DON'T BREATHE 2

US, 2021, 98 minutes, Colour.

Stephen Lang, Madalyn Grace, Brendan Sexton III, Adam Young, Rocci Williams, Christian Zagia, Fiona O'Shaugnhessy.

Directed by Rodo Sayagues

An apt comment by a blogger who enjoyed this film and is irritated by others who like to run down this kind of horror film. ‘You literally can't make a decent horror film without getting slaughtered by couch critics.’

This is a sequel to Don’t Breathe which actually made a good impression on critics and audiences. It featured Stephen Lang as ex-military, blind, loner, threatened, fighting back. Which is, more or less, what happens in this sequel.

Stephen Lang is always a strong screen presence giving this film some substance – along with the conventions of this kind of horror action film.

1. The impact of the original? The sequel? Menace and violence?
2. The old house, the interiors, the adjacent buildings, the countryside, the visit to town, the garage, the toilet, menace? The building for the surgery? The musical score?
3. The blind man, with Phoenix, saving her from the fire five years earlier? Protecting her? Their life together, his caring, the meals, the dog, going out shooting? Allowing her to go the visit to town, enjoying it?
4. The friend, taking Phoenix to town, the episode at the garage, the cars blocking the road, her moving them on, her being killed?
5. The information about the racket in stolen organs? Background for the doctor, the mother and her wanting Phoenix’s heart?
6. The Blind man, Navy Seal, age, living alone? The threats from the invaders, his military skills, wielding weapons? The attacks, his being beaten? His tactics and the variety of deaths – particularly gory in close-up? Rescuing Phoenix, getting her to escape, getting to town? The dog, enclosing it in the Attic, it’s getting free, helping the Blind man, leading him to the surgery?
7. The aggressors, sense of menace, brutality, the killings? The Blind man and his attack, their beating him, yet his outwitting them, the gun in the water? The survivor, not approving of the surgery, helping the Blind man to find Phoenix?
8. Phoenix, the abduction, railing, costing Phoenix at the garage, the house invasion, his wanting to take her, his revelation about the Blind man, his being her father, in jail, the mother, taking Phoenix to her, the mother and her heart condition, the callous wanting Phoenix to give her heart?
9. The surgery, the doctor, the Blind man turning off the power, confusion, the attacks and deaths, the mother in the wheelchair, her death wound, over the edge, Phoenix hacking her arm, saved?
10. The Blind man, throat cut, the attack, Phoenix killing Raylan, the past and her meeting the children from the shelter, returning to them?

LANGUAGE LESSONS

US, 2021, 91 minutes, Colour.

Mark Duplass, Natalie Morales, Desean Terry.

Directed by Natalie Morales.

Language Lessons was filmed during 2020 and Covid 19 lockdowns. It is an interesting example of what can be done to make an interesting film with such limitations.

The screenplay was written by the two stars, Mark Duplass and Natalie Morales who also directed, her first feature film. They work very well together, he upset at the death of his partner in a car accident, finding that the partner had arranged for him to have 100 Spanish lessons with Corino all on Zoom.

The main structure of the film has four separate lessons and then some aftermath. Which means then that we are introduced to each of the characters, Adam surprised at his husband, Will, arranging the lessons, but reserved, in grief at his partner’s death. She, on the other hand, is full of life, insisting on the lessons. As the lessons progress, we learn a little more about each of the characters but the aim is to draw us more into interest and sympathy with them.

A complication arises when Adam notices that Corino has bruises on her face, suspecting a brutal husband. Corino reacts negatively, not wanting to be seen on screen. By this time, Adam has become very involved with her, during the lessons, and reflecting afterwards.

There is a scene where Corino is drunk, a scene where she sings a serenade, a final revelation that she is ill, suspected cancer. And, so, Adam suggests that she come to visit him in Oakland and sends a ticket.

The final scene is Adam talking and Corino suddenly appearing behind him.

The film shows what can be created in terms of drama, performance, interactions, with limited budget and strictures because of lockdowns.

