WALLACE & GROMIT: VENGEANCE MOST FOWL

Voices of: Ben Whitehead, Peter Kay, Lauren Patel, Reece Shearsmith, Diane Morgan, Adjoa Andoh,Lenny Henry.

Directed by Merlin Crossingham, Nick Park.

Older audiences may remember with joy, 1989, and the first appearance of Wallace and Gromit on our screens, Great Day Out. The villain back in those days was the Penguin, Feathers McGraw. This Wallace and Gromit outing is the sixth – and they won an Oscar in 2005 for Wallace and Gromit: Curse of the Were Rabbit.

Audiences have got to know and admire Aardman Studios and their particular style of animation as well as the characteristic voices. Wallace is the traditional British bachelor, self-sufficient, eager with his inventions, but happy to have his dog, not his pet, his friend Gromit sharing the house. But, by this stage, Gromit is feeling somewhat left out, Wallace caught up in his inventions.

However, they do have a moment of glory, capturing Feathers McGraw who has stolen a diamond from the Museum and is now imprisoned, in a zoo. Vengeance is uppermost in Feathers mind.

But, the creativity of this story is that Wallace invents a robot, love of AI, a robot called Norbot, at the service of everyone, all of initiatives, the most rapid achievement of jobs beyond expectations. Gromit is not so impressed, especially the noise that Norbot takes in recharging, Gromit taking the charger outside – and its being linked with Feathers in his prison.

Dastardly results.

Feathers is able to create a whole legion of Norbots, all malevolent, doing the jobs, robbing the customers, creating uproar, and the police, racial backgrounds of Macintosh and Mukherjee, stubborn Scot and eager Indian deciding that Wallace is the criminal. There is also some parody with the media, a reporter called Onya Doorstep, and a television commentator, Anton Deck (based on televisions Ant and Dec).

Poor Wallace in jail. Gromit doing his best to remedy the situation, Norbot rescuing him from a tree, falling and Norbot recovering his benevolently programmed self.

All set for a confrontation, Feathers McGraw trying to make his getaway with the rogue robots, but, of course, Wallace innocent and he and Gromit able to live another day (with Wallace resolving to cut down on his inventions).

And thanks to Nick Park for many decades of entertainment from Aardman, especially with Wallace and Gromit.

BIRD

UK, 2024, 119 minutes, Colour.

Nykiya Adams, Franz Rogowski, Barry Keoghan, Jason Buda, Jasmine Jobson, Frankie Box, James Nelson-Joyce.

Directed by Andrea Arnold.

A British slice of life. This time in south-east England, Kent, the area where director, Andrea Arnold, grew up. In fact, Andrea Arnold’s first film is, in the 2000 is, work British slices of life. However, she also directed a version of Emily Brunty’s Weathering Heights and also went to the United States American and to direct episodes of television series, like Big Little Lies.

However, here she is at home again. This part of Kent is not an area for easy living, especially for the young teens, trying to make their way, and dealing with parents who are only 14 years older than they are. They have to be tough, have to manage, had to learn by their own mistakes but especially what they see in their parents.

This is the story of Bailey, 12 years old, West Indian ancestry, local English ancestry, a bravura and strong performance from Niliya Adams, we first see her with her phone, photographing birds, this would and grace of birds, and we are alerted that this will be a theme, both realistic and symbolic, as the film progresses. Then she is picked up by her father, and together, on the scooter, they speed and swoop through the town, landing at home where her father, Bug, Barry Keegan in another quite different performance, and announces that he will be getting married to his girlfriend at the weekend. Bailey is not impressed.

Also at home is her half brother, Hunter, Jason Buda, 14, involved with a local gang who terrorise locals with their camera, photographing stuff that they can blackmail their victims with. And Hunter wants to

 run away to Scotland with his 14-year-old girlfriend, Moon. One of the symbolic bird sequences has Bailey trying to deliver Hunter’s letter to Moon the bird swoops, snatches the letter in its beak and delivers it. Touches of “magic realism” throughout the film.

But we discover that the Burden of the title is actually Laura, played by François rib Gorski, encountering Bailey, strange clothes, but on a quest to find his birth mother.

Which turns the narrative into a search, a quest, Bailey taking on Bird, a joyful excursion to the seaside with the half brother and sisters who live with her birth mother, discovering Birds father and some explanation if not joy.

There is some happiness in this family’s life, Bogeyman Bailey bringing Hunter home from his forlorn search for Moon, the wedding celebration is an exuberant dancing, and a visit from Bird, the audience seeing him from Bailey’s viewpoint, covered in feathers, protecting bird, a flyaway bird.

Bailey is only 12. And all her life is before her. We might wonder how Andrea Arnold saw Bailey’s future.

