Displaying items by tag: Peter Malone's Movie Reviews

I WANT YOU BACK

US, 2022, 116 minutes, Colour.

Charlie Day, Jenny Slate, Scott Eastwood, Gina Rodriguez, Manny Jacinto, Clark Backo, Pete Davidson, Jamie Gertz.

Directed by Jason Orley.

This twist on romantic comedies is more enjoyable than it might sound. The characters are well developed, especially the central characters of Peter and Emma, played by Charlie dealing with his continual patter style, Emma by Jenny Slate, seemingly ditzy but having more depth.

The film opens with two breakups and the consequences for those abandoned. Peter and Emma work in the same building, and weeping in the same stairwell, share their stories, make the plan that each will breakup the new relationship with their former partners.

Emma, this is going to a theatrical group, working with children, putting on a musical, her helping, singing a song, getting the attention of the director – and, her ultimate tactic, suggesting a threesome which he is enthusiastic about but which Peter’s former partner disapproves of. She decides to take Peter back.

On the other hand, Peter befriends Noah, Scott Eastwood, going to the gym, developing a friendship, a kind of romance, meeting the owner of the pie shop, Clark back oh, and failing to break up this romance when Noah proposes and is accepted.

How to bring this all 20 and? Both are invited to Noah’s wedding, the awkwardness, the interactions, Emma upset, Peter awkward, but the finale, nicely on a plane home, a situation I have discussed about true love and who helps a fellow passenger to oxygen, helping themselves first or helping the one-day Love first. And this is the nice ending for Peter and Emma.

1. Romantic comedy with a difference, romances, breaking up romances?
2. The title? Peter and Emma? The scenes of the breakup, Peter at the party, the children, clowning, and and her declaration, six years, wanting to be an actress, the separation? Emma, chatting and eating, no way and his breaking with her, her reaction?
3. The two working in the same building, Emma and the orthodontist, weeping? Peter, the board, care for the elderly, saving money and conditions, his reaction, the two in the stairwell, meeting, sharing, the meeting, the decision to undermine the new partnerships?
4. Emma, her going to the theatre, the encounter with Logan, meeting And, Little of horrors, her helping, singing the song for Audrey? Logan and the attraction? The young boy, surly, his work, clashing with Emma, her talking, being straight with him, the good interaction, her further helping him, the future? The episode of the invitation for the threesome, Emma, bold, Logan wanting it, And and her reaction, walking out?
5. Peter, going to the gym, the help from Noah, their friendship, and the gym, sharing? No meeting Jenny and her work with the pies? Buildup of the bromance? Going to the party, the underage girls, the dancing, the pool, Peter leaping into the pool, the father coming home, there are escape?
6. Peter and Emma and their meeting, comparing notes? Emma and her achievement, Peter and his haste, going to And, the seeming reconciliation?
7. Peter invited to the wedding, Noah inviting Emma, on the boat, the tensions, the eventual revelation of the truth, Noah and his punching out Peter? Emma and her upset? The breaking of their friendship?
8. The return flight, sitting marriage other, the previous conversation about helping with the oxygen, helping someone loved before oneself, and this happening on the flight home? The happy ending?

MOGLIE E MARITO/ WIFE AND HUSBAND

Italy, 2017, 95 minutes, Colour.

Pierfrancesco Favini, Kasia Smutniak, Valerio Aprea.

Directed by Simone Godano.

Vice versa comedies have been popular over the decades, mothers and daughters exchanging bodies, fathers and sons, older and younger, but, this time, it is husband and wife.

The style of the film is rather broad comedy, the establishing of the husband absorbed by his scientific investigations, investing all his inherited money in the experiments, working with a collaborator, going to make a device which will be able to record human memories. In the interested parties in exploiting the invention. On the other hand, the wives involved with a television station, the possibility of her becoming an interviewer.

Meanwhile, at home, the various tensions, he very much Owen’s expectations, she very disappointed, but the love for their son. Divorce proceedings.

The key episode is when the husband is experimenting, persuades his wife to sit and make a connection so that they can download each other’s memories. And, of course, this is the beginning of both comic and serious issues, and a lot of farcical comedy.

