DEN OF THIEVES 2: PANTERA

US, 2025, 130 minutes, Colour.

Gerard Butler, O'Shea Jackson Jr,Evin Ahmad, Salvatore Esposito.

Directed by Christian Gudegast.

In 2018 audiences enjoyed Den of Thieves, the pairing of O’Shea Jackson Jr (son of Ice Cube) and Gerard Butler, one criminal, one police, all kinds of intrigues and manoeuvres, involvement in elaborately planned robberies.

So, here is an opportunity to revisit, relive the enjoyment of the first film and more elaborate robberies and setups.

This time the focus is on Donnie, O’Shea Jackson Jr, not necessarily learning from the results of the first film, involved in quite an elaborate heist. And, quite some accomplices, especially the mastermind, Jovanna (Evin Ahmad), cool and controlling. Donnie is involved in all kinds of intrigues, especially on the French Riviera Coast, trying to do deals with the stolen diamonds. However, there is one special red diamond that is coveted by the Pantera capo.

Into the action comes Big Nick, Gerard Butler, who did battle with Donnie in the first film. But, here it seems some kind of collaboration, Nick being very easy-going, interested in the manoeuvres, getting involved in all kinds of action, but…

A very international atmosphere, especially on the French Riviera, Nice and the surrounding mountains, especially chases and ambushes on the mountain roads, action, betrayals, comeuppances…

More or less what the audience revisiting Den of Thieves was expecting.

1. The popularity of the original film? The title and tone, thieves and schemes, police and investigation? Tough action? A sequel, continuation with the characters, presupposing audience knowledge of the first film?
2. The title, the Italian Mafia, Pantera? Control, vengeance, gangs? And the finale with the capo?
3. The focus on Donnie, the initial raid, the robbery, the diamonds, the red diamond? Donnie and his personality, passing himself off as an expert, Nigerian? His American background? The participation in the robbery, in the schemes, moving from identity to identity?
4. Jovanna, the flight attendant disguise, the control, the technology, computers, surveillance? Her role with the game? Deals?
5. Donnie, in France, the coast, the expert, playing up to her, her expectations? Personality?
6. Nick, Gerard Butler, personality, the first film, interactions with Donnie, coming to Europe, becoming part of the gang, his credibility, in action, nonchalant, suspicious?
7. The complications, the betrayals, the Pantera, the Independent types, the Eastern Europeans? Meetings, betrayals, action?
8. Nick, shrewd, his activities, dangers, with Donnie, his manoeuvres?
9. The buildup, the confrontations, the chases through the mountains, the ambushes, the deaths?
10. Nick, undercover, leading the group on, informing the police in Nice, the link there, the arrests?
11. And Donnie going to the capo – embraced and the possibilities for further Den of Thieves action movies?

WE LIVE IN TIME

UK, 2024, 108 minutes, Colour.

Andrew Garfield, Florence Pugh, Grace Delaney, Lee Braithwaite, Adam James, Douglas Hodge, Niamh Cusack.

Directed by John Crowley.

We live in time, moment by moment, day by day, year by year, a linear progress. But, in time, we also have the capacity for moving backwards and forwards in our memories.

It is important to note this for this film because rather than the linear progress of a couple meeting, falling in love, having a child, coping with illness, the screenplay moves backwards and forwards, sometimes disconcerting, the audience having to be alert to appreciate at which period in time the action is taking place. Which means that the experience for the audience is not immersive as a linear exposition would offer, but, rather, a variety of responses as we move backwards and forwards in time for insights and comparisons.

And, with living in time meaning from birth to death, this film is very strong in an unusual and sometimes graphic (but happy) birth sequence as well as a contemplation of illness and death.

The film was directed by John Crowley (Brooklyn, The Goldfinch) and gives strong opportunities for performance by the two stars. Andrew Garfield is Tobias, working with Weetabix and its promotion, a strong presence but designed very much to be supportive of Florence Pugh as Almut who, in fact, knocks him down in her car, not the most propitious of meetings. In fact, this is very much Florence Pugh’s film, a strong screen presence as has been shown in a range of films, comedies, dramas and even Marvel Universe actioners, dominating the film, her personality, her moods, her skills as a chef, her pregnancy and the challenge of the birth, her love for her daughter, her having to face serious cancer.