1. An effective two hander? Made during covid restrictions? Camera techniques, phones, computer images, texting?
2. The setting, Adam in his home, the range of rooms in his home, the pool? Carino, her home, Costa Rica, the outside settings, the bar, the street? The musical score?
3. The situation, Will and the five year relationship with Adam, marriage, Will and his dancing, cheerful, the glimpses of him on camera, out running, the accident? As arranging for the hundred sessions of Spanish language for Adam?
4. Carino, making contact, beginning the lessons, Adam’s surprise? The audience learning her background, Costa Rica, upbringing in Cuba, education in Miami, language lessons, financial situation, the episode of her drinking, the scars on her face, the brawl? Her reticence in showing the scars? The final revelation of her illness, her independence?
5. Audiences enjoying the to-ing and fro-ing of the lessons, Adam and his manner, style, speaking Spanish, learning the nuances and vocabulary? Natalie, Spanish, English, exercises? Conversations, gradual self-revelations? The impact of Will’s death, Adam and his grief, lassitude? Carino as a support?
6. The signalling of the various lessons? Then the absence? Then the texting? Absences, Adam and his range of messages, emotions, apologising?
7. The building up of tension, Carino and her situation, not revealing the truth? Adam, his concern, speaking plainly, her taking offence, his continued apologies? As eventual strong stands? Her not wanting pity?
8. The final message, inviting her to the US, having sent her the ticket – and her appearing behind him as he spoke? Their being united, his help for her illness, the future?

CRITICAL THINKING

US, 2020, 115 minutes, Colour.

John Leguizamo, Michael K.Williams, Rachel Bay Jones, Jorge Lendeborg Jr, Ramses Jimenez..

Directed by John Leguizamo.

At its heart, this is a film about chess, chess play, moves, the critical thinking needed to win a chess, competitions.

However, it is also set in Miami, the world of high schools, but also the world of drug dealing and crime, the students are at high school becoming involved, some of them trapped, students under suspicion and interrogated by the police.

John Leguizamo has appeared in many films over the decades that this is his first directorial film. And he plays the teacher who coaches the chess playing students, some of whom have great talent, but the principal is not interested in supporting a chess team, rather promoting football. However, the teacher works with the students, appreciates their skills.

But one of the students becomes entangled with the drug dealers in the city, is erratic in his presence with the chess team, but ultimately comes to the final tournament – but also is confronted eventually by the criminals and we see his violent reaction. On the other hand, another player with talent joins the group. At the finals of the competition, the student plays the reigning champion, some drama with the clock, timing, the reaction of the champion – but the perseverance of the new student and the team winning the title.

At the end, there are scenes with the actual chess team.

1. Title? The name of the elective course? Chess and thinking? Planning, strategies, tactics? The critical thinking for Latino and African-American communities?
2. The Miami settings, school, the classroom, the chess competitions, homes, bars, streets? The venue for the state championship? California and the national championship? The musical score?
3. For audiences who love chess? For audiences who don’t know how to play chess? The lessons, the explanations of strategies, the practice, the games in competition, the atmosphere of the games, the clocks, the timing, the tension, acknowledging defeat?
4. Mr Martinez, the elective, his love for chess, the interactions with the principal, her criticisms, lack of support, change of heart? With the students, those who loved chess, willing to participate, the others who were there just to sleep? The aims of the elective? Martinez and his personality, the story of the death of his son, his talking about going to rock bottom, building up again? His manner with the students? Reaction to the student who was shot in the street? The various problems of each of the students? The encounter with Marcel and his skills, the blind winning of his game against the others? Ambitions for competitions, the first competition and victories? The issue of raising money, giving his own? The next tournament, the state? The cakes, chocolate and hash? His rebuking the boys? The car wash, the interview with the television? The bonding? The principal, change of heart, the support from the airline? Travel, communication, support? The finale in Marcel’s win?
5. The range of characters, Sedric and life at home, his girlfriend, death of his mother, his father’s lack of ambition, looking down on his son, rebuking him, taking the money? Sedric anger, moving out, his girlfriend in the street? Participation in the games, his skill? The contrast with Ito, his job, running for the bus, late, sleeping, the reaction of Mr Martinez? His skill at the game? Losing his job, upset, the drug dealers, his dealing in the street? The threats, the police interrogations? His coming for the state championships, winning? His decision about whether to inform the police or not? Gino, the clashes with Sedric, the appeal to him and come and participate, his success? Rodelay, his place in the group, enthusiasm, friendship, skills, the interview with the media?
6. Raising money, the chess games in the park, the game with Marcel, his winning? His background, Cuba, techniques, his notebook, the blind test, accepted, part of the group? In the competitions, playing off the champion, the champion upset in the suggestion of a draw, his letting time pass, equal time with his opponent, winning?
7. A true story, the photo of the group during the final credits, and the interviews with Mr Martinez, Gino, Ito?
8. A morale booster?