1. The title? The character, Bird? Bailey and her photographing birds? The range of birds, real and symbolic throughout the film? The real/symbolic bird and carrying Hunters message?
2. The Kent setting, the town, houses, narrow streets, the coast, the surrounding countryside? The travel to the sea, the water, the sand, the day of the Sea? The musical score, the wide range of songs, their insertion into the action, the lyrics?
3. The slice of social realism? Families living in Kent, their backgrounds, early relationships, pregnancies and births, homes, work, scams? The Dir is interested in these characters, their backgrounds, sympathy?
4. The central focus on Bailey, her age, strength of character, her hair and later getting it cut, riding on the scooter, riding with Bug, Bug as her father, living with him, with Hunter? Her mother, the other relationship, her children? The influence of these situations on Bailey and her approach to life?
5. Bug, father at 14, his partner and her new partner and family, Bailey and Hunter living with him, his role as a father? His fiancee, the announcement, the planning for the wedding? The scooter ride, the total and the phosphorescence, planning to sell it to finance the wedding? At home, his dancing, gyrations? The buildup to the wedding? His care for Bailey, her presence, her absences?
6. The appearance of Bird, sudden, his manner, look, closing? The meetings with Bailey, her wariness, bonding with him, his stories, searching his mother, appearing and reappearing? Travelling with Bailey, the day at the beach? With the other children, meeting her mother, getting information, the travel to the house, the man unwilling to speak, coming down to them, the explanation of Birds background? Finding some answers, his disappointment? His appearance of the wedding, the touches of magic realism, Bailey seeing him as a bird with feathers, protective? The final meeting, the departure, realistic, and the feathers?
7. Hunter, his gang, the videos, trapping victims, hoodlums? His relationship with Moon, wanting to run away, getting Bailey to deliver the message, Bailey at the door, the vigilant bird, taking in delivering the message? Hunter leaving home, telling Bailey, going to the railway station, her telling Bug, the going to the station, bringing him home?
8. Bailey visiting her mother, taking the children to the beach, the joy of the family? Her mother’s boyfriend, his violence, outbursts, confrontation with Bailey?
9. The background of characters, their life and style, issues of relationships, commitments, values, survival?

TIME CUT

US, 2024, 92 minutes, Colour.

Madison Bailey, Antonia Gentry, Griffin Gluck, Samuel Braun, Megan Best.

Directed by Hannah MacPherson.                               

The first years of the 2020s saw a proliferation of horror films, many of them slasher stories. This is one of those. However, it is one of the better examples of the genre and has a wider appeal.

On the one hand it could be described as a serial killer film. And it is. On the other hand, it could be described as a time travel film. And it is.

For the 2003 timeline, there is a focus on young students, friendships, secrets, proud parents, socials, and the serial killer.

For the 2024 timeline, things are much more sober, the parents have a younger daughter but are still grieving the death of their daughter 20 years earlier, almost ignoring the present daughter. However, the contrivance is that she is taken back to 2003, encounters her sister, tries to intervene to stop of the killings, has communication with the teacher from school, and becomes very friendly with a rather nerdish student interested in time travel.

The screenplay is often quite ingenious as it moves from time to time, especially the role of time travel in the identity, motivations and unmasking of the actual killer. And, yearning for the past, the heroine decides to stay in 2003 with her surviving sister, with affirming parents, rather than her cold life of 2024.

1. The combination of serial killer thriller and time travel? Credibly combined?
2. The title, incorporating each of the themes?
3. The popularity of the film, well-received? A young adult audience?
4. The town of Sweetly, Minnesota, 2003, vibrant and lively, the look, style, language, technology? The contrast with 2024, downtown neglected, the preoccupations of the inhabitants? The musical score?
5. Summer and her story, her parents, at class, friendship with Emma, the class celebration, the history of the two deaths, the Masked Slasher, Summer, morose, attacked, the escape, her death?
6. 2024, Lucy, with her family, the parents morose, not affirming their daughter, her skills at school, intelligence, science, NASA? At school, the professor? The people discussing the mystery, not solved? The Memorial at the shrine?
7. The discovery of the time machine, Lucy using it, arriving 2003, two days before Summer’s death? Her consulting the teacher? The encounter with Quinn?
8. Quinn, victim of bullying, interest in science, reclusive? The clash with Ethan? Lucy, helping, the explanation, his help with the refuelling of the Time Machine? The ingenuity of restarting the machine?
9. Lucy, going to visit her family, the difference in their personalities, their encouragement of Summer, Summer not so much interested in her studies, Lucy offering to help her?
10. The mall, the murders, the death of the guard?
11. The effect on Summer, Lucy finding Quinn’s letter, his love for Summer? Summer declaring her love for Emmy? The setup for her death, Lucy saving her?
12. The revelation about Quinn, his motivation, his time travel, Lucy returning, encountering the future Quinn, confrontation and his death?
13. Lucy, not finding a place in 2024, deciding to stay in 2003, with Summer, with a happy family, and the apprenticeship with NASA?
14. The successful combination of slasher themes and time travel as well as family issues?

GREY LADY

US, 2017, 107 minutes, Colour.

Eric Dane, Natalie Zea, Amy Madigan, Adrian Lester, Carolyn Stotesbery, Chris Meyer, Rebecca Gayeheart, Laila Robbins, John Shea, Billy Sherry, Rafiki Rocky Rodrigues, Eilin O'Dea.

Directed by John Shea.

Grey Lady is a police investigation with a number of murders to be solved. And, the title refers to the island of Nantucket, inclement in its off-season.

For those who want to sit back and enjoy this kind of thriller, there are certainly intriguing elements. Some reviewers refer to the intricacy of the plot lines – while others just simply label the episodes as chaotic. It will depend on the viewer’s frame of mind at the time of watching.

The film was directed by veteran actor, John Shea, who also appears as the local police chief. The star of the film is Eric Dane as the investigator, emotional because of the death of his sister and of his partner, trying to investigate the background of family members. It is interesting to see British actor, Adrian Lester, as one of the local police and there is a tour de force performance by Amy Madigan as the mysterious aunt.

Lots of atmosphere. Quite a number of killings. All kinds of intricacies in the tangles of the plot and the solution.