PF Francesco Fellini has become one of Italy’s top dramatic actors – and, he establishes his match our character and then has to go through the latter part of the film with his wife’s consciousness and her manner transferring to his body and bodily style. And, of course, the contrast with the wife becoming masculine in her manner. On the one hand, is easy for a male actor to become more simpering. On the other hand, there is the challenge for the actress match oh in her behaviour, sitting with legs spread apart, rough, awkward in shoes, even the issue of the monthly period.

Which means all kinds of complications, misunderstandings, the fiasco with interviews at the studio and angry interviewees – but popular with audiences. And, the awkwardness at the laboratory and the dangers of losing the invention. And, of course, the reactions of friends and employers to the strange behaviour.

A variation on the vice versa theme, a bit more unusual and the freaky Friday kinds of stories.

HELENE

Finland, 2020, 121 minutes, Colour.

Laura Birn, Johannes Holopainen, Krista Kosonen, Pirrka Sosio..

Directed by Antti J. Jokinen.

This is the portrait of a famous Finnis painter, Helene Schjerfbeck, prolific artist, especially in the first two decades of the 20^th century.

Laura Burton is persuasive as Helene, introduced as being interviewed but very reticent. She lives with her mother and cares for her, a crotchety old woman, critical of her daughter but not living with her son and his family. Helene is very reserved, giving out of Helsinki, seen very often with her painting sessions, frequently approaching herself, using mirror. A lot of detail of her preparation of the paints, the replication, her techniques.

Suddenly she is admired by some art dealers who persuade her to sell her paintings, exhibit them in Helsinki. She agrees, attends the exhibitions, is very fussy about the lighting for seeing the paintings best. Gradually, she appreciates this acknowledgement of her art.

She is also introduced to a young man who is an admirer of her work. The central part of the film shows the relationship between the two, his interest in painting, his happiness in being with Helene, growing friendship, some intimacy, her painting him without his shirt and its effect on her, Laura Burton’s performance indicating the intensity of this relationship, the older woman, the younger man, and his not realising the implications. When she gives him a scholarship to go and paint away from her, he becomes engaged to a young woman.

So, the latter part of the film focuses on the emotional and psychological torment for Helene, her interactions with her mother, her continuing to paint, the return of the young man and the tensions between them, her gradually dealing with her emotions and the impossibility of a relationship with the young man.

And emotional portrait of a portrait painter.

1. Audience knowledge of Helene Schjerfbeck? In the end, the early 20^th century? A reputation in Finland? Beyond?
2. Country location for the artist, the house, the studio? The surrounding countryside? The contrast with Helsinki, the buildings, galleries and interiors? The musical score?
3. The focus on the paintings, Helene and her work, the preparation of the paints, the light, the canvases, the attention to detail in showing her painting, the details of the paintings themselves? Portraits, of the scenes? Is revealing the in the life ofan?
4. The initial interview, her reticence? Her painting for many years, the visit of the art dealers, the search for the paintings, the contract, the prices? The reparation? The transition to Helsinki, the exhibition, Helene and her fuzziness with the light curtains? Walking through the exhibition, the admiration of the public?
5. The introduction to Either, his age, admiration, business interests? His supporting of her? The time together, the growing friendship, his eagerness to paint, coming to the country home, the painting together? The effect on him and his admiration? The effect on her, emotionally, the older woman, the younger man, her reticence expressing her emotions? The young men not quite understanding?
6. The importance of his posing without his shirt, the swimming, her response, the touches the painting, standing behind him, the sensuality, her emotions and attraction?
7. A relationship with her mother, cantankerous, critical, ousting her, sending her to her son and family, the short time there, her return?
8. Helene and her hold over the young man, giving him the scholarship urging him to go away and paint? The issues of writing letters? His not writing?
9. The announcing of his engagement, Helene’s response? His bringing the fiance to visit? Helene’s reaction?
10. The strain, the distance, I owner and his return, the treatment by Helene, his coming to some realisation, his apology?
11. An interesting portrayal of a painter, her talent, her focus, her abilities and success? The contrast with her reticence, reclusiveness, the encounter with the young man and its effect on her emotions, age, affections, and ultimate loneliness?

THE NOEL DIARY

US, 2022, 99 minutes, Colour.

Justin Hartley, Barrett Doss, Bonnie Bedelia, James Remar, Essence Atkins.

Directed by Charles Shyer.

The Noel Diary is what might be called a nice film. It has a G rating. Though some of the issues of very serious, especially family tragedies, family alienation’s, it is geared towards the popular audience. It was co-injury by Charles Shyer career like baby Boom father of the Bride. This was his last film as directors.