80 FOR BRADY

US, 2023, 98 minutes, Colour.

Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field, Tom Brady, Billy Porter, Harry Hamlin, Guy Fieri, Alex Moffat, Rob Corddry Glynn Turman, Bob Balaban, Jimmy O. Yang, Sarah Gilbert, Sally Kirkland, Patton Oswalt.

Directed by Kyle Rogers.

80 for Brady is emblazoned on the back of the NFL jerseys (hoping this is the correct term) worn by the fans of the Boston Patriots, a group of four friends who have been following the players and, especially, Tom Brady, for 16 years. They gather their television set, go through a ritual of spilling tea, throwing crisps, which they think will influence the team to win. But, the main thing is that they are all 80 plus or minus. In fact, of the four stars, Rita Moreno was 90 at time of filming, Jane Fonda 85, Lily Tomlin 83, and Sally Field a mere 76 (and continually reminding her friends that she is still in her 70s!)

This is a very American film, with very American football (men piling on top of each other as the remark), culminating in the annual Super Bowl play-off. For many audiences outside the States, the action is a bit alien, a bit hard to share the enthusiasm of the octogenarian fans. However, it is the stars that we are eager to see (that is older cinemagoers who remember these for top actresses, remembering that Rita Moreno won her Oscar for West Side Story in 1961, that Jane Fonda made her movie debut in 1960, Tall Story, that Lily Tomlins was emerging Laugh-In the late 1960s and, in the mid-60s, Sally Field was the Flying Nun).

Tom Brady himself, in fact producing the film, appearing in it, along with his fellow champions, is a hero in America but Australian audiences may well have to Google.

You would have to be better for sourpuss not to enjoy some of the antics as the old ladies (their reference to themselves) try for a competition to win tickets to go to the Super Bowl in Houston, find themselves caught up in all the fanfare, the competitions (Sally field winning the spiced chicken marathon catered by TV chef Guy Fieri, Rita Moreno winning thousands at poker only to find that it is a charity game, Jane Fonda reading from one of her erotic novels to adoring readers, Lily Tomlin, with cancer diagnosis, urging them on for their last hurrah).

Most of the drama, in fact, concerns losing the tickets and some unexpected dire consequences – but, the day is always saved, Tom Brady looking down from posters or from television screens urging them on, and, Lily Tomlin’s strong pep, morale boosting talk when the patriots are down at the end of the third quarter.

Depending on your sense of humour, this is a film that you will laugh at or, perhaps, just smile at. The screenwriters try to piling in all the jokes and stereotypes they can, but it is all in cheerful mood.

It is not being disrespectful to advise that, as the octogenarian’s might say, this is a film to take your grandmothers to. Of course, the grandmothers might have beaten you to it and seen it already!

