itself. Secondly, issues of trade and tourism between the two nations. And, thirdly, issues of culture and cross culture. And, within its hour and a half, all of these issues are dramatised and challenged.

The director himself, Anupam Sharma, of Indian background, graduated from the University of New South Wales, has been involved in the film industry since the 1990s, as producer, and director of several films including the Brett Lee cricket comedy, UNindian.

And on the title – for decades now, Bollywood is the general title for Indian cinema (and, it is rightly pointed out that this is not accurate, applying to Mumbai cinema and its singing and dancing style, but not really applicable to cinema from such centres as Kolkota, Chennai,). But, there are plenty of excerpts from Bollywood movies throughout the film – and quite a long final credits song and dance to keep us in the mood.

Indian culture has been for millennia a culture of images, paintings, statuary. And, very early in the history of contemporary cinema, Indian filmmakers realised its potential. The first 30 minutes of this film offers a very interesting, sometimes illuminating, history of cinema in India, quite striking silent film footage and, for Australians, the story of Mary Ann Evans from Perth who went from Australia to India, worked in and circus, and in the 30s became quite a movie superhero figure, Fearless Nadia (and clips from her films to definitively prove this).

Indian filmmakers had come to Australia but this developed during the latter part of the 1990s, again many clips to highlight the scenarios, and Indian characters photographed often on Sydney Harbour Bridge, in the outback, with kangaroos…

Which leads to the second issue of trade and tourism, Indian audiences fascinated by what they saw with the movies made in Australia, wanting to visit. And, with the filmmaking, possibilities for trade and industry development. To highlight this, South Australian Labor Premier, Mike Rann, invited India to South Australia and, for a time, a centre for India-Australia films. But then the emphasis moved to Victoria, especially with Liberal Premier Ted Baillieu, enthusiastically welcoming India – and both Premiers persuaded to join dances on stage and display the rhythmic movements!

There is also the issue of Intermission, always during Indian screenings for some mid--movie socialising.

So, a great deal of cross-cultural interactions. But, a number of tensions. Filmmaking style in Indian studios seems loud, brash, everybody involved, contrasting with a more disciplined practical approach in Australian studios. But, the film also emphasises some sad events in Australia, murders of Indian students in Australia, media attacks on Australia, doyen of Indian actors, Amitabh Bachchan, publicly refusing an honorary degree from the University of Queensland (but, with more dialogue and more collaboration, accepting the degree eventually and coming to Australia for a cameo in Baz Luhrmann’s The Great Gatsby).

There is a Bollywood festival in Australia. Many cinemas program Indian films – and there is no lack of films from India which has the largest film industry in the world.

So, an urge to creative cinema collaboration.

THERE’S SOMETHING IN THE BARN

Norway, 2023, 100 minutes, Colour.

Martin Starr, and Amrita Acharia 26, Townes Bunner, Zoe Winther-Hansen, Jeppe Beck Laursen, Kiran Shah, Henrietta Steenstrup

Directed by Magnus Martens.

In fact, there is, rather, someone in the barn. And, as the story progresses many more someones in the barn – and breaking out.

This Norwegian film is, perhaps, best described as comedy-horror, the kind of film that is light entertainment in the programming of a horror festival. Much of it is played for laughs, but there are increasing horror confrontations (and, rather shamelessly, this reviewer got the biggest laugh by the sudden appearance of a semitrailer with disastrous results).

With its beautiful winter snowy scenery, Norway looks very attractive for a touristic visit. But, with mayhem in the barn, overflowing into the house and out into the snow, prospective tourists might have hesitation despite the fine display at the end of the beauty of the aurora borealis.

We have a warning right at the prologue, disaster in the barn, the owner going up in flames, and, causing shocks and observing a Norwegian gnome, garden decorative variety but with grizzled ancient face, sounding dialect, named throughout the film a “barn-elf”.

And, breezily into this Norwegian December countryside comes an American family, who have inherited the house and the barn, intending to turn it into a hotel. Dad is ultra-breezy American, ultra-ingenuous as it turns out, a widower who has married a young happiness coach. Two children, a 16-year-old girl who wishes to be anywhere but here and, as it turns out, a sensible young son.

They drive into town, loudly greeting everyone, somewhat ignored because, as explained, Norwegians have a tough exterior but, when it melts, they have heart. (And alcohol is a great melter of the exterior.) The serious son is intrigued by a museum for barn elves and gets a lot of information from the proprietor, three rules to keep in mind: they dislike big lights, they dislike change, they dislike noise. Of course, this will cause mayhem – but also may help in the taken defence when the mayhem takes over.

