RRR

India, 2022, 185 minutes, Colour.

N.T. Rama Rao Jr, Ram Charan.

Directed by S.S. Rajamouli.

One of the most successful films from India, the largest budget to date, box office, acclaim, awards, international following, on

screens, Netflix. It is in the Teluga language.

RRR stands for: Rise, Roar, Revolt.

The film runs for over three hours and so audiences get their money’s worth! But, it is what goes on in those three hours that makes this an extraordinary spectacle. One might say, in the director’s mind and with the writer, there are no holds barred, there are no limits.

The setting is 1920, in fact the final decadence of the Raj but the British occupation still in strong force, arrogant British leadership, both governors and their wives, brutal British soldiers, and a number of the Indians themselves as part of the police and the army.

The basic plot introduces us to two central characters, Raju a member of the police force, demonstrating his loyalty in pursuing criminals for the British. The other is Bheem, a local leader, with a strong following, experiencing the arrogance of the governor’s wife, commandeering a young girl and taking her from her family to live in the governor’s mansion.

For a lot of the time, the two men are at odds but, eventually coming together, especially when they perform all kinds of acrobatics to save someone’s life on a bridge and a River. They become friends, but there are moments when they fall out, then become enemies again, arrests, torture…

Later in the film, we see more of Raju’s life in flashbacks, as a boy, an excellent shot, family deaths, the brutality of the British, and his plan to infiltrate, be more British than the British, but, ultimately, to lead a revolt against them.

In the background is Raj is girlfriend, families in villages, but in the foreground, often, huge demonstrating crowds challenging the police, the army and their guns. The romance for Being him is the attraction to a young English woman whom he helps in the market.

But, what makes the film different, is the action. The stunt work goes beyond what we usually expect, so many of the characters hurtling through the air, extraordinary fights, between individuals, army fights, battles spectacle all round. And, with the costumes, uniforms, all more than colourful.

And, there is more, always more, and often to the point of impossibility, the two men wounded so dramatically but finding little difficulty in engaging in heroic and spectacular action.

In the middle of the film, there is a musical interlude, and our two athletic heroes, taking some time off from their fighting, engaging in some very demanding and athletic dance routines. And, audiences will not be disappointed because they take up the routines with everybody joining in at the end of the film. And, in fact, the song, Naatu, Naatu, did win the Oscar for Best original Song, 2022.

This is a film to be watched, to be involved in, to be enjoyed – and not questioned about its action plausibility!

THE CAT AND THE CANARY

US, 1939, 74 minutes, Black-and-white.

Bob Hope, Paulette Goddard, John Beal, Douglass Montgomery, Gale Sondegaard, Elizabeth Patterson, Nydia Westman, George Zucco.

Directed by Elliot Nugent.

The Cat and the Canary can be considered a small classic of the 1930s, capitalising on the popularity of Old Dark House scenarios, mysterious killers, the reading of wills at midnight… It is an early Bob Hope film but he presents his familiar screen persona, charming, the touch of the coward, all the quips and wisecracks that he was to show in his later and long career. And he is teamed with Paulette Goddard with whom he appeared next year in a film in a similar vein, The Ghost Breakers.

Elliot Nugent directed many popular films of the 1930s and 40s. Here he has a reputable supporting cast with Douglass Montgomery as the charming, seeming-hero, Gale Sondegaard, a variation on her often sinister presence, Elizabeth Patterson a much stronger fussy type, George Zucco, not villainous but a lawyer.

The film takes place over a couple of hours in a mansion on an island, the reading of a will by the lawyer at midnight, relatives assembled, and the longtime housekeeper still present. The will indicates who is to inherit but there is a second sealed envelope with the name of the alternate inheritor should the first one fail or succumb to fear and madness.

Needless to say, a number of scares, secret passages and disappearance, a mysterious hand, a guard from the local asylum, the presence of an escaped criminal, The Cat.

So, within an hour and a quarter, a variety of chills, a variety of comic situations and jokes. We have Bob Hope at the beginning of his career and certainly at his best. And Paulette Goddard provides a strong and determined heroine. The mood and design of the film, while having lights going out and mysterious sounds, is very much up-to-date for 1939 (and Bob Hope with a lot of quips about conventions for this kind of story).