1. The title, the island of Nantucket, its weather, nothing being either black or white?
2. The American movie tradition of police investigations, murders, mysteries, detection, serial killers and motivations, sanity and insanity?
3. The introduction to Doyle, the paper headlines of the death of his sister, his partner, Maggie, discovering her pregnancy, the callout, the screaming, Maggie tending the woman, the woman killing her, Doyle and his confrontation with the man, his eyes, the escape? Maggie and her death, the Rose and the Crown? Consequences, Doyle and his suspension, forbidden to continue investigating, his defiance, the travelling to Nantucket?
4. Doyle, his personality, the significance of the happy opening sequence, the family, his father? The later return to the photo? The ambiguity of his father, the revelation of the relationship with Lola, his father and Lola and the fight, his uncle’s death, his coming into the room, assuming his father had killed his own brother? And the focus on Beth as a little girl, watching everything, traumatised?
5. Doyle, personality, taciturn, unsmiling, determined, the burden of his past, the death of his sister and partner? On the boat, meeting the Duchess, and meeting Eli? Johnson, his welcome, the police on the island, not wanting Doyle to investigate? The tensions? The collaboration with Johnson, Johnson and playing in the band, the bond? And Doyle getting information from his colleague back in Boston? The authorities in Boston?
6. The events on the island, the exhibition, Billy and the sculptures, Melissa and her paintings, Doyle attracted to the woman in the bath, memories of his partner, buying it, the celebration afterwards? Eli and her spilling wine on the painting, the apology, joining in the gathering afterwards? The meetings with the Duchess, the divorce, the intensity of her businessman husband, her death?
7. Doyle, getting more information about his family, the visit to the house, Tony and his collaboration and information, seeing Angela – and the later revelation that Angela was Lola?
8. Doyle and Melissa, the bonding, the discussions, revelations, Melissa and her tensions? Clara, Irish, massage, friend?
9. The revelation of the audience of who Eli was, her collaborator, revealed as her brother, Perry? The discussions between them, Eli as Beth, her trauma, orphanage, institution, escape, collaboration with her brother, the religious language and motivations? The revenge for the death of her father, blaming Doyle for his father’s killing of her father, the series of murders of relations and friends, and the symbols on the victim spelling out Doyle’s name?
10. Eli/Beth and her charm, yet her madness, manipulation, violence, vengeance, control of Perry? Perry and his violence? The episode with Tony, blindfold, cutting off his fingers, the confrontation and the pursuit? The confrontation with her mother, threatening, unable to shoot her? The episode with Clara, the massage, locking Beth in, Perry and the guns, the confrontation, Beth killing Clara, the disposal of the body, the manoeuvres to track Melissa, the phone calls, confronting her, telling her of the death of Clara, Melissa’s collapse, the boat, abducting her?
11. Doyle, putting the pieces together, working with Johnson, information from Boston? The meeting with Lola, revealing the truth, the flashbacks to what happened, the fact that Lola had killed her husband, but the little boy had seen only his father with the weapon? The whispered promises in the church? Builders gift of his father’s camera?
12. The final confrontation, with Beth, threatening Melissa, her death? The confrontation with Perry, the gun, the revelation of Lola’s secret, that Perry was in fact Doyle’s brother, not being able to kill him? The arrest?
13. The end, to going back to Boston, farewell from Johnson, the praise of the local authorities, the final talk with Melissa, and the story throwing the coin at the lighthouse – and the flashbacks to the memories, Doyle’s father and the camera, the whole family the throwing coins, and the irony of their return?

HOLD TIGHT

Poland, 2022, 6X 45 minutes, Colour.

Magdalena Boczarska, Leszek Lichota, Krysztof Oleksyn, Grzegorz Damiecki.

Directed by Michal Gazda.

Harlan Coban’s novels have been well received critically and are very popular. The film version of one of his novels, Tell No One, was made in France in the early 2000’s.

However, Coban made a contract with Netflix for the filming of many of his novels. Interestingly, most of them have been set outside the original locations in the United States. Many of the stories have been transferred to the United kingdom, there was a French film, a Spanish film, and two Polish. This is one of the Polish series.

The focus here is more local than the international scope of many of the series. The focus is on a family, a strong-minded mother, a laid-back father, the death of a student, drug dealing connections, and the disappearance of their son who was involved with the dead student.

While there is a great deal of attention to the students, their interactions, the drug deals, the investigations, the principal focus is on the mother of the boy who has disappeared, a powerful performance by Magdalena Boczarska.

As expected, there are several strands in the plot, revelations and various unanticipated interconnections between characters. There is also attention to the investigators, manner, scepticism, touches of comedy, but always serious.

And, a satisfying explanation of the intricacies of the plot.