1. A Christmas story, romance, family issues?
2. The world of the successful novelist, signings? Recluse, his home? His mother’s home and the mess, cleaning? His father’s home in the woods? Hotels? The musical score, Christmas songs and lyrics?
3. Jake Turner and his story, success as a novelist, adulation from the readers, the signings sequence? Yet alone, past relationships, hiding away, the photo on the back of his books, looking down? Age, news of the death of his mother, alienation from her, building up the story of his dead brother (and his father remembering and the visuals), his father leaving and the reasons, for him to be a comfort to his mother, the failure, his distance from his parents?
4. The lawyer, his mother’s will, the mess in the house? Ellie as the friendly neighbour, memories, her support? The discussion about the tender entry, the date, successful, the relationship, inviting him to Christmas dinner?
5. Rachel, the mystery of her standing watching outside the house? Coming in, her quest? Explanations, her mother as the nanny? Wanted to find her mother, Jake and his idea of asking Ellie, the address of his father, Rachel wanting to drive there, persuading Jake? On the road? Rachel and the discovery of her mother’s diary – and the opening with the visuals of novel writing the diary, the further excerpts of the journey went on, the effect on Rachel, wondering whether she was abandoned, finishing the diet, reassured?
6. Scott Turner, in the woods, friendly, his story, grief, the death of his son? Leaving Jake with his mother? The explanations, Jake and his hesitancy? Rachel coming in, the meal, the discussions, the memories, not keeping the family together after the death? Knowles kind words about Jake, his brother, his parents?
7. Scott and his letter from Noel, the address? The decision to visit?
8. Rachel, her relationship with Helen, her hopes for the UN translation job, Allen and his meticulous accounting, the proposal about the engagement party, Rachel not going to find her mother, with her adopted parents, Jake and his arrival, her saying she did not love him? Wanting security with Alan?
9. Jake, the visit to Noel, the conversation, giving her the diary, reassured her about Rachel? Nolan her happiness?
10. Jake, coming to the house, being rejected, going home, the discussion with Ellie, finding the many letters from his father and his mother concealing them? And Rachel arriving? And the future?

REUNION

US, 2024, 90 minutes, Colour.

Lil Rel Howery, Billy Magnussen, Jamie Chung, Chace Crawford, Jillian Bell, Michael Hitchcock, Cassandra Blair, Diane Doan, Nina Dobrev.

Directed by Chris Nelson.

The familiar situation, the class reunion, this time held at a country estate in winter. There are the usual introductions to the guests, the focus on someone who has not achieved much in life play by Lil Lil Howery and the local police officer played by Billy Magnusson.

There is the usual activity, raucous American, drinking, dancing, some sex jokes…

There are also some conflicts in a very strange character played by Jillian Bell, making everyone suspicious. And Nina Dobrev plays an ambitious candidate for Congress. Most of the guests leave but a storm blows up leaving six visitors in the house.

For the rest of the film, it is a variation on Cluedo. There is an investigation of the house after a dead body is found, the host, there is suspicions, behaviour, gradual revelations about some of the characters and financial deals, journalist investigations, political blackmail… And, another corpse is found in the boot of a car.

There is a plausible explanation for the solution, one aspect is a guess by most audiences, someone outside the house, but a surprise to discover who was the collaborator inside the house.

And, Lil Rel Howery gets the opportunity to do a Poirot explanation of all the events to the assembled characters.

This party is obvious and, probably, mostly unnecessary. Audiences may enjoy the untangling of the mystery.

BETTER MAN

Australia/UK, 2024, 134 minutes, Colour.

Robbie Williams, Jonno Davies, Steve Pemberton, Alison Steadman, Kate Mulvaney, Damon Herriman, Fraser Hadfield, Raechelle Banno, Tony Budge, Anthony Hayes, John Waters.

Directed by Michael Gracey.

Whether you know all about British singer, Robbie Williams and his extensive and successful career, or whether you know nothing about him, this film is an extraordinary cinema, cinematic, experience.

It is based on the Robbie Williams memoir. And, while this film might be called a portrait or a biopic, it takes a different path from the usual. It is an overview of William’s career (though checking on his initial years in the boy band, Take That, then his solo career, reuniting with Take That, collaborating with many artists, tours, it reveals that there is far far more to his activities and success than the film indicates). But, it might be also described as a portrait of Robbie Williams psyche, his confidence and lack of confidence, his self-image, self-deprecating yet highly assertive, alcohol and drug addiction for many decades, erratic antics and behaviour, exploration of family connections, and massive success and awards which might have been his hopes but more than his expectations.