And, of course, the most charming character at the reading of the will turns out to be the villain!

Director, Radley Metzger (noted for some pornographic films), directed a more straightforward version of The Cat and the Canary, with a Hollywood cast, in 1977.

THEY DO IT WITH MIRRORS

UK, 1991, 100 minutes, Colour.

Joan Hickson, Jean Simmons, Joss Ackland, Faith Brook, Gillian Barge, David Horovitch, Neal Swetenham,, Christopher Villiers, Jay Villiers, Holly Aird, Todd Boyce, John Bott.

Directed by Norman Stone.

A popular Agatha Christie novel, television adaptation. This version with Joan Hickson, the later version with Julia Mackenzie.

Joan Hickson made 12 television movies of Miss Marple stories, this one being one of the last in the early 1990s.

While Joan Hickson seems to be the perfect Miss Marple, there is a strong supporting cast, a welcome performance from Jean Simmons, and the presence of Joss Ackland and veteran actress, Faith Brook. David Horovitch played Inspector Slack in a number of the films – but he seems unusually abrupt and aggressive here.

As with so many of the films, the setting is a mansion, this time an Institute for the rehabilitation of delinquent young men. Miss Marple is persuaded by her friend, Ruth, Faith Brook, to go for a holiday at the house and concern for the health of Jean Simmons Carrie Louise. There is supporting characters and family and tensions. There is also a visit from a member of the Institute Board who is murdered while typing a seemingly incriminating letter at his typewriter.

Once again, Miss Marple is always observant, curious, but puzzled. Eventually, picking up clues, discussions with the Inspector, she does come up with a solution – and an Agatha Christie sleight of hand in presenting characters and a situation.

Audiences who enjoyed Joan Hickson and her film versions will enjoy this one.

1. The popularity of versions of Agatha Christie mysteries? Miss Marple? The three actresses? Joan Hickson and her particular style?
2. The period, immediately after World War II, with black-and-white photography of the early decades of the 20^th century? Costumes and decor, vehicles, the mansion and interiors, the theatre, the ballet, the accommodation for the young offenders? Atmosphere? Musical score?
3. The introduction to Miss Marple, meeting Ruth, memories of the past, dinner, chatting, concern about Carrie-Louise? The avant-garde ballet? Meeting Alex? Ruth persuading Miss Marple to have a holiday at the mansion? Agreeing? At the station, Edgar meeting her, his being upset, Gina and her breeziness, driving Miss Marple?
4. Carrie Louise, age, memories, marriages, children, retired, nervy? Friendship with Miss Marple? Her husband, the Institute, the rehabilitation of young men? The psychologist on the staff and his interactions? The supervision of the young men, their trespassing on the grounds? Financial situation?
5. Louis, marrying Carrie-Luis, managing the Institute, working with the staff, Alex coming to visit, Stephen in the theatre, Romeo and Juliet, the fights amongst the boys, weapons? The young men, later seeing them in their quarters, out at night, witnessing something? Invited to be interviewed by the detective, the killing in the theatre, the crash?
6. Edgar, his presence, mental condition, drinking, emotions, relegated by the others? The screening, his intrusion, the gun, Louis taking him out, the altercation, the shots? Louis taking control of the situation, the gun?
7. Miss Marple, the holiday, interaction with people, observations, especially Gina with Stephen and Alex, with her husband, comfortable in the house, Ruth arriving, their chatting?
8. The arrival of the guests, longtime friend, on the Board, his walk, talking with Louis? The news about the poisoning of Carrie Louise? His being shot, the typewriter, the information on the page and the typewriter?
9. Inspector Slack, in the other stories, his blunt and aggressive style, his subordinates, insisting on instant action, making demands (and his case for performing magic tricks)? Knowing Miss Marple, the interrogations? His headquarters?
10. The mystery, Edgar and the interrogation, claiming that he was Louis’ son, Louis denying this?
11. Walter, American, his background, marrying Gina, finding it difficult, associating with the upper crust, in the workshop, buying a horse, reconciliation with Gina?
12. Alex, directing the ballet, arriving at the house, sitting in the car, suspect? Stephen, his attentions to Gina? The two men with Gina? The theatre, Stephen and the young men, stopping the fight? Alex pretending to be the detective, the death in the theatre, Stephen and the discovery?
13. Miss Marple, thinking about parallels in St Mary Mead, making phone calls, sending Ruth to London for the financial investigation, observing? Discussions with the inspector about magic tricks, sawing a woman, the two halves, doing it with mirrors?
14. The solution, Louis and Edgar, Edgar feigning madness, Louis and the promise to acknowledge Edgar as his son, the bullet holes in the wall, and acting and shooting Louis not in the chair, Louis going up stairs and killing the guest? The financial difficulties? Manoeuvring, borrowing, relying on Carrie Louise’s inheritance? Edgar and his fleeing, pursuing him, the both drowning?
15. A satisfactory mystery, solution, clues, tying up of strands?