1. The popularity of Harlan Coben novels? Adaptations as television series?
2. The transition of the story to Poland, Warsaw, the atmosphere of the city, the views of the city, 21^st-century and modern, the affluent suburb, the refuge for youngsters – and cover for drug dealing? Police precincts and investigations? The musical score?
3. The focus on Anna, her age, marriage to Michall, their son, their daughter, the protective mother, surveillance on her son’s phone, her husband’s hesitation? The disappearance of her son, her anxieties, desperation? Going to the club, her being beaten up, the rescue, the injuries? The death of Igor? The connection with Adam and his disappearance? Beata and her visits, grief for her son, discussions with Anna? Visit to the site of Igor’s death? The discussions with Paul and his wife, his role as a lawyer, his wife as a counsellor, at the school, the memorial for Igor? Ols and her friendship with Jasmine, Jasmine’s father, sleepovers, the humiliation of Jasmine at school, the teacher, the consequences? Anna and the police investigation, her work, sports, drugs, prescriptions missing, the investigation, arrest? Her continued interventions?
4. Michal, good man, expert, flying and the press conference about the fire? Support of his wife, love for his son, his daughter? Listening to Anna? His interventions, going to the club, the confrontations? The DNA, the impact of finding Adam was not his son, the confrontation with Anna, her explanations, the rape, his disbelief? The further search for Adam, the phone calls? With Paul? Paul suggesting the lawyer, the meetings, the confrontations? The reconciliation with his wife?
5. Adam’s story, his age, going to the club, the manager and her hold over him, the drug distribution, his close friendship with Igor, Igor’s death, the investigation, his disappearance, the false phone calls, his girlfriend and her concern, his being held by the two boys, phones with the Czech connection, the attack on him, his escape, confrontation with the manager of the club, the thugs? His watching his parents? The eventual return, the explanations to his mother, Igor and the stealing of the prescriptions, his proclaiming his innocence, the reconciliation with his girlfriend – his mother’s declaration for protecting him, but the final images of her suspicions?
6. Paul, lawyer, his wife and psychology, friendship, interventions, getting the lawyer, his daughter, demands on her, exasperations? Her love for Adam, at school, the friends, the parties, the drugs, her friend being abducted and tortured, her going to the club, the confrontation, the dangers?
7. The group of young people, the drugs, parties, violence, Guru, the manager, her hold over them, the thugs and their brutality? Holding Adam? His escaping, the consequences? The leader and his father, lawyer, finding out the truth about his son, his connections with the manager of Guru?
8. The shop proprietor, separation from his wife, the humiliation of his daughter at school, confrontation with the teacher, the teacher and his apologies, going to his house, harassing his wife? Revelation that he had hired the abductor, their past together in Afghanistan, his criminal attitude, the young girl, abducting the ex-wife, torturing and killing her, the search for the videos, the abduction of her friend, torture, the police interrogating her husband, her death? The revelation that the proprietor was sending compromising videos to the teacher, his past behaviour, humiliation? His confronting the abductor? The abduction of the young girl, torture, her escape, the pursuit through the railyard? The young woman letting her go?
9. The police investigation, the attitude of the chief investigator, his sayings and their being inappropriate, the range of interviews, the witnesses, the breakthroughs, the subordinate staff and their hostility towards the female officer, his employing her, their working together, the interrogations, clues? His thoroughness? With Anna and her husband? The personalities of the police, the young awkward policeman, his breakthroughs, the interviews, his misinterpretations?
10. The manager at Guru, her control, connections, violence?
11. Igor dead, his presence in the film, the site of his body shape and the candles? His mother? The revelation of the truth?
12. The personal dramas, the interconnections, crime, mysteries, twists?

THE ORDER

US, 2024, 116 minutes, Colour.

Jude Law, Nicholas Hoult, Tyler Sheridan, Jurnee Smollett, Walter Slezak, Odessa Young Alison Oliver.

Directed by Justin Kurzel.

The events in this investigative thriller took place in the 1980s. But, a film about extreme right-wing groups in the United States in the 2020s will immediately alert audiences to the attack on the American capital, January 6th, 2021. And, in fact, at the end of the film, the link is made.

The name, The Order is taken from the 1977 novel by William L.Pierce, the Turner Diaries, seemingly intended for younger readers but something of a manual for an uprising against the state, and how it is achieved in stages. This book features in the film highlighting its influence. Already, in 1988, there was a film about these events, Betrayed, directed by Costa Gavras and featuring Tom Berenger and Debra Winger. Early in 1989, the book on which this film is based was published. Its title, The Silent Brotherhood: Inside an American Racist Conspiracy, by Kevin Flynn and Gary Gerhardt. Kevin Flynn is noted in the credit as a consultant for the film.

The film has been directed by Justin Kurzel, well noted for his crime dramas and his skill in portraying mentally and emotionally disturbed men – especially in Australia, The Snow Twown, The True Story of the Kelly Gang, Nitram (and not forgetting his Macbeth).

The framework of this story is the investigation by FBI agent, Terry Husk, a fine role for Jude Law, one of his best (his role before this one as the ageing Henry VIII in The Firebrand). He works in collaboration with an earnest young deputy, Jamie Bowen, played by Tye  Sheridan, and a local agent played by Jurnee Smollett. The setting is Washington State – so much of the scenery, the mountains, filmed beautifully as background.

At the centre of the brotherhood is a young enthusiast, all-American, Bob Matthews. This is a very interesting and different performance by Nicholas Hoult who resembles closely the photos of Matthews himself, at times baby faced, an innocent despite the prejudices and violence he is spouting (scenes of his intensity in close-up looking like Nicholas Hoult more than 20 years earlier as a boy in About the Boy). The actual Bob Matthews, we find there is a strong resemblance between him and Nicholas Hoult.

Terry Husk has his own personal problems, his long career, sometimes an intense recklessness in pursuing the criminals. Matthews has the support of his wife, of his pregnant girlfriend, of a lot of the Proud Boy types of the 1980s, moving to bank robberies, explosions to distract from the robberies, a Bricks job on the highway, building up his coffers to start a militia. The screenplay also emphasises the biblical underlining of this Brotherhood, the transfer of promised land to the Jews (to be taken away from them), to the white Americans who see themselves as God’s chosen people, ready to rise up against any immoral society and a two-permitting government.

The pace is strong. The characterisation powerful. The issue is more than challenging. And, while it is a reminder of movements in the past, The Unibomber, bombings in Oklahoma, Waco… It is a sober alert to movements, beliefs, conspiracy theories in Trump’s America.