With moving backwards and forwards in time, we do have the opportunity to appreciate Almut’s response to her illness in the light of her previous activities, approaches to life. And, while she is fully alive with her husband and child, her skills as a cook, a chef, are significant, propelling her, even as she is sick, to join in the UK tea, in a chef’s competition in Italy.

The film has a strong female sensibility (though written and directed by men), inviting an empathy with Almut, not always liking her, irritated sometimes with her, but also in admiration of how she deals with life and life challenging situations.

1. The title, the focus on time, but not in linear time for the narrative, moving about in time, and themes of time from birth to death?
2. The British film, locations, characters, issues? The London sequences, the home and interiors, the grounds? The Italian sequences, the travel, the chef competition? The musical score?
3. The effect of the narrative being non-linear, audiences jolted, identifying the time situation? The role of memory, memories and interpretation, understandings of the past? Preparing for the future?
4. The bond between Tobias and It? The initial encounter, Tobias and the divorce, upset, being hit by the car, in hospital, the initial encounter with Helmet? Explanations? Each personality? Tobias, the impact of the divorce? Helmet, her parents, the story, skating, family life? As a chef? Seeing her at work, the kitchen, the staff, creativity, with Jade?
5. The development of the relationship, Tobias, his work, manner, the meetings with helmet, wanting to depend, time passing, falling in love, the ring in proposal? The bonding together? Families? The issue of children, the disputes?
6. The backwards and forwards, the issue of helmets illness, the past, recovery, the recurrence, the effect on her, the consultations, the advice, medical treatment? Success? Failure? Her work, the decision to continue with the cooking, the effect on her, being sick, the issue of the hysterectomy?
7. The pregnancy, her working, the effect? Tobias and anxiety? Held up in the traffic, the service station, the attendance, the drama and comedy of the birth? Success?
8. The scenes of happy family, their daughter, the playful sequences, the outings? The effect on each of them?
9. The decision to carry on with the cooking, the background of her success at the restaurant, Simon and his urging, choosing Jade? The clash with Tobias, his challenges to her, her response, wanting something that her daughter could remember her by? Change of heart, the winning of the UK session, going to Italy, Tobias and the daughter supporting her?
10. The symbolic skating, her past championship, Tobias awkward?
11. Her death, Tobias and his daughter returning home, the dog, the chicken coop, memories of the past, how to crack eggs?

SIDELINED: THE QB AND ME

US, 2024, 99 minutes, Colour.

Sienna Agudong, Noah Beck, Drew Ray TannerL James van der Beek, Deborah Cox, Asia Lizardo, Jason Fernandes.

Directed by Justin Wu.

The screenplay is based on a Wattpad novel, the site where one can read and published original material. And, for non-American or non-football fans, caps QB stands for Quarterback!

This is a film aimed at young audiences in their mid to late teens, both male and female. It may not appeal to younger audiences for whom all this is to come. And, for those over high school age, they may feel they have got over this phase of their life.

The film is quite a pleasant experience for the target audience. The setting is High School, a young student, Dallas (Siena and you don) is in her final school, needing points and a good report to go for a dancing audition for the California arts institution. Her mother, a talented dancer, and her father have been killed in an accident. She lives with her brother who is in a assistant coach at the school. She is very close to her best friend, Gaby.

The other central character is the high school Jock, talented football player, Drayton (Noah Beck), attractive to all the girls, plenty of friends, from a very rich family, James Vanderbeek playing his father who insists on his carrying on the high school tradition of the family going to Waco to play football. Later is revealed there is a family tragedy, Drayton’s twin sister, aged eight, wandering off at a picnic, never seen again. There are issues, of course, of responsibility and feelings of guilt.

In the first class, the conversations about Romeo and Juliet and it being tragic – but, any Shakespeare comparison with this film would be Much Ado about nothing, the clash between the two central characters, situations in which they find themselves, she keeping to herself and resenting him, he attracted to her…

The situations are predictable enough. Her dance teacher tells her she is in her head not experiencing feelings, there is an episode where Dallas and Drayton are urged by the coach to spontaneously respond to each other in dance and movement. She agrees to go to a party with Gabby, drinks, is caught in the situation at Creighton’s house. And they are suspended by the principal for Miss behaviour in going to the party.