And, the way to do this? The device of Robbie Williams appearing as a chimpanzee. On paper, this might have sounded too risky. However, in the introductory sequences, Robert as a little boy, bullied, emulating his singing father, concern from his hard-working mother, support from a doting grandmother, he does appear as a chimpanzee and the audience is willing to accept this. And, a tribute to British actor, Jono Davies, who appears for the most part as Williams, the Robbie Williams himself, behind the mask, as himself in his later years. With the chimpanzee prosthetics and CGI effects, Davies is still able to create a credible and complex character, in performance, in song, in his torments.

Much of the film was made in Australia Australian director, Michael Gracey (with a background of visual effects and commercials), who entertained audiences with The Last Show man. There are some British actors like Jono Davies, Steve Pemberton as Pete Conway, Williams ambitious to entertain father, and a pleasing Alison Steadman as the devoted grandmother. But, a great number of the rest of the cast are Australians, led by Damon Herriman as producer, Nigel  Martin Smith, Kate Mulvaney as William’s mother, Anthony Hayes as producer, and even veteran John Waters as Michael Parkinson in an interview.

To describe this portrait as a “warts and all” expose is an enormous understatement!

So, while the device of having Williams appear in monkey form tells us to look at him differently, especially in his depressed moments, seeing hostile chimpanzee variations of himself in the audiences, condemning him, there is a great deal of virtuoso filmmaking, special effects and editing, for instance a huge musical extravaganza sequence in Regent Street in London, the crowds at the Williams concerts and their adulation, contrasting with quiet moments of personal anguish, the sequence of the funeral of his grandmother.

For those who have followed Williams for more than 30 years in his career, the Take That era and his solo career, there is an enormous range of his songs included here. But the whole film is framed by one song that highlights the initial ambitions, the ups and downs of the career, the downs and ups of personal life, the seeking of help, coming through with the lyrics of doing all he could to become a Better Man, the song lyrics for William’s life, especially as he stands on stage singing with his father, enabling his father to take a bow, the Frank Sinatra-gospel affirmation: My Way.

1. Title, Robbie Williams and his song, his ambitions to be a Better Man while doing it “My Way”?
2. Audience knowledge of Robbie Williams, his career, popularity, awards? The boy band, Take That? His solo career? Preparations? Songs and lyrics? Ups and downs? How much does audience knowledge of him affect the response to the film?
3. The film based on Williams’ memoir, his honesty, being candid, warts and all, strengths and failures? His origins, bullied as a boy, love of music, his father and his singing, entertaining, leaving, the separation for long years? His working mother and support? His doting grandmother? Her encouragement, his ability to sing, the enjoyment of the Pirates of Penzance concert, nervousness, showing off, applause?
4. The impact of the device of his appearance as monkey, “less evolved than other people”, the psychological effect for the audience, acceptance, interpretation? His own self-image? The aptness of the monkey facade, appearance? And the audience accepting this throughout the film? The versatility of Jono Davies performance’, acting, singing, stagecraft, but also the brooding and quiet episodes? And the effect of the various images of himself, monkeys, in the audience, criticising and condemning him? And, in the final sequences, Robbie Williams himself?
5. The film as a psychodrama, Robbie Williams commentary on himself, his ambitions and hopes, yet putting himself down, comparisons with his father, bullied at football, the success in the play at school, the joining with the young men of Take That, the role of Nigel Martin Smith, organiser, shrewd, getting performances, rehearsing, songs and lyrics, Gary Bowler as the lead, yet Robbie Martin lead singing, Smith naming him Robbie, the impact and range of performances of the songs?
6. Williams at 16, in his teens, success, the gay clubs, popularity, the concerts for young women and their acclaim? The effect on Williams? Self-image, clashes with the group, spoiling performances, acting like a spoiled brat? Depression sequences, the driving, the oncoming vehicles, swerving into the water, the swarm of fans in the water, his coming to the surface?
7. The possibility of going solo, Chambers changing him, listening to the song, arranging it, the continued collaboration over the years?
8. Success, his father, his entertaining in the small clubs and groups, changing his name, leaving, pride in his son, turning up after many years, trying to make contact? The support of his mother, her presence at the concerts, with his grandmother? The crucial moment of his performance, his mother phoning, the news of his grandmother’s death, the transition to the cemetery, the burial, and his later taking the TV to her grave? (And the very British touches with their watching the two Ronnies – and the image of the two Ronnies towards the end of the film?)
9. Success, reviews, concerts, collaborations, tours? The interview with Michael Parkinson, sitting on his lap, the smart remarks, self-confidence and self-doubt?
10. The significance of the group therapy encounter?
11. The encounter with Nicole Appleton, on the boat, her gradual revelation herself, the communication, the relationship, the significance of Oasis and the comparisons, Liam Gallagher, the drugs? The break with Nicole, at the house, his secluding himself in the bathroom, her shock, leaving him?
12. His ambition to play at Knebville, the discussions, eventually arriving there, the crowds, the performance, the doubts, the surreal image of his fighting the battle with all the images of himself and conquering them?
13. The portrait of the members of Take That, in themselves, their talent, the success, the clashes with Robbie, his leaving, Nigel Martin Smith and his contempt for Robbie, watching him leave? But the later reconciliation with Gary and the others? Performances?
14. The finale, on stage, his father present, the background of their confrontation, Gary lying on the water, his father going into the water, the interchange, Robbie wanting his father support for Robert? His father’s self-awareness, at the concert, on stage, their singing together, his father finally taking a bow having said he was happy just to entertain one person with all that he had?
15. Robbie Williams aged 50 at the time of the release of the film, looking back at his life? And life ahead?