But, the young boy makes friends with the main barn-elf who, when on-side, clears paths through the snow, chops and stacks would… Though he has his angry moments, he will turn out to be a saviour, finally finding refuge in a cottage at the town’s Museum. And, there is a friendly middle-aged woman cop, no gun, Norwegian-cheerful, interrupted by events on Christmas Eve from her cooking dinner and watching Love, Actually!

And, throughout the screenplay, there are lots of comic shots at American attitudes, especially when the father is desperate for a gun and that is not the Norwegian way, quips about Americans, guns, shooting people in the face. But, there are some quips about Norwegian peace, the reputation for negotiations and peace deals, especially Oslo, though not always successful.

Which means then that this is a kind of horror film with an almost PG rating! Horror fans may get impatient with the humour. But, audiences wanting something different, accepting something slight, the premise and some of the execution (a word used advisedly for what happens to so many of the barn-elves), might enjoy the hundred minutes.

1. Comedy? Exuberance? Americans abroad in Norway? Horror? The barn, the elves, the rules, destruction? The combination?
2. A Norwegian story? An American story? The location photography, winter, snow landscapes, the mountains, the house and interiors, the barn and interiors, the town, the diner, the elf Museum? The countryside, the highways? Authentic feel?
3. The prologue, the farmer, deciding to destroy the barn, the mysterious presence, the fire and his death? Leaving the house and barn to his nephew?
4. The ultra-exuberant American family, cheerful, loud? Bill, widower, his children, the encounter with Carol, Happiness Training, her enthusiasm, her techniques? Nora, 16, sulky, not wanting to be there, phoning friends? Lucas, his age, quieter, common sense? The ambition of turning the barn into a hotel? Settling into the house, going to the town, loud, meeting Ronnie, Lucas and the proprietor of the elf Museum, learning the rules?
5. Lucas, in the barn, the mysterious sounds, meeting the elf, offering the biscuit, the appearance of the elf, age, grizzled face, Norwegian mumblings, hand on heart, the elf clearing the snow path, stacking the wood the Bill? But the rules of no Bright lights, no change, no loud noises? And porridge with cinnamon and butter as a peace offering a Christmas?
6. The decision to socialise, invitations to the party, handing them out in the town, the preparations? Everybody arriving, Norwegian frosty exterior, alcohol met melting the exterior, the warm hearts?
7. Bill, the cookbook, the fish, no be able to eat it? Lucas and his preparing the porridge gift? Bill eating at all? The beginning of disaster? Lucas giving the elf the fish, failure?
8. The party, the Santa Claus decorations, Ron coming as Santa Claus, loud? The lights? The attack by the elves? The visit of the sheriff, her being cheery, no gun, watching Love, Actually? And the shock of the crash and her death?
9. The emergence of the elves, the large number, the attack, the family under siege, the fights, Carol and her techniques, Bill and his dithering, Nora and her fighting, Lucas trying to make peace? The comedy of destruction? The Moose (and the initial photo &)? Bill and Lucas, the sled, the pursuit, the semitrailer ploughing into the elves?
10. Ingenuity, reconciliation between Carolyn Nora, working together? Captured?
11. Going to town, the museum proprietor, delaying and leaving, the discovery of the underground tunnels, the release of Carol and Nora? The pursuit?
12. The friendly elf, loyal to Lucas, hand on heart, helping, the explosives, the fire, destruction?
13. The proprietor, his philosophy of peacekeeping, Norwegians as peacekeepers, his offering a home to the good elf?
14. The combination of horror and comedy?

AS YOU WANT ME/COME MI VOUI

Italy, 1996, 100 minutes, Colour.

Enrico Lo Verso, Vincent Cassel, Monica Bellucci, Francesco Casalei, Urbano Barbarini, Meme Perlini.

Directed by Carmine Amoroso.

This is an Italian comedy of the mid-1990s, something of a curiosity item in retrospect. It appeared when there were more and more films emerging with gay themes, but also in the atmosphere of the AIDS epidemic.

This film seems to be offering a sympathetic perspective on homosexual orientation but focuses, especially, on drag queens. However, underlying the surface comedy, there is also the issue raised of the possibilities for intimate male/male relationships.

At the centre of the film is Domenico, who dresses as Desideria, in clubs, cruising with other drag queens, encountering the clientele driving up in their cars. Domenico is played by Enrico Lo Verso, longtime veteran of Italian cinema.

The police do their rounds, arrest the various drag queens, interrogations. One of the police is Pasquale, played by Vincent Cassel, who, it turns out, knew Domenico when they are at school. Pasquale is engaged to a young woman played by Monica Bellucci (a couple of years before Cassell and Bellucci were married in real life).

Then there is the sympathetic but interfering parish priest, eager to support Pasquale, fostering his relationship with his fiancee, aspects of comedy about sexual relationships. The priest seems rather horrified at the story of Domenico/Desideriaa, and encourages Pasquale to be supportive of him.