Drayton comes to the rescue by inviting Dallas to go to California with him during the suspension, she is in admiration of the dances, he has an interview with the local football coaches.

At a birthday party, a blowup, severity from Drayton’s father, leading to some kind of frank talk and reconciliation, Dallas, on the other hand, secluded, preoccupied with the dance, snapping Gabby, but going to the audition and succeeding.

Final reconciliation is all round, Dallas going to California to dance, and, Drayton not telling her, turning up because of his contract with USC.

All the ingredients for mid and later teenagers to respond to.

AD VITAM

France, 2025, 98 minutes, Colour.

Guillaume Canet, Stephane Caillard, Nasim Lyes, Zita Hanrot, Alexis Manenti, Johann Heldenbergh.

Directed by Rudolphe Louga.

French actor and director Guillaume Canet, has been popular in French cinema for more than 20 years. Generally, he is a smiling, genial screen presence, a pleasant grinning, appearing in a wide range of films from a Harlen Coben adaptation, Tell No One, to the racing drama, Jappeloup, the recent emotional drama, Hors de Saison.

This time he has contributed to the story which means that he must have had a secret, not so secret, design to step into the tradition of action films like Bruce Willis, Liam Neeson or, even, Jason Statham. And that is what happens here. In fact, it is quite an action show, heating up as it goes along until some of the stunts in the finale defy a realistic belief.

But, it would seem that Guillaume Canet is really enjoying himself as Franck in this different kind of role. Even a sequel?

The film opens spectacularly with men in harnesses on the sides of the Basilica of Montmartre, looking for cracks and crevices. And an attempt on the hero’s life, and a chase through the local streets, leading to an apartment burglary, masked forces , k invadingnocking out the hero and abducting his almost 9 months pregnant wife. So, audiences are in the mood for explanations!

But, the scenario goes back almost 10 years, Franck and his wife, Leo, in the special forces, vigorous scenes of training, celebrations on graduation, and a group of friends who bond over the years. And, they are shown in action, solving cases, tough and expert skills. Until, Franck, enthusiastic, becomes involved in an episode in a hotel, a shootout, his superiors saying he defied orders and therefore was untrustworthy and his dismissal.

And back to that critical situation with the abduction of his wife.

One of the pleasing aspects of the film is it does show the personal lives, family life, of some of Frank’s colleagues, be it and said, as well as his relationship with Leo over the years, her skill in police work, but her delight in being pregnant.

The rest of the review, as for the rest of the film, Franck to the rescue with his friend, Ben, and some heroics all round and chases, on the road as well as in the air…! That in the air part does defy belief but, in the spirit of Francks father’s motto, given to him to uphold, Ad Vitam, to Life, we are swept up in the action.

1. The title? Motto? For life? For Armed Forces? For Franck, his father, the baggage and the inscription? Living up to his father, his failure?
2. The Paris settings, the landmarks, the views, apartments, politics, police, Secret Service? Domestic sequences and picnics? The abduction, countryside, chases, stunts and special effects? The musical score?
3. The structure of the film and its effect, the opening, Montmartre, Franck and Leo? The dangers, the murder attempt, chases, the mystery of the key, the special forces, the assault? Going back 10 years and the establishing of the characters and the situations? The return to the present and the confrontation, the framing, the political background and intrigue?
4. The impact of the opening, the work on Montmartre, the climbing, the dancgers, detecting cracks in the building? Climbing skills? Franck, the work, relationship with Leo, her pregnancy? The ransacked apartment, his discussions with Ben? The attempt on his life at Montmartre, the pursuit of the attacker? The attack of the team, the enforcer, masked, the brutality, the threats? The suspense in the flashbacks?
5. Franck, his story, his dead father, his tradition, the graduation, Leo and her presence, the other friends, the congratulations, the mood? The many scenes of training and detailed preparation for action? The friendship with Nico, with his wife, the child? The continued friendship, neighbours, picnics and happy occasions? The encounter with Ben, on the top of the building, balancing on the girder? His graduation, alone, Leo talking with him, the celebrations?
6. The team, camaraderie, in action, their commander? Leo and her training, the bonding with Franck, two years, together, Nico and his wife conniving?
7. All going well, Leo pregnant, the phone call, the diversion to the hotel, Franck’s decision to go in, the others agreeing, the confrontation with the shooters, the deaths, Nico and the pathos of his death? Been wounded?
8. The aftermath, Nico and his death, his wife, his children, the support, the boy blaming Franck? The funeral? Franck and his commander, untrustworthy, being dismissed?
9. The issue of the blood sample, Franck getting it tested, the revelation of the identity, Secret Service agents? The visualising of the background, the political situation, the arms deal with Australia, the espionage, the shootings, the discussions with the Minister, the cover-up? Franck and the issue of the blood and its identity?