LE ROI DES OMBRES/ IN HIS SHADOW

France, 2023, 89 minutes, Colour.

Kaaris, Alassane Diong, Carl Malapa, Assa Syllam Issaka Sawadogo, Mareme N;Diaye,

Directed by Marc Fouchard.

French thriller in the suburbs of Paris, taking audiences back to films like La Haine and the probing of racial issues in the suburbs.

The focus is on two half-brothers, the older falling out with his father, becoming a leading thug in the area with his own brutal gang, the younger, while blinded in an accident when young, ambitious to compose music.

The film goes back to the boy’s childhood, the accident for the younger boy’s blindness, his mother attributing it to local witchcraft. But, his father is devoted, encouraging him with games to the blind and Braille encouragements. The blind man has a good friend, Malik, who is in love with the boys’ sister. There are also the two mothers.

In the present, we see the struggles with the gangs, the violence, the older brother sentimental about his family but also brutal. He leaves his stash at the blind man’s apartment. However, a rival gang steals the money and the blind man goes to them to plead for it to be returned, his brother assuming that is in league with the rival gang, taking him, subjecting him to violence, as well as the blind man’s mother.

Unexpectedly, the blind man connects with the witch from the past and goes through a ritual and he recovers his sight. Which means then that he can feigning being blind while seeing and so tries to rectify the situation, but ultimately a fight with his brother and his brother’s death.

Dramatic and intense material.

1. A French urban story? The neighbourhood? The migrants, racial and religious backgrounds? Crime?
2. The city, apartments, the streets? Atmosphere? The musical score?
3. A story of family, parents, half-brothers, sister, bonds, tensions?
4. Introduction to Adama, blind, the game, Malik, his friend? The flashbacks to the past, the two boys, their father and his sternness, the mothers? The accident, Adama losing his sight, Ibrahim and his responsibility? The father and his care of his blind son, the game, the Braille encouragement? The skills of the game? The walking stick, guiding him? The clash with Ibrahim? The apartment, the father disowning his son, motivation?
5. Adama growing up, blind, the music, friends, his sister, the bond with his mother? The relationship with Ibrahim?
6. Ibrahim, thugs, violence, guns, gangs? Money, the protection racket? Abraham and the money, with Adama, the rival gang coming, the brutality, taking the money, Ibrahim blaming his brother, the violence? Malik, and his relationship with Adama, with the sister? Secret?
7. The gang coming to take Ibrahim’s money, Adama being blamed, Adama going to the gang trying to get it back, Ibrahim suspicions, that Adama was taking sides, the brutal repercussions, isolating him, his mother?
8. The blindness, the background of witches and powers, Adama and the encounter with the witch, the spell, regaining his sight, gradually, fully? His disguising it?
9. Adama and his decisions, to use his regain site, pretending to be blind, going to the building, the old lady and protecting her, climbing into the apartment, the confrontation with Ibrahim, stabbing him? The sister and her reaction?
10. Calling the police, the gangs, the police warming, the arrests, the blind man walking through? His having got his mother to safety? The bond again with Malik? With his sister?