MIDDLE OF NOWHERE

US, 2012, 101 minutes, Colour.

Emayatzy Corinealdi, Omari Hardwick, David Oyelowo, Lorraine Toussaint, Edwina Findlay, Sharon Lawrence.

Directed by Ava DuVernay.

Middle of Nowhere is the second feature film by Ava DuVernay who did not make feature films until her late 30s. Two years after this film she made the portrait of Martin Luther King, Selma, and, in 2023, the exploration of investigation of racial themes in the US, Origins.

The title refers to the psychological situations of most of the central characters. But, with the screenplay and the direction, this is very much a female observation of female characters and situations, and very much geared towards African-American women who can identify with the characters and situations. While there are some sympathetic portraits of African-American men, the focus is very much on the women.

This is a story of a nurse, Ruby, played by Emayatzy Coninealdi, whose husband is sentenced to 5 years in prison, Derek, played by actor, writer, poet, Omari Hardwick. Ruby is strong-minded, devoted to her husband, demanding that he serve five years and be released on good behaviour. Four years pass.

While the audience sees Ruby at work, at home, there is a very tense relationship with her mother, played by Lorraine Toussaint, strong-minded interfering, resented by her two daughters. Ruby visits her husband in the prison and is hoping that he will soon be paroled, finding money, even borrowing from her mother, to pay for a top lawyer.

At the parole hearing, there is something of a shock for Ruby and she reacts impulsively and quietly the vindictively, a relationship with a bus driver whom she has had a passing friendship with, Brian, played by David Oyelowo, sympathetic character.

Which means that Ruby’s life and plans receive quite a blow. There is some final revelation of what was the crime and the cause of her husband’s imprisonment,  her finally going to see him, explaining how both of them are in the middle of nowhere in their lives and the choices will have to be made.