• The team, the Enforcer and his ruthlessness, the confrontation, the brutality towards Leo, bashing Franck, the abduction, secluded Leo, the threats?
• Franck, becoming the action hero, his work on Montmartre, the attempt on his life and his pursuit, the death of his attacker, the enforcer shooting him, the police blaming Franck? His shrewdness, working with Ben, Ben as back up? The phones, identification of place, his shrewd use of the phone? Coming into the forest, taken to the hut, with Leo? Ben’s arrival, the shooting, the range of chases, bikes, cars, shootings, helicopters, audience response to the sudden presence of the flight machine, Franck using it, accuracy, the chases to the maternity hospital, his landing? Leo safe?
• Ben, wounded, driving Leo? The shooting? Franck and his being arrested?
• The journalist, the Minister, the revelations, the scandal, Leo and the baby, Ben to be the godfather, happy ending?
• Popular audience response to this kind of action show with a touch of romance and family?

THE WASP

UK, 2024, 96 minutes, Colour.

Naomie Harris, Natalie Dormer, Dominic Allburn, Leah Mondesir-Simmonds, O;ivia Juno Cleverly, Rupert Holliday-Evans.

Directed by Guillem Morales.

Audiences who enjoy a 90 minutes psychological thriller will be intrigued by The Wasp. It is basically a two-hander, based on a stage play by Morgan Lloyd Malcolm who adapted the play for the screen. This is a film of very strong dialogue, interactions between two women, gradual revelations of the characters both in the past and in the present.

In the early part of the film, there are scenes outdoors, views of an English city, walking in the streets, visits to a supermarket. However, the main part of the film takes place in the house, in one room in the house. But with the dialogue, the performances of the two actresses, the intriguing developments, the claustrophobic atmosphere, the audience becomes involved and does not notice the limitation of action within the room.

Critics have been very strong in their admiration for the performances by Naomie Harris and Natalie Dormer, British actresses who stro have had ng screen presence in films for almost two decades. Naomie Harris plays Heather, wealthy, seven years married to Simon, his response to her rather brittle, she more sensitive, house proud, but obsessed with a nest of wasps in the house, creating an embarrassing scene during one of Simon’s business socials.

Wasps, with the title, have some symbolic significance, framed photos of wasps on the staircase – and Heather explaining the symbolism of the tarantula wasp, the small wasp inside the tarantula, growing and eating away the spider will it finally emerges free. Which, of course, is the final image of the film.

The two women meet, conspire, but, ultimately remember the past, their childhood friendship, some terrible experiences of bullying and the consequences, and step by step further revelations, twists, continually intriguing, leading up to a battle of wits. And a tribute to the quality of the screenplay which keeps us interested and very much involved.

And, the aftermath of reflecting on each of the women, their experiences, the good and the bad, responsibilities of children, responsibilities of adults, and the consequences of vengeance.