1. The title, the reference to the book, The Turner Diaries, the manual for insurrections and the group called The Order?
2. The film based on fact, the 1980s, the book basis for the film, The Silent Brotherhood? The popularity of white supremacist groups at this time? The Reagan era? The social standing of members of the group, white groups, the biblical basis, church preachers, neo-Nazi attitudes, the active leaders and insurrection, turning to crime to finance militias?
3. The settings, Idaho, Washington state, the beauty of the mountain scenery? The city sequences, the streets, banks, porn cinema and explosions, homes, the church, the highways and robberies?
4. The focus Terry Husk, Jude Law’s performance, FBI background, moving to Idaho, the phone call and the separation from his wife and daughters, his long experience, long friendship with Joanne Carney, working with her, her authority and jurisdiction, tested by Husk and his taking initiatives? The work together, investigations?
5. The focus on the group, Richard Butler, as a church minister, his ideology, preaching, the Bible, white supremacist presuppositions about the land, anti-Semitic, swastikas and neo-Nazi attitudes? His meetings with Bob Matthews, the threats, Matthew standing up to him at the gathering, his withdrawing?
6. Bob Matthews, his background, age, manner, relationship with his wife, relationship with his girlfriend, her pregnancy? His friends, their thug background? Interviewing the Mexican who pretended he was Spanish for racial supremacy? His hold over the men, his leadership? Later, the arrest and Husk interviewing and getting information?
7. The decision to rob banks, the money, for themselves, but for funding a militias? The sequence of the robbing of the bank, intimidation, the driver and the getaway, his gun on the policeman outside, their exhilaration? Matthews and his wife and his girlfriend? The planting of the bomb in the cinema, a distraction, the robbery of the van? The bigger plans, the Brinks van, on the highway, the hold-up, cars on the highway, the chain across the road, their effectiveness, the dangers, guns and shooting, escape?
8. The local police, the chief, rather more easy-going, Jamie Bowen, his earnestness, relationship with his wife, children? Giving information to Husk? Husk relying on him, going to the motel, the stakeout, the gun, Jamie freezing, Husk and his reaction? His change, becoming more involved, going into action? Husk and the interview with his wife and her fear of him? The confrontation, the shootout, the chase, Jamie shot, his death? The funeral, Husk, Jamie’s wife?
9. The focus on Bob Matthews, his personality, relationships, his plans, his wife, unable to have children, the young girlfriend and the birth of the child, the money for them? Husk and his interview, getting information, the location for hide out?
10. The impact of the church gathering, Butler speaking, Matthews intervening, powerful speech, bigotry?
11. The hideout, the thugs, guard, the FBI attacked, the siege, the shooting? The fire, Bob Matthews staying, Husk going into the building, withdrawing, the collapse of the building, Matthews’ death?
12. Husk and his achievement, Joanne Carney and her work, the regrets for the death of Jamie Bowen? The atmosphere of uprisings in the 1980s?
13. The final information, the references to January 6th, the siege of the Capitol, The Proud Boys and other groups, imprisonment, President Trump pardoning them – and the future during the second Trump presidency?

COMPANION

US, 2025, 97 minutes, Colour.

Sophie Thatcher, Jack Quaid, Lucas Gage, Megan Suri, Harvey Guillen, Rupert Friend, Mark Mancaka.

Directed by Drew Hancock.

At the end of watching Companion, this reviewer was very happy to have had no knowledge at all of what the film was about or what it was like. And, checking on the number of reviews as well as strong opinions from bloggers, most were pleased that they went in to see Companion cold and found it an engrossing and unexpected experience.

Which, possibly, is where a review of Companion should end. But, it is probably fair to say that in the first few minutes, we are introduced to a very interesting character, Iris, played by Sophie Thatcher (Heretic, Yellowjacket) in a supermarket romantic comic episode involving the collapsing of the oranges shelf, then a startling remark by Iris, the introduction of the tall handsome, Josh, Jack Quaid. Then, off we go…

Sophie Thatcher is very effective in keeping pace with the various facets of her character.

One all the best aspects of Companion is that we do not know where the film is leading. And, there are quite a number of surprises in the screenplay, some misleading, some turns, some twists as the plot unrolls, unravels. And, we are not really sure until the final credits.

There are some good roles from the supporting cast, especially Lucas Gage and Harvey Guillen, sometimes comic, sometimes serious, and nasty Russian businessmen played by Rupert Friend in heavy moustachioed disguise.

In fact, there is quite a lot to think about as we watch Companion.

And, compliments to writer-director, Drew Hancock, who keeps control of his screenplay as well as of the responses of the audience.

1. The title, the focus on Iris, her relationship with Josh, the revelation that she was a robot, her construction, the instructions for her behaviour, companion, sexual partner? The ironies of the complications and the confrontations?
2. The American setting, the opening in the supermarket, the apartment, out in the open road, the scenery, the forests? The holiday house and the interiors? The chases through the forest? The musical score?
3. The romantic comedy tone of the opening, Iris, shopping, doll -like, Josh, the encounter with the fallen oranges, iris voice-over, the attraction, and the intimation that she would kill Josh?
4. The situation, driving to the house, Sergey and his Russian background, the owner, luxury? The presence of Kat and her surly attitudes? Patrick and Eli and the relationship? Sociable, the pool, her assent, her clothes, the drinking, the dancing? The morning after? Josh urging Iris to go out to the pool, meeting Sergey? His approach, her warning him off, her having the knife, killing him? And the audience gradually realising that this was the setup?
5. The revelation of the project, Josh and Kat, the company, the robots, the specifications, the plan to rob Sergey, the murder, using Eli? And the revelation that Patrick was also a robot?
6. Audience response to Iris, her personality, her robot personality, her love for Josh, unable to lie, the background of the company, the interviews, Sid and Teddy and the later interventions?
7. Josh, the revelation, his personality, greed, his inferiority, motivations, Kat and her personality and motivations? The emotional complications, Eli and Patrick and their contribution?
8. Iris, the situation, her being able to be turned on and off, yet the innate shrewdness of the programming, the confrontations, the drama in the house, her escape, the pursuit through the forests, the hiding, eluding the pursuers?
9. The pursuit, Josh in the forest, and Patrick, being able to turn Patrick on and off, Josh and the reprogramming of Patrick? Patrick as a vengeful robot, Eli and his being shot, the final relationship with Patrick?
10. The complications and the pursuit, iris using her wits, the return to the house, the contact with the company, bringing the replacement, Teddy and the pursuit?
11. The transition from science-fiction to the slasher mode, the role of Patrick, his different personality, manipulated, vengeful? And the final confrontation with Josh and his defeat?
12. Audiences enjoying the thriller, slasher aspects? The interest in the science fiction themes, robotics, programming, and the focus on self-indulgent men, their inadequacies, needing programmed robots for their satisfaction and gratification? And the defeat by female ingenuity, and by the programming?