What follows, is a sexual relationship between the two, Domenico in love, Pasquale explaining the situation in a rather matter-of-fact way to the priest, to his fiancee, the possibility of the coexistence of the two sexual relationships.

So, this is a perspective from Italy in the mid-1990s. An interesting companion film would be An Almost Ordinary Summer from 2019, a story where two older men, with children, fall in love with each other with the children’s generation trying to undermine the planned wedding. This film also has the added value of two heterosexual actors (as were the two in 1996), Alessandro Gassman and Fabrizio Bentivoglio portraying the two older men.

AN ALMOST ORDINARY SUMMER/ CROCE & DELIZIA

Italy, 2019, 100 minutes, Colour.

Fabrizio Bentivoglio, Alessandro Gassman, Jasmine Trinka, Filippo Scicchitano, Lunetta Savino, Anna Galiena.

Directed by Simone Godano

With such an English title, the audience anticipates how the summer will not be ordinary.

The film opens with the family joy, father and sons and daughter-in-law, pregnant, all driving off cheerfully to a summer holiday, finding the setup rather inadequate and complaining. The holiday centre is owned by a wealthy man who is celebrating his birthday and his daughters and various relations turning up.

So far, so expected.

However, there is a much more serious theme underlying the farcical aspects of the holiday. The owner of the mansion, Toni, veteran actor Fabrizio Bentivoglio, announces his intended marriage ceremony with Carlo, the father of the holidaying family, veteran actor Alexxandro Gassman.

Needless to say, the rest of the film is about the variety of reactions to this announcement, the film establishing the characters of the two older men, their meeting, the longtime partnership, each of them with family, but finding something in each other, especially the older man finding a genuine humanity in the widower, Carlo.

And, needless to say, there will be hostility to the wedding. It comes from Carlo’s son, Sandro, who reacts very badly, respecting his father but disagreeing with him. And there is hostility from Toni’s daughter, Penelope, Jasmine Trinka, who says that she campaigned and marched for gay marriage rights but does not want this for her father. She and Sandro team together to undermine the wedding.

What follows is holiday joy, family upsets, the arrival of Penelope’s mother, played by veteran Anna Galienay and, different attitudes, different understandings, an issue of Sandro’s younger brother, Diego, and whom he will stay with.

There are some very strong scenes, especially with Penelope’s panic attack and her being helped by Carlo.

There is some alienation, some reconciliation, and some happy sequences during the final credits of the wedding celebrations.

1. An Italian comedy with a serious theme? The history of the legislation on gay marriages? In Italy? 21^st-century perspective?
2. The title, irony, on holidays and summer, at the water, holiday homes, carnivals, picnics, activities…? The musical score?
3. The location, the coast, the beach, the holiday accommodation, the touch of the primitive, the mansion and the interiors?
4. The focus on the family, loud, all together in the car, travelling to the holiday, the music and song? Arrival, the primitive conditions, toilet and shower, complaints? Settling in?
5. The establishing of the family, Carlo as the patriarch, widower, his relationship with Sandro, Sandro’s wife, the younger brother, Diego, working class background?
6. The mansion, Toni as the patriarch, wealth, lifestyle, Olivia and her arriving, spoiled movie star, Penelope arriving late, bumping the car, self-assured, the presence of the hunt and her boyfriend, Toni’s birthday, the meal?
7. Toni and the tensions with his daughter’s, his never marrying, the long partnership, the other children, journeys to France, Olivia’s birth, arrival in Italy? Penny as his daughter, yet the tension between them?
8. The situation: Toni announcing the wedding, the reactions, Olivia, the aunt and the boyfriend tolerant? Penny, her comments about campaigning for gay marriage but her not wanting this for her father? Carlo, wanting to find the time to tell his family, hesitating, Toni and Carlo together, Sandra seeing them, his violent reaction?
9. Stances about the marriage, in three weeks? The two men explaining the background, Carlo and his meeting Toni at the hospital, talking, the meal together, kindred spirits? It is a completely different backgrounds, lifestyles? Carlo appreciating the older man? Toni admiring the inner depth of Carlo, sympathy and understanding?
10. Audience response to the announcement, for or against the marriage, siding with the couple, siding with Penelope and Sandro?
11. The comic situations, the serious situation? Penelope, her scheming, talking with Sandro, stopping the family leaving, wanting to undermine the relationship? The various stages, collaboration, developing and her problems, the advance on Sandro, his wife seeing it, the upset?
12. The meals, the picnics, the couple together, the ups and downs, the barbecue, Carlo dancing, everybody joining in except Sandro? The joy of everybody dancing?
13. The issue of Diego, young, to live with the couple? Sandro and his reaction? Sandro and his relationship with his wife, her pregnancy? Diego, the youngsters going to the carnival, their being lost, Carlo blaming Toni? The morning aftermath, explanations? Carlo and his decision that he would discuss the situation with Diego? Diego, young, the attraction to the young French girl, lovelorn, his father’s wise advice? Carlo coming to getting from Sandro, the going off together?
14. The arrival of Penelope’s mother, not a marriage, her work in fashion, the plot to undermine the wedding, yet her encounter with Carlo, sympathetic, change of heart? Penelope’s disappointment?
15. The confrontation, Sandra’s reaction, his wife’s reaction, Penelope’s humiliation, unable to breathe, the panic attack, Carlo and his sympathy, helping her to breathe, driving her, the frank talk, Penelope explaining her father’s ignoring of her?
16. Carlo, going away, fishing? Toni, wanting to find him? Penelope helping, Sandro on the boat, meeting on the boat (despite the crew calling out about packets), the reconciliation – all round?
17. The final credits, the ceremony, everybody joining in the celebration?
18. The status of gay marriage in Italian society with its religious traditions?