1. The title? American and the NFL? The reputation of Tom Brady? Audiences outside the United States?
2. A film for older audiences, the stars and their careers and reputation? Audiences enjoying seeing them letting down their hair and old age?
3. Lou’s story, Lily Tomlin, age, cancer diagnosis, treatment, the concern of her daughter, the story about watching the television and the football, seeing Tom Brady, the rituals each year, spilling the chips…?
4. Lou and her friends, Trish, Jane Fonda and the sex appeal, writing sexy novels? Glamour, wings, flirting, seen with her without her wigs? Maura, Rita Moreno, age, grieving her husband, living in aged care, the friendship with Mickey? Betty, Sally Field, academic, maths, her career, family, phone calls from Mark, his writing his article, dependence on her? The gathering for the matches, enjoying the rituals, diehard fans?
5. Lou, the decision to go to the Super Bowl, the effect on each of the friends? Nat and Pat on the television, their commentary, competition? Each of the friends ringing the competition, their stories? Lou declaring they had one? The preparations, the delay at the home when M was Maura asleep, the plane, arriving in Huston?
6. The excitement in Houston, the range of adventures, the hotel, sharing the room and beds, going to the exhibition, Betty and the spiced chicken competition, Trish and her fans, reading her novels and acclaim? Maura, the poker, winning, discovering it was a charity game?
7. Lou, her daughter and concern? Going to the party, the loss of the tickets?
8. The drama with the loss of the tickets, the search, Betty getting her bag back? Then not being let in, the fake tickets, Lou’s story, selling the car, wanting to be at the Super Bowl? Getting in with the help of Gugu and the dance audition?
9. Dan, charming, sports reputation, flirting with Trish? His getting them into the box for the ball?
10. The security guard, his attitude, letting them in – but later securing them after their intrusion?
11. The scores, Nat and Pat and their commentary, Lou, in the box, talking to Tom Brady, giving him advice, encouragement, the end of the game, success?
12. Tom Brady, his reputation, the ads, the posters, on television, talking to Lou? Meeting her afterwards, thanking her? The other actual players?
13. The aftermath, Lou and her recovery, the next match, everybody joining in, celebration?

THE INNOCENT

France, 2022, 98 minutes, Colour.

Louis Garrel, Roschdy Zem, Noemie Merlant, Anouk Grinberg.

Directed by Louis Garrel.

There is something about French sensibility in cinema that is different from other cultures –tres francaise, as they say. And it is the case here.

So, one can immediately say that this is a French film for those who delight in French cinema – perhaps others might be a bit puzzled about the characters’ behaviour, attitudes. But, The Innocent has received enthusiastic reviews and awards.

It has also been described as a comedy. As well as a drama. The drama, involving a 30 something widower and his relationship with his artistic actress mother, her marrying again, especially a convicted robber who is nearing his and of term in prison and is a participant in her acting workshop. The son, Abel, is not happy and lets the new husband, Michel, know this with no uncertainty.

As regards the comedy, perhaps a better word than comic would be that the characters and situations are sometimes droll. You may laugh. You may smile. This is especially the case later in the film at a truck stop where Abel and his friend, Clemence, have agreed to help Michel while he and some friends steal caviar from a long-distance truck. The comedy is in how they keep the driver distracted, pretending to have arguments and squabbles, the driver, eventually listening in, volunteering to help…

The film was cowritten and directed by French actor, Louis Garrel. Over the decades he has appeared in many films, usually rather morose in his look and attitudes. He has that dark and brooding look. One does not expect him to smile let alone laugh though, eventually, he does do a little of both, surprising us that it was he who actually wrote some of these lines and directed them.

So, the narrative is interesting, unpredictable, taking a number of turns, highlighting the delight of the mother when Michel sets her up in a florist shop, Abel still grieving his wife, following and spying on Michel, and dragged into the intrigue.

And, we did not expect the ending of the film – but it fits right into the atmosphere.