QUEER

US, 2024, 137 minutes, Colour.

Daniel Craig, Drew Starkey, Jason Schwartzman, Lesley Manville.

Directed by Luca Guadagnino.

There will be many reasons why audiences would be interested in seeing Queer. It has a star, award-nominated performance by Daniel Craig, post-James Bond. The film is directed by Luca Guadagnino, Italian director, who became internationally famous with Call Me by Your Name and 2024’s tennis drama, Challengers. And the central character is the alter ego of American novelist, William S Burroughs.

There is also the meaning of the title, which is the title of a short novel written by Burroughs during his time in the early 1950s in Mexico but not published until the 1980s, his exploration of the meaning of “queer” and his observations as a writer as well as his own personal involvements.

Audiences will appreciate and understand the film better if they have some previous knowledge of Burroughs himself. This film presupposes that audiences are aware of him, of his personality, of his career. A look at the Wikipedia entry on Burroughs offers more information than we can absorb, an interesting reminder that  Burroughs had a long life, wrote many stories and articles  novels, a number of novels, was friendly with Alan Ginsberg and Jack Kerouac from early years, influential in the literature of the Beat Generation, also interested in visual art and making appearances in the number of films including Drugstore Cowboy, as well as David Cronenberg making a film of his controversial novel, The Naked Lunch.

With this background, we can understand Burroughs and his time in Mexico, seeing his typewriter with a page in it but not seeing him doing very much writing, his drinking in bars, incessantly smoking, the conversations with gay friends, then creating an encounter with a young American, Eugene Allerton, Gene, played by Drew Starkey. Allerton, like Burroughs, is a complex character, seeking, searching, testing relationships.

While the first part of the film is the exploration of the queer theme, the second part moves on to something quite different, something noted in the Wikipedia about Burroughs, his interest in magic, as well as in a South American plant which he thinks has the power to increase human telepathy. So Burroughs and Gene travel to the jungle, advised that there is a British doctor who has explored and experimented. She is played by Lesley Manville, almost unrecognisable, who leads them, tantalises them, in their experimentations with this plant.

Suddenly there is an epilogue, two years later, Burroughs himself cleaned up, on his way back to the United States – but, many who are familiar with Burroughs’ life will remember that there was an episode with his wife, drinks, drugs, playing a game with a gun, to shoot an apple placed on her head, her death. And this is re-enacted at the end of the film with Gene and the apple.

Burroughs’ writing was stylised, exploratory – and Guadagnino’s film strives to illustrate this.

1. Audience knowledge of William S. Burroughs, his writing, novels, articles and essays, visual art, his appearance in media, film, television? His life and style, literary influence on US writing the 20^th century? His name, Lee?
2. The title, the novel from the 1950s, not published in the 1980s? Seen in connection with his other writings? Seen as an explorer from his memoir in Mexico in the 1950s? His exploration of queer? But also the interest in magic, drugs, telepathy?
3. The structure of the film, the chapters, the epilogue? Glimpses of Burroughs and his life in the 1950s? Daniel Craig’s performance? The musical score, the songs, the lyrics?
4. The Mexican setting, the town, drab, the 1950s, bars, hotels? The streets, the atmosphere?
5. The initial response to Lee, from those who know about him, from those who know him at only from this film? Age, personality, the writer, the typewriter, the drinking, drugs, his gay friends and conversations, discussions about what it was to be queer?
6. Eugene Allerton, seeing him with the woman, the games, Lee and his eyes on him? Gaining attention, the attraction, the episodes, Gene and his personality, studies background, presence in Mexico, hopes and ambitions, tantalising Lee, eventually getting together, at the hotel, the sexual encounter, the consequences? His on and off connections with Lee?
7. The transition to the second part of the film, Lee and his interest in drugs, his research, telepathy, inquiries, information about the plants, about the doctor in the jungle, his decision to go, Gene going with him?
8. The scenes in the jungle, remote, difficult, finding the hut, Dr Cotter, her background, appearance, her partner, friendly, tantalising, the discussion about the drugs, looking at the root itself, the decision for the experiment, the effect on Lee and Gene, the trance experiences, her solicitations, , the satisfaction? The farewell from the jungle?
9. The sudden epilogue, two years later, Lee and his seeming to be in control, the discussions with his friend, his friend and his personality, the stories, always being robbed by his partners?
10. The reminiscence of the story about the William Tell episode, the gun, the vessel on the head, the shooting, the reality of the shooting of Burroughs’ wife, here dramatised with Gene?
11. William Burroughs at this stage of his life in the 50s, many decades to come, the court and the episode with the death of his wife, his relationships, his influence on the Beat generation and literature? His creative style, finally recognised?