1. The symbolism of the title? Would Derek in prison? For Ruby waiting for him? For her mother wanting the bond with her children? For her sister and her child? And for all the characters at the end of the film? Choices?
2. The work of the director, her interest in African-American themes? This film targeting black American female audiences? Identification with the characters and themes? Universal themes? The male characters, male audiences observing?
3. The American city, homes, neighbourhoods, hospitals and reception, prisons, visiting rooms? The streets, the bus routes, the bus rides? Atmosphere? The musical score, its tone and style, the lyrics as background?
4. Ruby’s story, her relationship with Derek, going to see him in prison, the five year sentence, her intensity, travelling to see him, making demands on his intentions, five years with good behaviour, four years passing? Her relationship with her mother, tense, her demanding mother, bringing up the girls by herself, her interfering in her children’s lives, Rosie’s resentment, preventing her babysitting her son? The meal together and its tensions? Ruby’s relationship with her sister, conversations? Her work at the hospital, nursing, competence, not going to study further?
5. Audience interest in Derek, the mystery of his background and crimes, his partner and visits with the money? Intense, the pressure from Ruby, five years in good behaviour, four years passing and his good record? His presence in the flashbacks, love for Ruby, at home, the cooking, companionship? Yet the revelation of the story, absence from home for days with his friend, the guns, towards the end the visualising of the raid, the arrest, handcuffing Ruby?
6. Ruby’s ordinary life, her style, manner, work, competence, the bus rides and the encounter with Brian? With Rosie, seeing Brian, the conversation, the invitation to the club?
7. Ruby, finance, the parole board, her registration, finding the money to pay the counsellor, the demand for upfront payment, her creating a scene in the office, standing her ground, the compromise, the money from her mother, going to the hearing, Derek’s presence, the good report, the skills of the lawyer, and the revelation of the relationship with the guard? Ruby and her shock? The lawyer handling the situation? Derek leaving?
8. The effect on Ruby, upset, wandering, the decision to go to the club, the meeting with Brian, the dancing, driving her home, going to his place, the encounter, her motivation, anger, retaliation? The phone call from Derek, her ignoring it? Explaining to Brian?
9. Her going to see Derek, the discussion in the prison, her love, yet her demands, his apologies?
10. The future, a reconciliation with her mother, relationship with her sister and nephew, the attack by Derek’s partner? The possibilities for Derek and four years? Her saying she would not wait in the same way? Memories of Brian? The possibilities?

MY NAME IS VENDETTA/ IL MIO NOME E VENDETTA

Italy, 2022, 90 minutes, Colour.

Alessandro Gassman, Ginevra Francesconi, Alessio Pratico, Francesco Villano, Remo Girone.

Directed by Cosimo Gomez.

There have been many films about Italian families, criminal families, their exploits, members then moving out, changing their lives, and the quest for revenge, vendetta.

This is a straightforward drama, offering the audience exactly what its title indicates. And in 90 minutes.

Alessandro Gassman portrays a man from the South who has opted out of his job as a hitman for a family, changed his life, fallen in love married, a daughter, the daughter now 18. Scenes of family life, the daughter a champion ice hockey, his teaching her to drive, quiet times in the mountains, her asking him about the Italian South.

He has kept his cover. Forbids her to take a photo but she does, posted it on-line, the will family using technology, finding his identity, killing his wife and brother, the brother by mistake, and the threat to the daughter. The daughter is disillusioned with her father, but realises the photo was her fault and she is responsible, denounces her father, finds a boyfriend to rescue her but they are pursued and he is killed.

There are scenes with the head of the family, his business and son and his hedonistic life, surveillance, setting up the assassin to pursue the targets.

Ultimately, there is the vendetta, the death of the father but also the death of the central character, his bequeathing the knife to his daughter, her killing the son.

Straightforward action, vendetta accomplished.

1. The title, the tone, the themes? The fair and family gangs, crimes, vengeance?
2. Northern Italy, the towns, the mountain scenery, Milan, the city? The musical score?
3. Establishing the family, the ice hockey, Sofia playing, her parents, pride, her friendship with Hakim, Santo and his comments, at home, letting Sofia drive, through the water, the beauty of the mountainside, her asking him about his southern origins?
4. The issue of the photo, Sofia taking the photo, putting it on line, the family and discovering the truth, tracking down Santo? The crimes of the past, his being a hit man, changing, marrying, moving to the North, hiding, his new life, vengeance?
5. Santo and his character, the past, the new life, relationship with his wife and daughter, discovering his wife dead? Her brother dead by mistake? Sofia escaping? Finding her, her harsh reaction, intense, blaming him, the photo, blaming herself? Her despising of her father, the escape, the hiding, her contacting Hakim, his coming to get her, the thugs following, of the road, the shooting of Hakim, the attack on Sofia, her father rescuing her?
6. The scenes with the family, the old man and his vengeance, the code, his contacts and henchman, the surveillance expert, money? His relationship with his son, the son as a businessman, his private life with the women, the expert coming to see him, getting the information? Rudi as the hitman, killing the wife, killing the brother, the continued pursuit of Santo?
7. Coming to the city, the warehouse, the weapons, training Sofia with the knife? His being wounded, her going to the pharmacy? The surveillance, tracking them down?
8. The decisions, Santo, wounded, avenging his wife, love for his daughter, the confrontation with the criminals, the shootings in the office, with the head of the family, killing him?
9. Sofia, her decisions, the son approaching her, giving her the card, the sweet-talk? His plan to kill her? Her coming to the office, his surprise, the confrontation, her killing him?
10. Audience sympathies, reaction to vigilante action, vendettas?