1. The title? Abel and his life, brought up by his mother, his relationship with her, her demands on him, marriage, the death of his wife in the accident, his grief?
2. The settings, the opening in prison, the final sequences in prison? Homes, celebrations, the flower shop, the streets with a Abel following Michelle, the truck stop, the robbery of the caviar, the police Chase, the arrests? The musical score?
3. The title and its tone, drama, comedy, the blend?
4. Louis Garell, actor and director, age, not exactly sympathetic, his reaction to his mother’s marriage, memories of the past and her marriages and relationships, her histrionic style? The wedding ceremony, morose, meeting Michelle? Disliking him? Threatening him against hurting his mother? His reaction to the flower shop? Suspicions of Michelle, following him, the connection with the Uranian? His relationship with Clements, her friendship with his wife, the scenes of their discussions, her dating, carefree responses? His mother and the shop, her happiness?
5. Sylvie, actress, prison, coaching the drama, Michelle’s performance, falling in love, the past, bringing up Abel, the marriage ceremony, the flower shop and her enthusiasm, trust in Michelle? Trying to persuade able to like him?
6. Michelle, the opening, the performance, the relationship with Sylvie, the wedding, his release, the money for the shop, the background connection with the Uranian? His past career, robberies, the conversation about this with Abel? His indebtedness? Abel following him? The plan for the caviar robbery? Abel accosting him, the discussion, Michelle wanting able to be part of the plot? Clements and her enthusiasm? The rehearsals for the scenario with the truck driver at the truck stop? Clements and her enthusiasm about acting on feelings? Abel and his difficulties?
7. Abel, going to the cemetery, his dead wife? His work in the aquarium, the groups, the children, his enthusiasm?
8. The robbery of the caviar, the careful planning? The driver, his obsessive routines, having his meal, at the adjacent table? Abel and Clements, the scenarios, acting, faltering, encouragement, the involvement of the driver, his sympathy, Clements and her performance, Abel and his being upset, going out, to the toilet, Clements pleading with him, encouraged by the driver?
9. The robbery, the truck, hidden, carrying the boxes? The double cross, the guns on Michelle? Clements realising this, the loudspeaker, pretending to be the police, getting the truck and driving off? Abel with Michelle, Michelle and his wound? Going to the hospital? Michelle in the hospital, Sylvie’s visit, her disillusionment, is not telling the truth? Clements, going to the aquarium, storing the caviar, keep getting cold storage?
10. The police, the arrest, Abel in court, going to jail, the routines in jail, the encouraging letter from Michelle, and the marriage ceremony in the jail, his mother speech, the happy ending?

HOW TO BUILD A GIRL

UK, 2019, 102 minutes, Colour.

Benny Feldstein, Alfie Allen, Paddy Considine and, Joanna Scanln, Emma Thompson, Chris O'Dowd, Michael Sheen, Lucy Punch, Sharon Horgan, Gemma Arteton, Lily Allen, Alexei Sayle.

Directed by Coky Giedroyc.

An ironic title. This is a wry comedy about a young woman from an estate in Wolverhampton who has ambitions. She wants to be a writer, reviewer, takes seriously the material that she writes but it is not taken seriously by authorities or experts, humiliating her.

She is played by American Beanie Feldstein, there is a strong British supporting cast, Paddy Considine is her father who wants to be a rock star, cameos by Emma Thompson and Chris O’Dowd, and guest stars representing celebrities: Michael Sheen as Freud, Lily Allen as Elizabeth Taylor, Alexei Sayle is Karl Marx… Pictures on her bedroom wall.

The film follows Johanna’s ups and downs, nervous on television and making a fool of herself, moving to London, writing, submitting, being laughed at. She also becomes involved with a singer who supports her, bringing her onstage – but she enhances her relationship with him, especially in an article about him. She finds her place in the music scene.

Given the ups and downs of the world of journalists and critics, she realises that there is a future in becoming a savage critic, changing her name to Dolly Wilde, and becoming very successful with her harsh opinions – including a harsh article about the singer, personal details, her relationship with him.

With some of her interviews, she also reveals that her father was illegally breeding border collies and his pension is withdrawn.

Johanna becomes enmeshed in her new world, a world of alcohol, sexual activity, cynicism. She also wins an award “Arsehole of the Year”.

Ultimately, a challenge from the singer, a challenge from others, and she has to reassess her life, apologising, telling the story of her failings, and being employed to write a positive column, How to Build a Girl.

THE CRIME

Egypt, 2022, 126 minutes, Colour.

Ahmed Ezz, Menna Shalabi, Maged El-Kidwani, Mohamed Al Sharbuby.

Directed by Sharof Arafah.

The Crime is an ambitious drama from Egypt at the beginning of the 2020s.

The contemporary scene is a mental institution where an elderly man, Adel, is tormented by his past, nightmares and memories, wanting to see his son who eventually visits him and rejects his offers.