ASSASSIN CLUB

US/Italy, 2023, 111 minutes, Colour.

Henry Golding, Noomi Roopace, Sam Neill, Daniela Melchior, Jimmy-Jean Louis.

Directed by Camille Delamarre.

This is an action show, rather complicated, which serves as a pastime.

There is an interesting prologue, a scene between a father and daughter, then his assassination and her escape. Towards the end of the film, the audience will understand the significance of what happened, the assassin, the motivation, political repercussions in the Czech Republic.

However, the main focus of this film is on Morgan, played by Henry Golding who made such an impression in Crazy Rich Asians. Formerly in active service, he has been recruited to be an assassin, killer of evil people whom the law cannot touch. An orphan, he was to befriended by Caldwell who trained him and then is his controller. Caldwell is played by Sam Neill at his most British urbane style.

We see Morgan on the job, failing, attacked, almost killed. He has visits with Caldwell, is informed about a plan whereby a rich client has targeted seven assassins. We are soon informed that each of the seven assassins has been commissioned, with promise of $1 million per assassination, to eliminate the others. Morgan has encounters with various assassins, killing them, fighting them, making the agreement with a more sympathetic assassin who lives with his young daughter in Barcelona.

In the meantime, this seems to be a special secret government squad, led by Falk, Noomi Rapace, who has all kinds of agents at her control, all kinds of technology, and a link with police official played by Jimmy-Jean Louis.

One of the credibility drawbacks of the film is the comparative ease with which Morgan can move from assassination scene, from one country to another, and come back to his girlfriend in Rome. But when he has to disappear, he also has a secret apartment in Rome, which, with a eye identification, also holds a huge arsenal as well as an extraordinary amount of surveillance screens.

He is in contact with the leader of the official squad and they play cat and mouse interactions.

Eventually, the villain starts to be unmasked, the confrontation, very urbane then deadly, with Caldwell, the abduction of Morgan’s girlfriend, tied up in a bath with the tap on, and explosives with a timer

Since Morgan is the hero, and wants to avenge Caldwell’s death, as well as to rescue his girlfriend and defuse the explosives, there are some deadly fight sequences with the villain – but a final shot in the street, the bullet seen in close-up slow motion as the villain is killed.

Critical and blogger response to the film has been quite negative – but, as was said, it is an action-thriller, reminiscent of many other films, a time-passer.

NYAD

US, 2023, 123 minutes, Colour.

Annette Bening, Jodie Foster, Rhys Ifans, Dee Brady, Eric T.Miller, Ethan Jones Romero.

Directed by Jimmy Chin, Elizabeth Chai Vasarhelyi.

A good word of advice for anyone intending to see Nyad and is unfamiliar with the career of American swimmer, journalist and media personality, Diane Nyad: don’t look for any information about her and her achievements. This will make viewing the film so much more interesting, exciting.

At the opening of the film, and several times throughout, reference is made to her surname, Nyad, a Greek name, and the traditional name for water nymphs. She saw herself destined to be a swimmer – although, it is later noted, that Nyad is the name of her adoptive father.

The film is worth seeing for the performances of the central characters. At the centre, and always demanding to be at the centre, is Diana herself, played by Anette Bening, very much resembling photos of Nyad. For decades, Annette Bening has played a variety of roles, sometimes very strong women. This time she plays an exceedingly strong woman, not someone that most of us would actually like to meet in real life! But she is American-determined. Preparation for the role, and so many of the sequences within the film, must have been physically gruelling for the actress, a totally committed performance, and an actress who is not preoccupied by age nor by appearance.

And the other performance worth seeing is that of Jodie Foster as her close friend, Bonnie. And filmgoers may realise that we have been watching Jodie Foster in films for 50 years, from young girl and commercials through a range of feature films and directing career. She brings a deep humanity to her role, often exasperated, challenged, and always supportive.