THE SIX TRIPLE EIGHT

US, 2024, 127 minutes, Colour.

Kerry Washington, Ebony Obsidian, Dean Norris, Shanice Shantay, Gregg Sulkin, Jay Reeves, Sam Waterston, Susan Sarandon, Oprah Winfrey.

Directed by Tyler Perry.

Inevitably many people who see this film will remember  the 2016 drama of African-American women who were employed as part of the World War II effort, Hidden Figures.

This is a film written and directed by Tyler Perry, a significant influence in making American movies with African-American themes, with his own studios in Atlanta, Georgia, writing, directing, often appearing. While most of his films have had family and domestic themes, his now taken on the portrait of this significant group of women, their volunteering for war service, their treatment by the American military, their experience of racist discrimination and insult, their being given a mission, offered  little support, even hindered, but a fine achievement in distributing in 90 days towards the end of the war, a huge amount of mail to and from those soldiers on war fronts.

While the film is based on actual characters and events, especially the leader of the women, Major Charity Adams, played with strong conviction by Kerry Washington, personal stories are introduced which gives a humane perspective to the military enterprise.

Initially, the film focuses on December 1943, young pilot crashing, his letter being taken by a passing soldier who has come from the trenches and placed it in the mail bag. Then, back to 1942, Philadelphia, the young man, Jewish, and his love for an African-American girl, Lena, her demanding mother and grandmother, who work in catering for events, the lyrical happiness between the two and his going off to war. With no news from him, Lena, Ebony Obsidian, volunteers for the war effort.

Some of the scenes parallel sequences in films about recruits arriving, the conditions, the severe officers, the physical demands on training, the variety of personalities, clashes and working together. Lena is the youngest and there is a focus on a group of women throughout the film, making the story more personalised.

The story is historically situated when the mother of a soldier has not heard from her son for three years, stands vigil at the Whitecap house, asked to see Eleanor Roosevelt, explaining the situation to her, to her husband the President, and Mary MacLeod Bethune, an American advocate for women in the war. (As a bonus, they are played by Susan Sarandon, Sam Waterston and Oprah Wnfrey.)

The key to the story is the women being assigned to go to Europe to work on the distribution of the huge amount of undistributed letters. Some of the heads of the military, especially General Halt, Dean Norris, are particularly demanding, obnoxious, blatantly racist, for example, horrified at black women reading the letters of white men. Obstacles are placed, the mail is kept at an old English school, conditions difficult, the women renovating their headquarters, working out logistics, not succeeding immediately, finding clues, Lena, especially, contributing while eventually getting that lost letter from the opening of the film and finding the young man’s grave.

The women’s achievement is not well acknowledged but they are acclaimed by a group at the railway station. However, the work was minimally recognised until decades later. In fact, there are many photos of the women at the end of the film, newsreel footage, and the actual Lena, aged 100, interviewed and reminiscing about the experience. And the military camp where they trained has had its name changed to include a tribute to Major Adams.

Many audiences were very much moved by watching the film. Those with military background raise quite a number of objections about the stage of battles, funerals, uniforms and many details which prevented them from being moved overall by the impact of this tribute.