At the core of the film is a range of nightmares, extensive flashbacks to Adel’s early career, the 1970s, the world of crime, the world of drug dealing, of violence. Adel’s marriage to Nada, who enjoys the swirl of this kind of life and is unfaithful to her husband. She is killed – and her family blame her husband. There is also the theme of the neglect and treatment of the young son.

In the flashbacks, there is a police investigator pursuing Adel. And he has been doing this over the decades, finally appearing at the mental institution.

The finale of the film is a real/surreal shootout, the Inspector, Adel, police pursuing, shots fired everywhere.

A film for Egyptian audiences and a look at a criminal past. A different kind of crime drama for a world audience.

1. The title? An ambitious crime story, memories, retribution?
2. The Egyptian settings, the mental institution, outside the institution, the real world? Flashbacks, the 1970s, the drug world, the crime world, the police, marriage and family? The musical score?
3. The introduction to Adel, age, in the institution, care, the caregivers? Doctors? His mental condition? His dreams and nightmares? Wanting to see his son
4. The visit of the son, memories of the past, his treatment of his son, declaration that everything he did was for his son, his son’s rejection?
5. The dreams, the flashbacks – the core of the film, Adel’s memories, his marriage to Nada, their son, her behaviour, infidelity, the neglect of their son? The criminal world, the world of drugs in dealing?
6. Nadi, her personality, the marriage, mother, the social life, the criminal world, her death? Her family blaming Adel?
7. The police, the Inspector, investigations, the continued pursuit, wanting the truth?
8. The recreation of the drug period, criminals, the criminal world, wealth, success, retribution?
9. The buildup to the finale, Adel and his conscience, his son, the memories of the past, the confrontation with the police?
10. The melodrama of the final confrontation, the police, the pursuits, the shootings?
11. A different slant on worlds of crime for world audiences?

MAFIA MAMMA

US, 2023, 101 minutes, Colour.

Toni Collette, Monica Bellucci, Sophia Nomvete, Eduardo Scarpetta, Tim Daish..

Directed by Catherine Hardwicke.

Ditzy.

That might be one of the more positive adjectives to describe the experience of watching Mafia Mamma. Yes, it is a farce. And it presented more than farcically. The basic premise is acceptable, a housewife, down on her own self-esteem, an unfaithful husband, son whom she dotes on leaving for college, ridicule from her male bosses, she is suddenly informed that she has inherited her Italian grandfather’s estate.

This is Kristin, Toni Collette, always a welcome presence on screen, but asked to do many impossible things (and some of them she does well, especially some violence towards Italian gangsters), a character who is inconsistent throughout, the screenwriters deciding to add this element, then another, then a third, some absurd disconnections, so that we never quite know where Kristin is going or her she really is.

At one stage, Kristin says she has never seen The Godfather (actually, she says it several times) and it might have saved her a lot of hassle if she had seen it, blithely believing in the situation that her grandfather had left her a wine business, being unable to pick the sinister gangsters as soon as we the, the audience, did, drawing on all the Mafia films instead of having to improvise in her dealings all the time, dithering at one minute, desperate the next, becoming very smart, and, actually, becoming the Mafia Mamma.

A rather dimwitted philandering husband turns up. So does her darling son. She is guided through all the adventures by the assistant to her dead grandfather, played by Monica Bellucci. And, she is immediately smitten by a charming man at the airport, teaming up with him, his skill as a chef with pastor, his dominating mother (and quite a discovery when she finds out who he really is).

For this reviewer, some of the funniest scenes were in the advertising office, the three men, a couple very smarmy in their superiority with ad campaigns (which are also ditzy) and the scenes of their phone calls with Kristin, missing out on all the mayhem. Kristin’s friend, Jenny, a big and burly lawyer who takes no prisoners, also turns up. There is some humour also in her bodyguards, a team whose antics might remind older audiences of Abbott and Costello.

It is surprising to find that this film is been directed by Catherine Hardwicke who directed some telling films about teenagers, 13, as well as doing some Twilight directing.

Yes, many audiences will enjoy the very un-demanding farce. On the other hand, this reviewer found a quotation summary from Rotten Tomatoes and not assent, "Riddled with stereotypes, fatally unfunny, and a total tonal mishmash, Mafia Mamma is a criminal waste of Toni Collette.