And, speaking of performances, it is a pleasure to see Rhys Ifans as something of a crusty sea captain who is also an expert on tides and currents.

The film focuses particularly on the years 2010-2013, Diane Nyad turning 60. So, it is a portrait of ambition, determination, no holds barred, no apologies – until the end, some moments of grace, finally.

There is an almost documentary look to the film especially in the training and the action sequences, rugged, endurance – with the directors being the husband and wife team, Jimmy Chin and Elizabeth Chai Vasarhelyi, who had built up a substantial reputation for documentaries of heroic physical exertion, Meru and Himalayan mountain climbing, Free Solo with loan and donated climber in Yosemite, and a documentary about the rescue of the Thai boys from the flooded cave in 2018.

Portrait of a strong and determined woman, compellingly told. (Although some commentators note that the film is very favourable, and that Nyad has not always been honest in her accounts about herself.)

1. Based on a true story? Audience knowledge of Diana Nyad and her career, achievements? Or are surprised story?
2. The film filling in the background, her surname and the Greek water nymphs, Diana as Huntress, the fact that she was adopted, her relationship with her adoptive father? Her upbringing, family life, swimming and achievement, her coach, Jack Nelson, the later accusations of sexual abuse, his death? Her father and her determination? Training, performance, swimming skills? The long swims, the English Channel, the Hudson River…? The attempts to swim from Cuba to Florida?
3. The film set in the present, Anette Bening and her screen presence and performance, non-glamorous, as Nyad? Jodie Foster and her presence as Bonnie, former companion, longtime friend, acting as coach, acting as critic, acting as conscience, acting as challenge? Nyad and her self-centredness, narcissistic disregard of others’ opinions, self-confidence?
4. The importance of the flashbacks, visualising Nyad as a girl, family, coach, the swimming attempts?
5. The present, the scenes of the two friends, conversations, socials, their set? Personalities, friendships, sexual orientation?
6. Nyad at 60, deciding to do the tumour-Florida swim? Her decisions, involving Bonnie, Bonnie is coach, the rigorous training sequences? The cumulative effect?
7. The building up of the crew, the experts, medical, physical, whether experts, ocean experts? The introduction to each of these characters, their place on the boat, interactions, their treatment from Nyad?
8. John Bartlett, the approach, his personality, family, his boat, his practical skills, the nature of the currents, the weather? The challenge to Nyad? His agreeing to participate? The drama of his checking the currents, the times for the swimming attempt, the clashes with Nyad? Leaving, returning, part of the achievement?
9. The media, Nyad and her commentating on the ABC Wide World of Sport? The reputation? Interest, her age, wariness?
10. The past attempts and her failure when young? Her determination, obsession?
11. The visualising of the different attempts, the maps, getting so far, the difficulties, her concentration, the music, Bonnie calling her in, the feeding, support? Progressing further with each attempt, the aftermath of each?
12. Alienating Bonnie, her leaving? The next attempt, cajoling people to come back to her? The final attempt, the difficulties, the achievement, so close, persevering? Onshore, not to be touched, arriving with her own power, the crowds?
13. The directors and their skill in documentaries about superhuman physical efforts? Bringing this talent to a narrative, to ocean swimming? And a portrait of an interesting if difficult to deal with central character?

THE LAST NIGHT OF AMORE/ L’ULTIMA NOTTE DI AMORE 

Italy, 2023, 124 minutes, Colour.

PierFrancesco Favini, Linda Caridi, Antonio Gerardi, Francesco Di Leva.

Directed by Andrea DiStefano.

A forceful strong police story.

The setting is Milan, seen during the initial credits, high above the buildings and night lights, a resounding score, setting up a mood. The focus then transfers to Franco Amore, 35 years and honourable police officer, his final night on duty, hurrying to an incident in a freeway tunnel, and the death of his partner. Quite a dramatic opening. But, was the title meant to be tantalising with its choice of Amore for Franco’s surname – it does sound like a title for a drama on sexuality and relationships, but no.

Then the action goes back 10 days, quite a complex story, a story of duty, a story of conscience and decisions.

For a long time, PierFrancesco Favini has been a significant leading man in Italian films. And this performance reinforces his status. He is composing his farewell speech for his colleagues, is in contact with his wife, loving him, but more than a touch flighty and ambitious. He is called by his wife’s cousin, a jewellery dealer, to help with a wealthy Chinese customer in a health crisis.

Franco has never shot anyone during his 35 years, has a solid reputation. However, financial difficulties are ever present, and officers take on side jobs out of hours. The first part of this drama is a job, Franco with his partner picking up some contacts from China at the airport, matters not quite right, a flat tire, police confrontation, shootings… All very dramatic, especially since the film does not use CGI but the sequences were filmed in an actual Milan tunnel, cars speeding past, danger, tension…

The second part of the film is the investigation, Franco confronting the mystery of what has happened, his attempts to find out the truth, betrayals, corruption, covering his own presence, his wife caring for the son of his dead partner, her flighty hopes and fantasies, her wilfulness intruding on the investigation.