BONHOEFFER

Ireland/Belgium, 2024, 132 minutes, Colour.

Jonas Dasslow, August Diehl, David Jonsson, Moritz Bleibtreu Vincent Franklin, Clarke Peters.

Directed by Todd Komarnicki.

Dietrich Bonhoeffer is considered one of the great Christian figures of the 20^th century, the first half of the 20^th century, his stances in spoken and written word, in action, against Nazi fascism leading to his death. The title of his most famous book, The Cost of Discipleship with its distinction between cheap grace and costly grace, has been powerfully influential on the nature and living Christian discipleship.

The subtitle on the advertising and promotion is not in the film itself. But, there are three tantalising words: pastor, spy, assassin to evoke curiosity.

Bonhoeffer is sponsored by Angel Studios, the American Christian production company, responsible recently for Sound of Freedom, Cabrini. Filmed in Ireland and Belgium, the principal members of its cast are German, Jonas Dasslow effective as Bonhoeffer with quite some resemblance in features. Veteran Moritz Bleibtreu is Bonhoeffer’s father. August Diehl is a minister who defies the Nazis and goes to prison. David Jonsson and Clarke Peters appear in the US sequences.

This is a portrait of Bonhoeffer, not a full biography, but a highlighting of key issues in his life. In fact, there are quite a number of other films about Bonhoeffer, some biographies and in 2025, another cinema portrait, Holy Traitor.

There is a complex structure for the screenplay, some initial sequences of the family in 1914, the experience of World War I, an introduction to the lively young boy, Dietrich, the strong influence of his supportive parents and siblings. But, then there is a transition to 1945, Bonhoeffer imprisoned, memories of his past, his impending execution. Which means then that the flashbacks are always seen in the light of his ultimate fate and faith.

Commentators have pointed out that there are many aspects of Bonhoeffer’s life that are not included, years of serious academic study in Germany, an engagement with a young friend and her visiting him in prison, the writing of his books. And, some changes in factual aspects, especially the location of his death.

However, the flashbacks build up a portrait of an earnest young pastor, studying in New York, bored with the formal studies, a black friend, Frank, opening his sensibility towards jazz, introducing him to the spirituals, discussions with the black Baptist leaders who challenge him to his understanding of lived faith, authentic religion, and an experience of violent racism at a hotel in Washington DC.

On his return to Germany, his family filling him in on what is happening, the rise of Hitler, targeting the Jews, Bonhoeffer is at first in disbelief, then taking strong stances, listening to a firebrand Protestant pastor lauding Hitler and Nazism, challenging his friends, preaching and the military walking out despite applause from the congregation.

Over the years, Bonhoeffer writes, takes stances, teaches in a seminary which is closed down and the students enlisted to fight, visits to England and is appeal to British clergy, his being invited to participate in a plot to assassinate Hitler, his going to the Swiss border for an exchange of Jewish prisoners.

Bonhoeffer was arrested along with his brother-in-law, jailed for a year and a half, the film showing the almost liberation of the prison, Bonhoeffer, before his death, solemnly celebrating the Eucharist and Communion ritual, symbolic of his readiness to die.

There have been quite a number of films about Dietrich Bonhoeffer but here is an opportunity to see him, admire him, reflect on his moral choices, reflect on his faith, costly grace and the final cost of his discipleship.

1. Status of Dietrich Bonhoeffer as a 20^th-century champion against fascism? A Christian champion? This film is a portrait, tribute?
2. Audience knowledge of Bonhoeffer, his life, ministry, anti-Nazi, the Confessing Church in Germany, his stances against the Nazis, the plot to assassinate Hitler, his arrest, execution? His writings, the Cost of Discipleship?
3. Jonas Dasslow and his resemblance to Bonhoeffer? The opening, the family, the period of World War I, the play between the brothers, the chasings, Dietrich and his being venturesome, his brother going to the war, his death, in the coffin? The grief, the parents? Dietrich playing the piano, upset?
4. The structure of the film, the continued linear narrative, the leap ahead to the arrest and imprisonment, his memories in prison, the flashbacks? The overall effect of this portrait and the various pieces?
5. The incidents included in the screenplay? Aspects not included, his extensive studies and academic achievements while young, the friendship with Maria and the engagement, the prison visits? Not focusing on his writings or the publication of his books? The change of venue for his execution? The record and his naked execution? Yet what is included giving a portrait?
6. Dietrich as the German in the United States, the lecture scenes, his being bored, Frank and his getting Bonhoeffer involved in the Baptist Church, the choir, the enthusiastic congregation? And the jazz, a mystery to Bonhoeffer, playing the piano, getting into the rhythms? His return and playing the spirituals, Swing Low, Sweet Chariot to the Germans?
7. The effect of America on him, changing perspective of religion, churchgoing, congregations, participation, the nature of faith? The discussions with the Rev Powell, his presence, perspectives, in the church, the choir? That the meal table, testing Bonhoeffer’s beliefs and faith? Suggesting the trip to Washington?
8. His return to Germany, the 1930s, the rise of Hitler, the importance of the discussion sequences, Dietrich and his disbelief about Hitler’s dominance, the opinions of his father, his brother-in-law, the rest of the family? The support of his mother? His shock, the targeting of the Jews, his experience of racism in the US – and the incident of his getting a room in the Washington hotel, the violence at reception, against Frank and them both?
9. The discussions with Martin Niemoller, his caution, listening to the aggressive Nazi clerical preacher, his fanaticism? The impact on Bonhoeffer, writing, preaching, discussions, the sympathetic bishop, his sermon, the Nazis present, his strong words about faith, the Gospel, Hitler usurping God’s role? The walkout of the military? The applause of the congregation?
10. His observation of the rounding up of the Jews, intervention, the elimination of the old Testament, making Jesus Aryan?
11. His visit to England, the discussion with Bishop Bell, his speaking to the assembled clergy, their hesitations? The episode with Churchill and his wife supporting? The later visits to England and support, his ministry there? Not supporting him, fear of an invasion?
12. Martin Nieoller, his apology, his sermon, the family meeting, his son, wife, the arrest, and years in the camp?
13. The seminary, the young men, earnest, the football game, Bonhoeffer and his lectures, his decision to go to Berlin, his brother-in-law, subversive, Resistance, the plan to assassinate Hitler, Bonhoeffer giving his consent, the image of the bus driver dangerous and about to kill the children, destroying the bus driver? His pacifism? Lies, the visit to the authorities, his allegiance, not believed, his getting the money from Sweden and England, the choice of the seven men, taking them to Switzerland, the disbelief, at the border, the bribe, their freedom? This money laundering used against him in the court?
14. The seminarian, coming to Berlin, the news of the destruction of the seminary? The visuals of the assassination attempt on Hitler, the assassin, the explosives, Hitler getting into the car, disposing of the bombs?
15. The bond with his brother-in-law, the arrest? In prison, in the cell, the disgraced doctor and his imprisonment, scepticism? Bonhoeffer, his writing in the Bible, his memories, the nightmares in the night? The bombs falling, escape from the cells, the man running away and being shot, the others rounded up, the Bible dropping in the mud, the sympathetic soldier and his forcing Bonhoeffer, retrieving the Bible? The transfer?
16. The court findings, the gallows, the soldiers in prisons lined up, Bonhoeffer and the communion sequence, the bread, the communion, including the soldier?
17. Bonhoeffer at peace, on the gallows, the hanging?
18. Bonhoeffer and his achievement, his stances, the significance of action? And the condemnation of the German churches for not standing up and speaking out against Hitler?