COLLISION

South Africa, 2022, 99 minutes, Colour.

Langley Kirkwood, Bonko Khoza, Tessa Jubber, Mpho Sebeng, Zoe Sneedon, Thumi Buti, Samke Makhoba.

Directed by Fabian Martorell.

This film would have a strong impact in South Africa. It also has a strong impact on audiences outside South Africa, looking in from the outside, the dramatisation of the many problems, possibilities for solutions.

The film ends with the collision (reminding some audiences of the opening of Paul Haggis’s Crash) and ends with the collision and its aftermath. We are introduced to several characters, some dead, some wounded, and two characters with guns.

Then the screenplay goes back 48 hours.

There are quite a number of principal characters as well as quite a number of contemporary South African themes, postapartheid, a glimpse of an image of Nelson Mandela at the opening.

We see of white couple, affluent, having problems with their recalcitrant teenage daughter who skips school, goes instead to a nightclub, is in a relationship with the African singer. The father, seen with a gun at the opening, works for a company managed by his sister-in-law, gives a presentation for a promotion but fails to get it. He becomes depressed, wanders, then angry at the abduction of his daughter.

We see the black man with the gun at the opening, something of a local gangster, running a club, connected with abductions for human trafficking, encouraging the singer in his club, but putting the pressure on the singer’s close friend, son of the housekeeper in the white home, threatening his sister, to betray his friend and organise the abduction of the daughter of the white couple. We also see his human trafficking connections.

The film builds up to a drama at the end of the 48 hours, suggestions to the gangster that he ask for a ransom for the girl, the gangster’s confrontation with her and putting her in the boot of the car. The singer wants to call the police, his friend apprehensive.

In the meantime, there is something of a subplot about migrants to South Africa from countries like Nigeria being unwelcome, taking jobs, a shopkeeper rabble rousing with a friend, threatening his daughter and her Nigerian friend, ending in tragedy. The rabble rousing young man is driving a van and involved also in the collision.

What follows is something of a high noon situation, the two with the gun facing each other in the street, the singer intervening, shots fired. Leaving the audience to ponder these complex themes and troubles in contemporary South Africa.

1. A South African story? 21^st-century post apartheid? The legacy of apartheid, racism?
2. The Johannesburg story, the portrait of the city, neighbourhoods, wealthy white, poor black, migrants from Nigeria, shops, contrasting with socials, nightclubs, human trafficking…? The musical score?
3. The structure of the film, the collision, the three vehicles, dead, survivors, the two men with guns, the boot and the daughter? Going back 48 hours? The range of characters, themes, interconnections? The resumption of the collision, audiences knowing who was in the vehicles, the consequences, the buildup to the confrontations, shootouts, deaths?
4. Johann, tensions with his wife, with Nicky? The scenes at home? His going to work, the possibility of promotion, his presentation, losing the promotion, clashes with the woman promoted and challenging her, her defiance? Wandering the city, later, his daughter’s disappearance, his wife’s criticism? The phone calls, the information, going to search for the daughter, with the musician, with the son of the housekeeper, promising to pay the ransom, the rendezvous, the collision? Finding his daughter in the boot of the car, the gun, the pursuit of Broke All, the musician standing in between, guns, shooting? His wife, participation, grief, the daughter, the camera ascending on the tableau of the dead?
5. Nicky, age, school, defying her parents, her phone and, the music, photographing herself, leaving school, the nightclub, the musician, the dancing, the sexual encounter, late home? Defying her parents? Her being abducted, imprisoned, beaten, in the boot of the car, saved?
6. The musician and his friend, filming the music, the ambitions, going to the shop and ask for a job in the refusal, playing at the club, Broke and his response, seeing Nicky, plans for the human trafficking, his pressure on the friend, money, the betrayal, the abduction, Broke and confronting Nicky, the plan for the ransom, in the car? The musician, lifestyle, singing, the music, the drugs, Nikki and the relationship? His wanting to save her?
7. The subplot of the storekeeper and his daughter, Gavin and his rabble rousing, Adds and the relationship with the daughter, wanting to be a chef, the father and his attack on his daughter, the two men and the rabble rousing with their followers, the riot, the police, ousting the migrants from Nigeria, burning and looting the shops?
8. The daughter, with Adds, hopes for the future, the chef, trapped in the shop, the looter and his bashing adds, the phone call to her father, his desperation, the lock on the gate, her being shot? The film is commentary on migrants and jobs and assimilating in South Africa?
9. Johann’s wife, her sister, the socials and charity, the fashionable women, concern about her daughter? The sister-in-law as Johann’s boss, threatening him?
10. 48 hours in Johannesburg, the range of themes treated, in thriller fashion, action fashion?