FLYWAYS, The Untold Journey of Migratory Shorebirds

Australia, 2023, 86 minutes, Colour.

Narrated by Mia Wasakowska.

Directed by Randall Woods.

Australia’s Radio National with its weekly Sunday program, Tweet of the Week, reminds us that many, many of us enjoy the hobby of bird-watching. But, not so many of us have the opportunity to watch the birds in their natural habitat. This beautiful documentary offers something of a pleasing supplement to birdwatching, especially for those who are not regulars.

While this is an Australian production, there are sequences in Mauritania as well is in Chile – and some stops for the migrating birds in the United States. But it begins in Moreton Bay, offering a caution about the dangers for the birds and the environment in changing wetlands into housing developments.

In Australia, in Mauritania, in Chile, we are introduced to some scientists who are strongly committed to the survival of the birds, shorebirds, who settle in the respective countries but who migrate, some to Siberia, some to Alaska. The scientists speak to camera, explaining the birds that they are observing, going out to the wetlands so that they can tag some birds, track the migrations, and, even though some of them can fly seven days without stopping, they want to find where they do come down for food, refuelling and replenishment of strength.

The curlews who settle in Moreton Bay are the focus of the Australian investigation. The Red Knots of north-western Africa who fly north-east to Siberia from Mauritania are the second focus. Then there are the birds who fly from Chile to Alaska.

For audiences interested in, concerned about the environment, the survival and development of species, there is much to learn. And it is all helped by almost 90 minutes of beautiful photography, birds on the ground, flocks and gatherings, but, most especially, wonderful vistas of birds on the wing, flying, the patterns of formation, the bird instinct for migration and survival.

With the development of cameras over the decades, audiences have become spoilt in having so many wonderful cinema opportunities for close-ups of birdwatching.

A GOOD PERSON

US, 2023, 128 minutes, Colour.

Florence Pugh, Morgan Freeman, Celeste O'Connor, Molly Shannon, Chinaza Uche, Zoe Lister-Jones.

Directed by Zach Braff.

As we watch A Good Person, we might well be wondering who the Good Person of the title actually is. There is a later reference to the character, Daniel, played by Morgan Freeman, but we wonder all the time about the central character, Alison, played by Florence Pugh.

There is a lot of wisdom in the screenplay by the director, actor Zach Braff, who specialised in his earlier career with some ingenuous characters. In some ways, despite the complexities of their personalities, the characters here are often exceedingly ingenuous.

It is probably important to say that the film is convincing in much of its dialogue but, most especially, in the performances of the central characters. Florence Pugh is British but can be seen in several films as convincingly American. As she is here. She is Alison, a lighthearted young woman, engaged to a charming fiance, Nathan (Chaniza Uche) who looks distractedly looks at her phone map as she drives with Nathan’s sister and brother-in-law, crashing. They are killed. She survives. And, for a long time, she refuses to admit responsibility but suffers the consequences of her injuries as well as her denial.

This is just the prologue to the film. Most of the action takes place a year later. Alison has been going to therapy but has become dependent on opioids, to the exasperation of her caring but erratic mother (Molly Shannon). She lies in bed, refuses to go out…

But we are also introduced to Nathan’s father, Daniel, a former police officer, reformed alcoholic, finding that he has to take care of his orphaned granddaughter, Ryan (a striking performance of a disturbed and aggressive teenager by Celeste O’Connor). Daniel picks Ryan up at school, watches her soccer matches, tries to control her, set limits, but she defies him.

So, three people badly affected by the accident. Where can it go from here? There is a comment “hurt people hurt people”. But, there is also the statement that hurt people can help hurt people.

When Allison does go to a church group for help, she finds a Daniel there for AA meetings. She is wary. He reaches out. They talk, go for a meal, unexpectedly encounter Ryan who reacts with desperate anger.

Audiences, now invested in the characters, will want to follow what the dynamic is between the three, possibilities of awareness for Alison and less drug dependence, generosity of spirit for Daniel and management of his granddaughter, and, in fact, Ryan bonding with Alison, leading to some more crises.