1. The focus on wasps, the plague, Simon’s personal interest, the framed pictures? The story of the tarantula wasp in the final images and meaning?
2. The British setting, Heather sitting and looking over the city, Carla later sitting in the same place? The overview? The scenes in the street, the supermarket, the women walking to work? But the focus on the house, the main room, the second half of the film within the room, moments upstairs? The musical score?
3. Heather, her age, the marriage, Simon and his brittle behaviour, her responses, the issue of the wasps? Her sitting at the mirror, the make up? The social, the guests, Simon’s hopes, Heather and her battering the wasp nest, Simon upset? His ambitions, going out…?
4. Heather, on the computer, the files, the contacts, the ironies and revelations about her setting up fictitious characters, entrapment of Simon, entrapment of Carla?
5. Heather and the memories of Carla and the rocks for the wounded pigeon? Her decision to contact Carla? Motivations? Meeting with Carla, the restaurant, the proposition, their walking, at the supermarket checkout, the proposition, the money, Carla’s second thought? Pity about the money?
6. The portrait of Carla, at the checkout, slovenly, antagonistic towards customers, at home, her children, television, asking permission, her partner sitting in the chair, his gambling? Her going out, being picked up, with James? The money?
7. The return to the house, the drama with the two women? Heather, upper-class, Carla, working class, contrasts, the taunts? The proposal, Carla’s acceptance, working on the plan, something in the drink, the weapon for battering, Heather and talking of cutting up the body and disposing of it? The theory of the burglary? protective of her possessions? The time frame?
8. Carla’s return, the discussions, Heather and the flashbacks and memories, from the rock and the pigeon, to the various scenes at school, the range of bullying, torment, humiliations, nicknames, Dirty Heather, the scene in the toilet, the physical abuse, the consequences? Heather and the emotional impact of these events, not able to have children, the attempts, IVF, her sense of something within her?
9. Drugging Carla, tying her up, telling her the stories? Carla’s story, the abuse at home, that as did Heather knew what was happening her mother, their not intervening? The limitations of children’s experience?

• Carla, the explanations, the viciousness in the past, the behaviour of children, bullying, friends, her apologies, continued attempts?
• Heather going upstairs, the red dress, the knife, Carla’s attempts to be free, the final confrontation, Heather and her bitterness, Carla and the excuses, the revelation about James, his affair with Carla?
• The background with Ruby, the neighbour, looking in the window, , h her mother, Heather putting the letter in the box?
• Heather taunting Carla, the knife, whether to be violent or not, Carla with the knife, stabbing Heather, Simon returning home, tending Heather, Carla watching, Ruby and her mother, giving the letter to Simon, his reading it, Carla with the knife, the audience seeing the letter? Heather and her death and revenge, entrapment of Carla and Simon?
• The final image of the tarantula wasp, the wasp emerging from Heather’s body, her being the tarantula, it way by the wasp which escaped?

A LITTLE SOMETHING EXTRA/ Un p'tit truc en plus

France, 2024, 99 minutes, Colour.

Artus, Clovis Cornillac, Alice Belaidi, Celine Groussard, Marco Riso, Theophile Leroy.

Directed by Artus.

One of the most popular French films at the local box office in recent years. It is a story of a group of young disabled adults at a summer camp. The care characters are a professional cast. The disabled are themselves, an engaging group and some joyful activities. The complication is that a father and son burglars make their getaway in the group’s bus and are caught up, unwillingly, then willingly, in all the activities.

The film was written and directed by Artists, who also plays the central role of Paul.

1. The title, the focus on disabled adults and care for them? And the demand on Paul and his father?
2. The great success of the film at the French box office? French sensibilities and sensitivities?
3. The cast, Artus as writer, , director performer, comic style, serious? The care cast as professional actors? The disabled cast as themselves, the impact, the effect?
4. The situation with the jewel store robbery, the thieves, the satire at parking and getting a ticket and towaway? Desperate situation? The group on the bus?
5. The group, disabled, the caring staff, Alice in charge, Marco and his earnestness, Celine and her support? The range of the disabled men and women, characters, personalities, disabilities and coping? The irony of waiting for Sylvain, the mistaken identity for Paul and his father, the real Sylvain going off with the holidaymakers to merrymaking in Spain?
6. The expedition, the bonds, going to the Centre, the last year, the centre being sold, Alice and her fiance and the plans for America, the discussions with Celine, the fiance turning up, his insensitivity, leaving?
7. Paul and his father and their cover? The relationship between the two, the father dominating his son, the robberies? Paul expecting to be disabled, becoming Sylvain? Abilities, to impersonate, his activities, behaviour, helping the young men, their realising he was not disabled, the issue with Marie and friendships? Eventually his cooking?
8. The various personalities, the activities, on the river, the games, friendships?
9. Paul’s father, getting the nickname Orpi, tough, having to look after Baptiste, the loss of the ball, searching for him, the gradual bonding, their football discussions, the training? His becoming a surrogate father?

• The happy summer, the bonds between the group?
• The owner, the father threatening him about the sale, calling the police, their having to escape?
• Paul, deciding to give himself up, the attraction to Alice? In the court, his sentence, everybody supporting him, his release, going to work with the group and with Alice?
• The father, turning up, the gift to Baptiste of Rinaldo’s jersey, and his leaving the money to pay for the property?
• One of the best box office successes in French cinema?