While the complications of the action engrossing, it is the portrait of Franco, his hopes for his integrity, the financial situation concerning his pension as he finishes his service, discoveries of betrayal, and moral issues concerning the truth that are at the core.  The film draws to a dignified ending, Franco confronting those who need to be confronted, but ending his career of duty with a message of appreciation to his colleagues. But, of course, the consequences are still open, the audience left to ponder what decisions they would make.

1. The title? Franco Amor a and his police service, final night? The drama, challenged? The play on words on his surname?
2. The Milan settings, the opening, the night, the aerial views of the city, prolonged, the dramatic music? The Cathedral, its recurring presence? Homes, police precincts, clubs, business centres, the streets, the freeways, the tunnel? The musical score?
3. The initial atmosphere, Franco, the tunnel, the accident, the friend did, his reaction?
4. Going back 10 days, the dramatic buildup to the situation, the complexities of the shooting, Franco leaving, alibi, returning, investigation, revelation of corruption, his final night, his broadcast to the police? His future?
5. Franco as a character, 35 years in the police force, not fully promoted, never shooting, his reputation, interactions with his colleagues? The retirement, the pension, financial difficulties? Relationship with his wife, her personality, ambitions, pressure on him, hopes for the retirement? The moral issue of the job, the diamonds, her pressure? His friend, jobs out of hours, the decision to partner him at the airport? The consequences? His relationship with Cosimo, his wife’s cousin, call to help with the ailing Chinese? The consequences and working with the Chinese?
6. The atmosphere of the police precinct, the officer in charge, attitude towards Franco, police investigations?
7. Cosimo, the link with the Chinese, jewels and diamonds? Franco’s audience with the head, his son-in-law, sinister, ambitious? The old man’s gratitude? The job, the delivery of the diamonds, meeting at the airport, driving the carrier? The discussion with Dino, his son, Franco’s wife looking after him, Dino and his motivations?
8. The situation, the airport, the carrier, the bodyguard, sinister and silent, no weapons? The drive, the tension, the flat tire, continuing to drive, stopping, the arrival of the police, the interrogations, the treatment? The gun, the shootings, Dino’s death, the bodyguard’s death? The carrier, escaping, with the diamonds, her being killed? Franco, taking the diamonds, throwing them onto the freeway? His leaving the situation?
9. The tension, Franco’s alibi, going for the run, the Farewell party, his wife’s attitude, his phone call, getting her to collaborate, her pressure about taking the diamonds, driving to the scene, with Dino’s son, her demands, getting through, going to find the diamonds, the torch, her finding them? Getting away?
10. The chief, the phone calls, summoning Franco, his arriving at the scene, his covering that he had not been there, Philip police, the phone, the suspicious calls, the suspicious officer and his reputation for corruption, the death of the police who attended the scene, the death of the woman, the presumption that there would be no shooting because of Franco’s reputation?
11. The setup, the Chinese boss and his reaction, summoning the meeting, his son-in-law, Franco denouncing him, Franco and his statement that he would keep the diamonds, to support Dino’s son…?
12. The final night, on the streets, the searching, the visit to the Chinese, on duty, the final broadcast and the acclaim from fellow officers?
13. Franco standing, looking forward, his future?

NONNAS ON THE RUN

Italy, 2018, 94 minutes, Colour.

Claudia Cardinale, Nunzia Schiano, Jordi Molla, Daphne Scoccia, Ilenia Pastorelli, Eduardo Pesce.

Directed by Laszlo Barbo.

Nonna is an affectionate Italian word. It means grandmother. And this English title is an enjoyable play on the British comedy title, Nuns on the Run. However, as is seen on a final gravestone, the Italian title indicates nothing serious!

This film is a romp, often quite over-the-top in its exuberance. Many commentators have made reference to Thelma and Louise, but this time the two ladies on the loose so to speak, are in their 70s, living in aged care, feeling the confines, wanting to escape and contriving to set up two of the carers, encouraging their relationship, distracted, so that they can get out of the building.

Claudia Cardinale plays the Duchess, a gambler, and alienate it son who is an orchestra conductor, about to return to Italy in Venice. Nunzia Schiano is a widow who was a top cook at a restaurant. Her daughter, married again, has control over her money. Her granddaughter is rather wild, alienate it from her mother, complicit with her grandmother in the escape and later following her.

There are all kinds of comic adventures, especially in the initial encounter with two gay transvestites, just after they are suddenly robbed of all their money. (And there are schemes of them to get their way, the transvestites being seductive to bank managers and others and photographing them when compromised.)