A review must say more about Florence Pugh’s performance. She is marvellous. She has to go through such a range of emotions and crises but, at each stage of the film, her performance is perfect, fully convincing as addicted, grieving, tentative, hopeful, hopeless, the camera focusing on her face and its persuasively dramatic expressions. We expect Morgan Freeman to be good – and he is.

A good person, of course, is not a perfect person,

This is a film for most audiences but there is a caution. For some reason, Zach Braff’s screenplay is overfilled with swearing, most of it unnecessary, irritating by its frequency, especially coming from the mouths of Florence Pugh and Morgan Freeman. While the screenplay is skilful, this kind of writing is very lazy, not bothering to find more creative and intense ways of expressing anger and frustration.

1. The title? As explained by Daniel? With reference to the other characters?
2. The New Jersey setting, homes, shops, church halls, hospital? The turnpike? School? The musical score? Songs and lyrics by Florence Pugh, sung by her? With reference to themes?
3. The 14 minute opening before the credits? The party, the introduction to Alison, the piano, the song, engaged to Nathan, presenting him to the group, his response, at home, together? Molly and her husband, visitors, the theatre, the drive, Alison looking at her phone, the crash? Consequences? Death of Molly and her husband? Injuries to Alison, hospital, Nathan present, her mother? Her bewilderment, then denying responsibility?
4. The transition to a year later, Alison with her mother, the breakup with Nathan, therapy, medication, Oxy Seton dependence, her mother trying to control her, the visit to the pharmacist, the breakfast meeting with her friend and trying for drugs, her going to the bar, drinking, the two men from school, the criticisms of her, making her admit she was a junkie? Her mother relenting and giving her the tablets?
5. Daniel and Ryan, taking her to school, the news of her parents death? A year later, Daniel, his age, his building up the model train city, refuge there, difficulties with Ryan, the soccer team, the fight with the girl, the principal threatening expulsion? Danielle bewildered, the story of his bring up his own children, his drinking, brutal when drunk, Nathan and his loss of hearing, Nathan not speaking to him, Molly and the reconciliation? Trying to talk to Ryan, finding her in bed with the young man, his ousting him? Getting out the bottle of whiskey?
6. Going to the church, to the meeting? Alison, wondering whether she had the will or not, going to the church, wanting to leave, Daniel bringing her in, the testimony and the prayer, the diner afterwards, the frank talk with Daniel, her having taken half a pill, still denying responsibility? Going home, the trains? Ryan’s arrival, recognition, attack? Daniel inviting Alison back?
7. The background of restorative justice, injured parties talking, servicing the situations, the blame, the hurt, the pain? Daniel and his bonding with Alison? Alison and her bonding with Ryan? The soccer matches? The discussions, the texting? The invitation to go to the city, the concert, Ryan engineering Nathan and his girlfriend’s arrival, Alison’s reaction, turning on Ryan? Ryan going to the club, the boy, in bed? Daniel’s arrival, banging on the door? Daniel taking the gun? Threatening the boy? Nathan intervening, stepping in front of the gun?
8. Alison, the effect of the bond with Daniel, with Ryan? Daniel’s verbal attack on her, explaining exactly the timing on the phone and how she was to blame? The consequence for her, going to rehabilitation, the regime, the meetings, her frankness?
9. Alison and the support of her mother, her mother’s eccentric behaviour, drinking, but trying to control Alison, upset when she didn’t come home, Daniel coming to the door to find Alison and Ryan?
10. Nathan, the hurt of the breakup with Alison, her breaking up, blaming herself, Ryan asking him to talk to his father? At the club, the meeting, intervening with his father?
11. Talking with Alison, hoping that one day they could be part of each other’s life?
12. Alison, her recovery, the speech on leaving, playing the piano in the club?
13. Nathan ringing, Daniel’s death, the aftermath, the wake, Alison finding the message from him, the reconciliation?
14. The future, mother and daughter reconciled, the memories of Daniel, her acknowledging the blame and responsibility to Nathan? A future with Ryan?