BACK IN ACTION

US, 2025, 114 minutes, Colour.

Jamie Foxx, Cameron Diaz, Mckenna Roberts, Rylan Jackson, Kyle Chandler, Glenn Close, Jamie Demetriou, Andrew Scott.

Directed by Seth Gordon.

After more than 10 years away from the screen, Cameron Diaz, so popular in the 1990s and 2000s, returns to the screen, with some enthusiasm.

This is an enjoyable action show even if, some critical of this kind of show tell su we have seen most of it before. But, is that necessarily a bad thing!

Cameron Diaz works here with Jamie Foxx, secret agents, plenty of action to establish their characters, but betrayals, suspicion of the MI6, their being abducted, a fight in the air, crash landing and the decision to disappear and lead an ordinary life.

Then 15 years later, we see the now-ordinary American couple, their two teenage children, the complaining suspicious daughter, the precocious young son, devoted parents in Middle America, at home, sports and teachers meetings, Mother too demanding. Then exhibiting rather martial arts skills when least expected.

Blame social media for breaking the secrecy but, in an encounter in a club to rescue her daughter, mother goes into action and is photographed, displayed on social media, their American handler immediately coming to catch up with them, his being shot at, and their going on the run with their children, no explanations, the children continually amazed.

They go to the grandmother in England, an elitist British spy in her day, owning a mansion – and, a great bonus, one of those very eccentric performances from Glenn Close. And, into the bargain, the MI6agent is played by Andrew Scott, increasingly popular and versatile on stage and screen, especially with his interpretation of Ripley.

Plenty of action, quite some comedy with the grandmother’s toyboy in training for the Secret Service and not too good at it, Jamie Demetrio, betrayals, climaxes, and final action in the Thames.

Yes, maybe we have seen a lot of it before, but no harm now in seeing it in the hands of Jamie Foxx and Cameron Diaz and Glenn Close.

1. Straightforward title? The initial action, 15 years of domestic life, back in action?
2. References to James Bond and Jason Bourne, espionage action, old-style films, dangers, undercover, expertise in fighting, weapons? The espionage situation, MI6, the CIA? Belarusian terrorists? The lull in the 15 years, then back in action, no holds barred? The musical score?
3. The opening, the disguise, the social, Chuck and his control, meeting the host, getting his fingerprint, opening the safe, getting the key, the dangers, the escape? The encounter with Baron, the past relationship? On the plane, abducted, the fights, the death of the pilot, the crash, the parachute and the landing, the decision to disappear?
4. The 15 years, domestic comedy, the almost-Boomers, their style, compared with the children, 14 and 12, life at school, studies and friends, boyfriends, the club and dances, the young boy intelligent, studious, and the parents spying on them, using all the technology, the reaction of the children?
5. The episode at the club, the fight, going online, their being identified, Chuck arriving at the door, his being shot, the gunmen, getting the children, the car, the pursuit? The puzzle of the children? Emily and Matt have become very domesticated, but going into action again, Emily exhilarated by the fight the club?
6. The issue of the key, Matt hiding it with Emily’s mother, going to England, the flight, the continued bewilderment of the children, at passport control, the fake passports, observed, getting the rental car, the drive, the pursuit, at the diner, the petrol in the flamethrower, the fighting techniques, the children in the English breakfast, using the pewter, enabling the pinpointing of their presence?
7. The continued chase, barren in pursuit, shooting the truck with the pipes and blocking the road? Barren discovery going to Emily’s mother is? His knowing that Emily thought he was a traitor?
8. Emily and the story about her mother, the dispute between them, boarding school in America, her mother is a spy? Glenn close enjoying this rule? Nigel, the toyboy, training for the Secret Service, his ineptness, his dumb remarks, yet the romance? Boys showing him up with throwing the darts and weapons?
9. The siege of the house, finding the Chuck was the traitor, his explanation of his being sacked because of their disappearance? His contact with the various groups?
10. Emily’s mother, her manner, career, tough, British, not embracing? It is in Nigel? Matt recovering the key? The abduction of the children? The discovery of the event at the Tate Modern?
11. Dressed up for the occasion, getting in, Chuck with the key, Daphne and her controls, the option, the bidders, turning the lights of the city on and off, opening the floodgates for the Thames?
12. Confrontations, the pursuit, taking the children, on the boat, Chuck in his communication with Daphne, grandmother to the rescue with the shooting, Emily and Matt, on the bikes, the tactics, into the boat, risking the children, the fights?
13. Nigel, the encounter with Daphne on the crash, with the computer, his dithering, ultimately succeeding despite himself? Send himself as a hero?
14. The final rescue, everybody in the US, the soccer match, the daughter and her success, reconciliation between Emily and her mother, Nigel present? Get into the car, and Barry with a proposal for future action?