DUNGEONS AND DRAGONS: HONOR AMONG THIEVES

US, 2023, 130 minutes, Colour.

Chris Pine, Michelle Rodriguez, Rege-Jean Page, Justice Smith, Sophia Lillis, Hugh Grant, Chloe Coleman, Daisy Head.

Directed by John Francis Daley, Jonathan Goldstein.

The Hasbro company created Dungeons & Dragons, the game, in 1974. So, it has had a long life in various incarnations, games, video games, television series, feature films. Here is the 2023 version.

We are carried back into a fantasy land, looking at times like the Middle Ages, costumes and decor, streets and markets, cathedrals, knights in armour. But, we also lowered into dark underground locations, the realms of dragons and monsters (and we see quite a number of them), caverns, rock depths, stone bridges… There are also recreations of old Braveheart-style battles and battlefields. And, perhaps a nod to Gladiator, a huge amphitheatre filled with thousands of spectators.

We live in a media era where vast audiences have watched Game of Thrones, recognise references to the Hunger Games, remember the Harry Potter books and films (a villain here looking remarkably like Voldemort). We are at home in this kind of fantasy world.

The subtitle of this adventure is, Honour Among Thieves. So, we meet Edgin, Chris Pine as a charming rogue, a thief, has lost his wife, wants to find his daughter, find the means to bring his wife back to life – but, this is a bit difficult, because he and his fellow-thief, Holda (Michelle Rodriguez whose first film was Girlfight and, through the Fast and Furious series and other films, has not lost her capacity for battle engagement). are in prison. They do get out, rather spectacularly, and set out on a quest.

There are extraordinary snowy landscapes, a mediaeval town where the ruler is Forge – played, of all people, by Hugh Grant, self-mockingly of himself and his career as always, very very British. (And, speaking of British, real thing central characters have very strong American accents but everybody else has a British accent, American actor Justice Smith outdoing the British in elocution, and Rege-Jean Page, from Bridgeton) an exemplar of accent and extensive vocabulary. He plays the leader of a family, enemy of Edgin, but reconciling and leading the group in their quest, doing battle with some undead warriors.

The quest includes Simon (Justice Smith) something of a failed magician who does have a number of spells which save the day but has to learn how to assert himself and become heroic. There is also Doric, a warrior fairy creature who can transform into a gigantic cat/bear creature, Sophia Lillis.

Along the way, a lot of the dialogue is tongue-in-cheek, ironic, interlaced with some humorous sequences, one of the best being a visit to a cemetery, the ability to raise some of the dead warriors from their graves and interrogate them as to what happened to the magic helmet they are trying to find, each skeleton being asked five questions but most of them failing to supply the right information, but the one who does, left stranded, still needing several more questions so that he can go back to being dead! (The skeleton does appear in the final credits making his appeal!)

Big climax in the amphitheatre, a labyrinth, magic, confrontation with Forge, Edgin having to make a decision when Holga is mortally wounded and his remembering her as the wonderful Sara get mother for his daughter.

So, all’s well that ends well, especially as the film ends back in the prison, this time Forge pleading for parole!