There are adventures in Rome. They travel to Pisa, even having a ride there in supermarket trolleys. They are on the road, have great success in getting money in gambling, later stolen, and much of it lost at another casino. They encounter a farmer who hosts them, drives them, despite a breakdown, to Venice.

Meantime, the two nurses are in trouble, fired, but continue their relationship.

The young daughter encounters the transvestites who get into trouble with the police, accused of kidnapping the grandmothers. One of them is interned. The other, played by veteran Spanish actor and author, Jordi Molla, has a long journey, often clashing, with the daughter, eventually arriving in Venice.

There are various moods along the way, the Duchess exuberant, the widow having second thoughts and longing for her husband, the pursuing couple trying to avoid the police, eventually arriving for the recital of the widow then collapsing. (But not before she is given a severe talking to her granddaughter getting to reconcile with her mother.)

Older audiences can identify with the two grandmothers and their run. And it is challenged to younger audiences, middle-aged and young, to give more thought and attention to the elderly.

FIVE NIGHTS AT FREDDY’S

US, 2023, 110 minutes, Colour.

Josh Hutcherson, Piper Rubio, Elizabeth Lail, Matthew Lillard, Mary Stuart Masterson, Kat Connor Sterling.

Directed by Emma Tammi.

For this reviewer, a good surprise. For diehard horror fans, strong expressions of disappointment. They wanted more shocks, more scares, more gore. They were not impressed by the human story.

Five Nights at Freddy’s is based on a computer game, popular since 2014, by Scott Cawthorne who contributed to the screenplay for this adaptation of his game. Box office and some blogging indicates that many fans of the game have enjoyed the film.

Rather than set up expectations for it as a horror film, it is probably best to call it a “terror film”. While horror has been a staple of the prolific Blumhouse production company, in more recent times, as with The Black Phone, there have been quite a number of menace and terror dramas, more accessible to a wider audience.

The screenplay for Five Nights keeps a favourable audience quite involved. There are some moments of horror at the opening, but then an introduction to a troubled young man, Mike (Josh Hutcherson), traumatised by the abduction of his younger brother, inadequately caring for his younger sister (with their aunt, Mary Stuart Masterson, wanting custody to get the payment checks). He is interviewed by a career counsellor who recommends a job as security at an abandoned restaurant, popular with families, but now in disrepair. This is Freddy’s.

For audiences who are interested in the family drama, this is followed through in some detail, but made more complex by Mike reading a book Dream Theory and having, throughout the film, a recurring nightmare, revisiting the abduction of his brother, each dream adding more as Mike tries to discover who took his brother. This dream thread is often quite powerful.

As regards Freddy’s, there are five very large Animatronic characters (from Jim Henson’s workshop), rather than computer graphic effects, who come alive, repeating a song and dance routine from the past, but also can be terrifyingly menacing. We see them in action against some thugs, urged on by the aunt, to trash Freddy’s. But we also see them engaging happily with Mike’s sister, (Piper Rubio). There is also a sympathetic policewoman (Elizabeth Lail) on watch who befriends Mike, giving him advice.

Of course, it will build up to quite a confronting climax, and some revelations about the villain behind Freddy’s, about the policewoman, which a number of viewers said they anticipated but, probably, most audiences will find it an interesting twist.

One note about the screenplay, there are only two coarse words uttered throughout the whole film, no reliance on repeated coarseness, one word spoken by the main thug, the other by a pharmacist who has been offended by Mike.

As expected, at the end, there are questions raised about the future – indicating possible sequels.