MSC Education -  Back to school 2025 for our four colleges

At Downlands

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Programs at Monivae

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Principal

and Chaplain at Chevalier

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Daramalan alumni at work in the school

Most of us enjoyed a lovely break, but the Pacific Maintenance crew worked exceptionally hard over the holidays to remodel the Sharpe Wing, install air conditioning, and rebuild the dance studios in time for the first day of term. With nearly everyone on the team being a former student, we can certainly expect their best efforts!

PRESENCE

US, 2024, 85 minutes, Colour.

Lucy Liu, Chris Sullivan, Callina Liang, West Mulholland, Eddie Maday, Julia Fox.

Directed by Steven Soderberg.

An eerie opening. The camera roams through a large dark and empty house, many rooms, staircases, gazing out the windows, the eye of the camera seeming to be the Presence. And this continues even in daylight, even when a family of four arrives to look at the house in order to move in. The style of the roving camera also suggests something of paranormal activity.

And, quietly, even minimally at first, there is something paranormal.

However, the drama is focused on the family. The mother, Lucy Liu, is a business-woman, always looking at her phone, brisk and decision-making, dominant. On the other hand, her husband, Chris Sullivan, has left the decisions to his wife, is suspicious of some shady aspects of what her business might be doing, but is devoted to his children. The son, Eddie Maday, eyes on his phone, petulant towards his sister, his mother’s favourite, some tantrums. The daughter, Calina Liang, is a somewhat introspective teenager, upset at two deaths of girlfriends at her school, alleged suicides. She is the first to notice strange disturbances in her room.

Another aspect of the film is that it is presented in what it might be called short chapters, a particular focus, an incident, a conversation – and then fading to black.

This is a film by Steven Soderberg who has been making all kinds of films for 35 years, big budget (the Ocean’s series), many experimental like this one, filmed in three weeks within the confines of the house, Soderberg always acting as his cinematographer and editor (using nom de plumes). The screenplay is by David Koepp, better known for big budget screenplays.

So, the important thing about Presence is suggestion rather than dramatics. For those who are interested in family dramas, there are interesting sequences of family dynamics, especially where the father explains to his daughter his own difficulties in relating to his mother. But, there is also another character, the son’s friend who comes to visit, rather casual in his approach, but eventually taking a liking to the daughter, becoming involved in sexual activity, causing stress to the girl.

There are moments of paranormal activity, puzzling, the camera quivering, but all the time the camera observing, a presence.

There is a development towards the end of the film, unexpected, disturbing.

For the impatient audience, the process will seem too slow. For audiences who take the film as it comes, adjusting to its pace, interested in its themes and characterisations, Soderberg’s film and his style can be intriguing.

1. The title, the focus on presence? The camera and into roving is the presence? But what the camera is representing? And the overtones of paranormal activity?
2. Small budget, filmed in three weeks, within the house, the camera roving at the opening, all the rooms, staircases, the dark? The transition to the light? The camera still roving, looking out the windows? Observing the activity outside the window, cars driving past, the estate agent arriving, the workers coming into the house, the suggestion that something is awry? The atmospheric score?
3. The of the film in sections, mini chapters, the fading to black, suggestions, a touch disjointed? The effect?
4. The title, audience expectations? Horror? Scare? Or atmosphere?
5. The agent, arriving, in a hurry, turning the lights on, welcoming the visitors, explaining the mirror, persuasive?
6. The family, the arrival, the successive brief chapters, the house furnished, settling in, the rooms, the daughter’s room and the photos, the son’s room? Meals? Discussions?
7. The mother, businesslike, decision-making, love for her husband, her children, the son her favourite? On the phone, the business deals, suggestion of shady aspects? Her husband’s suspicions, his becoming exasperated, tempted to leave? Relationship with his children? The discussion with his daughter about his own relationship with his mother? The son, phone, room, moods, his friend coming to visit?
8. The suggestions of the paranormal, the books moving in the air, the camera quivering, the shelf crashing…?
9. The discussion about the two girls dying, the effect on the daughter, suicide or foul play? The sense of presence and the atmosphere of the girls and their death?
10. The friend, arriving again, friendly with the daughter, the sexual encounter, her response? His return, her resistance? The effect on him?
11. The friend, his attack, masking the daughter, the revelation about the other girls, his malice and motivation?
12. The sense of presence, alerting the brother, his rushing upstairs, seeing his friend, attacking him, their falling out the window, their deaths?
13. The consequences, the family moving out, the mother taking some time, their leaving?
14. The camera, moving out of the house, the overview of the house itself, the street, the location?
15. The overall effect, impatient viewers and its slowness, others surrendering to the style of the film and its atmosphere?