1. The popularity of the game? Almost half a century? Technical developments, computer gaming? Film and television versions? This 2023 version?
2. The influence of computer games and their development, way of playing, involvement? The screenplay following the pattern? Involving the audience?
3. The influence of Sword and Sorcery films, dragons, magic and Harry Potter, Game of Thrones…?
4. The creation of the Dungeons and Dragons world, the media evil costumes and decor, cathedrals, carriages, warriors and knights? The visuals of the underworld, caverns, dungeons, bridges, lakes and depths, underwater? The amphitheatre and the tone of gladiator? The range of special effects and their impact? Computer generation?
5. The characters, three with American accents? Everybody else with British accents?
6. The introduction to Edgin and Holga? Prison? The judges? The calling of Jonathan, the big bird, the escape? Trekking through the snow? Tracking down Simon, his work as a magician, strengths and weaknesses? His infatuation with Doric, the huge bird, the struggles, her normal form, not human? Disdain for humans?
7. The encounter with Forge, Hugh Grant’s presence and style, self-deprecating, ironic humour? The villain, power, lies, taking Kira, thwarting Edgin? Preparing for the execution? The treasure, his amphitheatre, reinstating the games, the crowds, stealing the treasure, his ship? His relying on Sofina, magician, evil, powers?
8. The quest for the group, the background, Edgin and the loss of his wife, his being away, the attack on his home, his wife’s death, her reappearances and his memories, his devotion to his daughter, wanting to protect her? The story of the helmet? And of the power for resuscitation?
9. The visualising of the battles, the thieves and their being overcome, imprisoned? The story of the battles for the helmet and its being saved? The comedy of the visit to the cemetery, the five questions and resuscitation, the awkward answers and the comedy, finding the truth – and the final credits joke about the skeleton and wanting the final questions so that he could die?
10. The encounter with Zenc, his background, warrior, rival families, betrayals? His sincerity, straightforward, unsubtle, large vocabulary, accent? Edgjn trusting him? Going into the caves, the bridge, Simon and his abilities with the hole and the transfer? The confrontation with the living dead, Zenc and his skills in fighting, the escape, the dangers?
11. Recovering the helmet, Simon wearing it, the meeting with his great-grandfather, the great -grandfather taunting him, feeling a failure? Later wearing the helmet, defying the great-grandfather, the great-grandfather affirming him, and his ability as a magician?
12. The various plans, going to Forge, the games, Sofina, her power, imprisoning them? The labyrinth and the various creatures, the boxes, swords and monsters, escaping?
13. Finding the boat, commandeering the boat, Edgin and the encounter with Kira and its turning to be sofina? Forge, the discovery, the confrontation? The magic, the huge wave, overcoming Forge? Sofina, the red dust, to subdue the crowds in the amphitheatre? Forge, in the balloon, the gifts and treasures falling to the people, evacuating the amphitheatre?
14. The confrontation with Holga the battles and fights, putting the anti--spell bracelet on her? The destruction?
15. The team together, Holga and her support, the flashbacks and her being the surrogate mother for Kira, Edgin and his decision to resuscitate Holga after her death? Doric, and the relationship with Simon? And the possibility for further adventures?

JOHN WICK: CHAPTER 4

US, 2023, 169 minutes, Colour.

Keanu  Reeves, Laurence Fishburne, Lance Reddick, Clancy Brown, Ian McShane, Bill Skarsgaard, Donnie Yen, Hiroyuki Sanada, Shamier Anderson.

Directed by Chad Stahelski.

Perhaps a succinct review would be: much the same as the first three chapters, only more, much more so.

This is a film for the devotees who made the first three chapters such box office successes, something of a tribute to the stuntman become director who was able to film action adventure in lively and different ways, Chad Sahelski (kick-boxer expert, coordinator on the Matrix series, Keanu Reeves).

But, of course, there is the presence of Keanu Reeves. While he has been appearing in films for almost 40 years, he is part of the film going public’s consciousness with four episodes of The Matrix and now four chapters of John Wick – getting older now, in his 50s, but still hyperactive, always in black, actually in suit and tie for the final duel of this film, impossibly agile, impossibly surviving onslaughts, and always laconic, with his almost-swallowed drawl, “yeah!”.