1. The popularity of the computer game? Since 2014? Accompanying merchandise? The age of the players?
2. The atmosphere of the town, public places, homes and apartments, offices, and the contrast with the isolated Pizza rear, the facade, the parking, the range of dim interiors? The musical score?
3. Willing suspension of disbelief? Characters, ghostly appearances, abductions, the animatronic animals, coming alive?
4. The description of the film as horror – or, rather, it being a terror and menace film? Some scares, some touch of the grizzly, but more the atmosphere of terror? Popularity of the box office, some critics wanting more horror?
5. Freddy’s, in the past, for pizza, entertainment, the animal characters, children and families? The accusation about the owner, the pizza rear in decline? Need for security guard?
6. The introduction to Mike, the memories of the past, his family, his brother, the picnic, his brother’s disappearance, Mike blaming himself, but very young? The consequences, his insecurities, wanting to find out what happened, his continued dreams, the developments in the dreams, re-enactments, questioning the mysterious children?
7. Mike, his friend, interpreting the man abducting a child, attacking him, punching him? His going to the job counsellor, not able to hold down a job, the lecture by the counsellor, the offer of the job – and the ironies of the final revelation about the counsellor?
8. Mike, with Abby at home, the tension between them, her drawings, his presence? His sister? Memories of the parents? The relationship with their aunt, her wanting control, and the support money, the confrontations with Mike, the thugs, urging them to rough up the pizza rear, the aftermath? The irony of the babysitter, connection with the group, Mike relying on her during the night shifts, her being part of the gang?
9. Freddy’s, the atmosphere, the old machines, the lights, the animatronics? Sounds? Suspicions? The surveillance, cameras, the lights?
10. The policewoman, surveillance, discussions with Mike, supporting, warning? A character, bonding with Abby? The visits to Freddy’s? Abby and her assertion? Mike’s apprehensions? The policewoman and her warnings, and the final revelation as to who she was, her father, and the final dramatics?
11. The horror in the pre-credit sequence, the man, the tunnels, menace, his death? The thugs, their smashing the place, the creatures coming alive, the pursuit, the terror, menace, the horror of their deaths? Concealed, later discovered?
12. Mike, the continued dreams, wanting to know the truth? The challenge in his dream, letting his brother go, his regrets?
13. The buildup to the climax, the creature, menace, turning on the family, the irony of the father, the abductions, the trapping of the children, in the creatures, his control over them? His daughter, Mike, Abby and his defeat? The irony of it the revelation of who he was?
14. The screenplay and the combination of Mike’s story, the abduction, his search, the consequences for him, Abby? His dreams? Along with the horror story about the haunting of Freddy’s?

SCARYGIRL

Australia, 2023, 90 minutes, Colour.

Voices of: Jillian Nguyen, Sam Neill, Rob Collins, Tim Minchin, Anna Torv, Liv Hewson, Remi Hii, Mark Coles Smith, Deborah Mailman, Kate Murphy, Dylan Alcott.

Directed by Ricard Cusso, Tania Vincent,

In fact, Scarygirl is not scary in herself, just initially scary to look at. She has been the subject of games, books, dolls and merchandise, created by artist Nathan Jurevicius.

For audiences not familiar with Scarygirl, this is an Australian production, Australian animation, directed by Ricard Cusso who has a number of animation films to his credit, and Tania Vincent, responsible for the direction of the animation. Looking back over Australian cinema history since the 1970s, there has been a strong tradition of animation films and, especially, on television (think Bluey).

The animation style here is quite idiosyncratic. The backgrounds are vivid, bright colours, very busy in detail, high on technological aspects. We are in another planet, a mad scientist and his experiments, control of the sun, wanting to reanimate characters, especially his lost daughter. And there are quite a number of sinister characters, many of whom have comic touches. There is the black-dressed rather sepulchral The Keeper. There is a chattering rabbit, Bunniguru,, and his associate, Egg, the rabbit an inveterate gambler, who owes a great deal to a small moustachioed villain-henchman, Chihoohoo, who is on a mission to capture a life-giving octopus, Blister, who cares for Scarygirl.

Quite a lot of adventures, the capture of Blister, Scarygirl wanting to rescue her father, encountering the mad scientist, but finding quite a number of allies in this strange world, building up to the expected confrontation, rescue, and Scarygirl being a determined action hero.

It would be very interesting to hear children being interviewed after watching the film, its impact on the littlies, primary school children, on secondary students – how much they followed, how much they enjoyed the film, what it meant to them. There is enough here to interest adults accompanying the young audience.

And, there is the huge attraction of the voice cast, the mad scientist, Dr Maybee, by Sam Neill, Chihoohoo by Tim Minchin, Blister by Rob Collins, The Keeper by Anna Torv – and, most important for the film, Scary girl voiced by Jillian Nguyen.

1. The title? The girl, her appearance and being scary, her background and her creation, destruction, reappearance?
2. The nature of the animation, Australian creativity with European background, complex, the world, the technology, the locations, laboratories, and the design of all the characters? Human, semi-human, animals…? In the musical score?
3. The basic story, the planet, the son and its energy, the story of Dr may be, the mad scientist, his daughter, death, animosity towards Blister, channelling the son? Wanting to recreate his daughter? The final confrontation, Blister, Scary girl, his defeat?
4. The situation with Blister, confronting Dr Maybee, exile, caring for Scary girl, father figure, octopus and his talents, creativity? His being captured, the buildup to Dr may be?
5. The other characters, Chihoohoo, small, the touch of the gangster, is allies, the mission to capture Blister?
6. Bunniguru and Egg, their partnership, friendship, the gambling, in debt, paying off his debt by the capture of Blister?
7. The sinister presence of The Keeper, in black, female? The final revelation of who she was, against Dr Maybee, collaborating with scary girl and the confrontation?
8. The range of adventures, the characters, scary girl and her forthrightness, abilities, Blister, and the support of bunny girl, and mending Egg?
9. The impact for the range of audience, very young, young, teenage, adults?