QUANTO BASTA/ AS NEEDED

Italy, 2018, 92 minutes, Colour.

Vinicio Marchioni, Valeria Salarino, Luigi Fedele.

Directed by Francesco Falaschi.

The Italian title suggests also “when enough is enough”.

This is an amiable Italian film, the audience soon realising where it is going and having the option to say that it is all predictable or to enjoy going with the unfolding of the plot. This is one of those dramas where a man is challenged to be his better self.

We see Arturo getting out of jail, resuming his life, but discovering that he is a man of his temper, intolerant, and can be physically violent. The authorities arrange for him to do community service – teaching cooking to a range of young men and women with Asperges. There is one particular student, Guido (played by Luigi Fedele in his only film role), severe symptoms, not wanting to be touched, very careful about health and germs, and with a memory for details, able to tell Arturo immediately his whole career and character. The person in charge is Anna, a psychologist who had worked for a law firm and was tired of manipulating the truth for cases and has volunteered to work with the students.

On the one hand, there is the story of Guido, cared for by loving grandparents, but skilled at cooking, an ability to recognise all kinds of tastes in food, wanting to take part in the competition for Young Tuscan Chefs. On the other hand, there is Arturo and his past connections, trying to get help from his expert chef mentor, some shady connections and an offer of working for a company, especially for the opening of a new restaurant in Milan.

Needless to say, Guido nominates Arturo as his mentor for the competition, at two row initially unwilling, but setting out for the competition, Guido with all his symptoms, Arturo and his sharper reactions, the first session of the competition, the judge a past rival with Arturo, interpreting the rules for Guido’s inability to work close to much sound. And, of course, he succeeds in the first round.

Some more complications, Anna arriving, predictable romantic connections, Guido misinterpreting how to respond to the young woman he thinks likes him, learning the lesson, encouragement by Arturo, his not complying with the rules for the menu but the chief chef praising it and affirming him.

And the inevitable, a year later, and Arturo working with the Asperges group, with Anna.

1. The title, as explained, knowing when enough is enough?
2. Rome, the Centre for the students, the restaurants, Tuscan towns, the competition, Milan and the hotel and kitchen? Atmosphere? The musical score?
3. Arturo’s story, getting out of prison, his temper and charges, the revelation about his past, trained by the chef, rivalries, angers and prison? Community care, meeting Anna, meeting the students, Guido and his sensitivities, his encyclopedic recital of life stories and characters, his ability to make lists, recognise menu ingredients? The effect on our two row?
4. Guido, his age, Asperges and the symptoms, touch, germs, mental ability? Wanting to participate in the competition? Naming Arturo as his mentor?
5. Arturo and his story, going to the chef who taught in, his bad reputation, his shady friend, the meeting, the possibilities of working in the restaurant, the opening in Milan, his preparing a menu, expected in Milan?
6. Travelling with Guido, the issue of the driving, the music, the crash and telling? Anna arriving? Upset? The competition, the President of the jury and his past rivalry, the competitors, the young girl pleasant to detail, sitting aside, success?
7. Arturo going to Milan, the kitchen, the plans? His calling his teacher chef to help Guido? His return, the two finalists, the menu, success, Guido’s refusal to use the ingredients, losing the trophy? The MasterChef coming, affirming Guido’s menu and condemning the president?
8. One year later, Arturo working with the group, the happy ending?