On the other hand, the John Wick series is not a must for those who do not want to watch on-screen violence or, as A Clockwork Orange says, the ultra-violence. While there are some pauses for moments of drama and conversation, with some complexities of plot, involving the evil power group worldwide, The Table, its hiring of hitmen, its power over them and their lives, and their wanting to get rid of hitmen they can’t control, there is a great deal of fighting, ultraviolent.

Actually, the film is quite stylish with it sets, the strange hotel in New York City with its manager, Lawson (Ian McShane again, with the concierge (capital Lance Reddick again) and the mysterious turning up at times of Laurence Fishburne. The first part of the film has extensive time in a lavish Osaka hotel, Japanese decor. The second part of the film has willing settings, the streets, Cathedral, but the interiors of a huge nightclub. The third part is set in Paris, Champs D’Elysee and around the Arc de Triomphe, and a climax on the steps leading up to and down from Montmartre, Sacre Coeur. So plenty for the eye.

But in those three sections there are the most elaborate fights and battle sequences, all targeting John Wick, The Table wanting him eliminated, and an arrogant young French Marquis, played by Bill Skarsgaard, determined to be rid of him. But, there are other hit men on John Wick’s trail, his friend, Cain, martial arts star, Donnie Yen, blind, under the thrall of The Table, who have his daughter as hostage. Then there is the rather comic African-American hitman, Nobody, always with his protective hound (who gaze into savage action), played by Shamier Anderson. They turn up, confronting Lee, and each of the star locations. Veteran Clancy Brown plays the Harbinger for the Marquis.

Since there is a bounty on John Wick (as in the other films where a suave announcer lets would be hitmen know where Wick is as well as the millions, ever-increasing, for his capture or death), there are hordes of would-be assassins. They attack in the variety of vast rooms, hotel rooms, Museum like rooms, in Osaka. They swarm in the Berlin nightclub, a vast area with thundering music and hundreds of dancers, they are in cars on the Champs D’Elysee (quite a lot of traffic for the early hours of the morning), car chases, motorbikes, hits and crashes. And, they appear on those Parisian steps, all of them demolished in grim and gruesome fights and close-ups, John Wick battered, wounded, falling down the stairs, but also rising so that he can keep his duel appointment at the front of Sacre Coeur her at Dawn. The duel has its exciting moments – but unexpected conclusions.

So, the fans will be satisfied. The non-fans will not see the film.

Watching films like the John Wick chapters seems to offer the viewers many adrenaline rushes of vicarious sadistic voyeurism.

A photo record of the recent MSC Assembly in the Japan region.

The meeting took place some weeks ago but here are the photos for the record.

MSC in Japan is a multinational community with members coming from different countries, including Indonesia, the Philippines, Australia, Vietnam and of course Japan. 

Location, location, location...

Brian and Prio

Chris, Keith, Bern and Kiky

Arun, Carol, Toan and Brian.

 At the moment, Toan is the newest member of the community. 

And, the final Mass

Congratulations. MSC Mission Office, 25 years Celebration.

Acknowledging the work of Adrian Meaney MSC,

and its continuing with Roger Purcell MSC

and Sean Donovan and the Office staff.

and the broadcasts, Mission Alive

And the extraordinary outreach.

Celebrations this weekend – and in July.

Our best wishes to our MSC Sisters, March 25^th, Foundation Day and jubilee celebrations.

And the recent visit of MSC Superior General, Sister Bonaventura, Korea, and Sister Blanca, Spain. (Photos, Carmel Butler MSC)

Bonaventura addresses the community and shares reflections of her experiences here with us. Later, she also shared some congregational developments.

Bonaventura leads us in a reflective exercise.

Blanca Modino Pelaez, General Treasurer, addresses the meeting.  Then, she expresses her thanks for a gift given for her Golden Jubilee 2023.

Mary Drum, Blanca, Francis Baum, Bonaventura

Carmel Slattery calls us to prayer.

Maureen Sheehan and Blanca share a moment, Carmel Slattery writing on community’s card for Blanca.

Carolle Barwick, Tess Veenker and Blanca share memories of past gatherings and MSC Sisters’ events .

‘Thank you’ from Mary Drum before Bonaventura leaves for the airport.