1. Based on actual characters and events? The final tributes, comments, photos and newsreel footage?
2. The US, the atmosphere of World War II, those in service, those at home, communications, lack of information? The piling of the letters in England? The need for distribution? Morale for the soldiers?
3. The work of Tyler Perry, producing, writing, directing? African-American stories, African-American issues? Issues of racism? American society?
4. The prologue, 1943, December, the action sequences, the trenches, the soldiers going over, killed, bombings, the plane crash, the young soldier, the encounter with the plane, seeing the letter with the blood, taking it and putting it in the mail? The dead pilot?
5. 1942, the focus on Lena, her age, at school, with her severe mother, with her grandmother, the home scenes? Friendly with Abram? His visit to the house, her riding in the back of the car, the exhilaration, his love for her, her shyness? Catering for the party, the bigoted girlfriend, standing in the way, insulting, the two going outside, the song, You made me love you…? The farewell? The impact on Lena, no news, thinking that Abram was dead, her family, the future, studies, her decision to join the army?
6. The introduction of the African-American women and their war service? The range of those joining up, the film’s focus on the particular group, their characters, backgrounds, interactions, Jonnie May and her brashness, the more refined and religious young women? Lena in this group? The big number of women joining?
7. The buses, arriving, the introduction of Major Charity Adams, in charge, her personality, the responsibility, her self-assurance, yet the continued attacks on her and her confidence, racism, prejudice against women? The development of her character throughout the film, the loyal assistant, the stern drills for the women, the training, her comments on Lena, the later speaking privately with her, affirmation, and her praise for her insight for the distribution of the male through the symbols on the envelopes? The mission, her meeting with the authorities, their contempt for her, lack of letters and orders, on the plane, in the UK, the derogatory remarks about the women, seem on the ship, the conditions, seasick, they’re coming off the ship, marching in order and taking the salute?
8. The importance of the mission, lack of faith in the women, the character of General Halt, his personality, rigorous Army, racist, assertion of the white males, humiliating major Adams, the various confrontations, the final confrontation, Major Adams and her defiance? The possibilities of court-martial? The death of the women in the accident, the funeral, no military support, the chaplain, the severity of his sermon, the attack on Major Adams, her going to the office, finding his mail, spying on her, dismissing him?
9. The logistics of sorting the letters, the vast number, the conditions, King Edward’s School, the cold, the accommodation, the women transforming it, making it habitable, even the beauty parlour, the cold, the vermin, the effect on the mail? Setting up, sorting, the slow sorting, the condition of the mail?
10. The various ideas, names and categories, locations, maps and indications, Lena and her noticing the symbols, the map, greater flow of the letters? Of the continual hindrance by the bureaucracy, the army prejudice, the officers and their words and treatment of the women?
11. Lena, her letter, going to the cemetery, reading the letter? His message? The attentions of Hugh, his background, service, intending to marry, the friendship with Lena, the dance, the song, her grief? The funeral, accompanying her to the cemetery, accompanying her back to the barracks?
12. The women going on strike, Major Adams and her reaction, their applauding her?
13. The background of the woman and not receiving any mail, standing outside the White House, Eleanor Roosevelt, bringing her in, the discussions, the visit of Mary McLeon Bethune, the pioneer for African-American women? President Roosevelt himself?
14. General Hall, the death of Roosevelt, comments on Truman, his ridiculing of the women and their work?
15. The ultimate success, the methods, within 90 days, the distribution of so much mail, the scenes of the men receiving it in the war areas, the families, the woman who stood outside the White House?
16. The women at the station, the acclamation by the crowd?
17. The final information, the lack of acknowledgement of the work, the women? Lena aged 100, the interview, her comments, the photos of the other women? And the renaming of the Fort – and the honouring of Major Adams?

TAROT

US, 2024, 92 minutes, Colour.

Harriet Slater, Adain Bradley, Jacob Batalon, Olwyn Fouere.

Directed by Spencer Cohen, Anna Halberg.

In the first years of the 2020s, there was an abundance of popular horror films, generally with a younger cast, gatherings, risky playing of games, seances, dabbling in the occult… And, here, the reading of tarot cards.

The film received very hostile reviews but was popular with cinema audiences and then on streaming, making a substantial profit on a comparatively low budget.

Once again there is a group, this time seven, gathering together in an empty house for a birthday celebration. The film takes some time delineating the characters. Then, there is exploration in some of the old parts of the house, the discovery of some tarot cards. The central character has a talent for reading the cards and so each of the characters asks for a reading, and identification with a card character, especially with the death connections – High Priestess, Hermit, Hanged Men….

So, an atmosphere, and then, step-by-step, most of the characters experiencing a gruesome death according to the title of their card. (But, there is a touch of comic relief when one of the characters is saved by a roommate and mixed identity and an elevator door… .)

The character with a talent for reading the cards then consults an old expert, played by Irish actress with a talent for this kind of role, Olwyn Fouere (The Watchers) who explains everything, but undergoes her own death. The narrative then goes back to past centuries, an expert in cards, in Hungary, curses and death, the death of his daughter, motivation for vengeance.

A happy ending, after the gruesome deaths, the central couple are able to undo the curse and survive.

An occult thriller more for a young adult audience.