OH CANADA

US, 2024, 91 minutes, Colour.

Richard Gere, Jacob Elordi, Uma Thurman, Victoria Hill, Michael Imperioli, Caroline Dhavarnas, Penelope Mitchell.

Directed by Paul Schrader.

A Paul Schrader film, written and directed by him, based on the novel, Forgone, by American novelist, Russell Banks, with whom Schrader had collaborated in the film version of Banks’ novel, Affliction, 1998. Schrader notes that he had three bouts of Covid and hospitalisation, saying that he became more conscious of mortality, was interested in Forgone  and collaborated with Banks who preferred the title Oh Canada – and then Banks himself dying while the film was in production. Prior to Oh Canada, Schrader was focusing on older men reviewing their lives, First Reform, Card Counter, Master Gardener.

Watching Oh Canada is both an interesting and intriguing experience.

The film opens with an ominous comment that a son has not seen his father for 30 years. Then the setting up of cameras by a documentary filmmaking trio in the house of a famous documentary filmmaker, Leonard Fyfe, now in his 80s, dying of cancer, an opportunity for him to tell his story for the television audience. The crew have been Leo’s former students, as has been his wife, Emma, living with him for 30 years and concerned for his health and the strain of doing the interview. The other character during the filming is Leo’s full-time nurse.

It is usually pointed out that Paul Schrader came from a strict Calvinist background and has been concerned with religious themes in many of his films. This is not just a documentary about the life and career of Leo, but his opportunity to face the truth and lies of his life, seduction and exploitation, but also skills as a filmmaker and lecturer.

And Leo is played impressively by Richard Gere in his mid-70s, old, almost bald, stubbled chin, experiencing the pain of cancer, determined to go through with the interview, despite the effort and strain, by to tell the truth, uncovering lies, and all the time dedicating this to his wife who, he says, has never known him fully.

The intriguing part of the experience is the range of flashbacks, not always in chronological order, moments of memories by Leo, puzzle pieces for the audience to put together. And, some of them are in bright colour, others in black and white, often stark. So the memories are invested with moods, colourful and severe. Most of them go back to 1968, Leo aged 26, his hometown and family, the calling in the priest for a family discussion about his future, his marriage, a son, pregnant wife, prospects, the Vietnam war, the draft, and his decision to avoid the draft – Oh Canada.

The young Leo is played by Jacob Elordi, making an effective contrast with Richard Gere, though Schrader also using the device of having the older, but healthier, Gere take Elordi’s place in many of the sequences of the past. His wife, Emma, is played by Uma Thurman (and, indicating confusion of memories, she also plays the wife of his artist friend in 1968.)

There is discussion about photography and filmmaking in black and white flashbacks to the 1990s and his academic career and his eager students.

With the filmmaking, Leo has the opportunity for some kind of assessment of his life, acknowledging the good and the bad, the hurt to others, deceit and lies, an opportunity for truth in the deathbed confession.

1. The title, the national anthem of Canada, the perspective of Canada in 1968, draftees avoiding Vietnam? Life in Canada?
2. The settings, Montréal and the house, interiors, the filming? Massachusetts towns, in the 60s? Richmond Virginia? Vermont? The Canadian border? The atmospheric score?
3. The work of Paul Schrader, his later interest in older men and coping with life? The adaptation of Russell Banks novel? as writ Schrader er and director?
4. The situation, Leonard Fyfe, the opening comment by his son not meeting his father for 30 years? The documentary filmmakers, setting up, Leo and his health, cancer, weak, agreeing to the film? His having taught Emma, Malcolm, Victoria 30 years earlier? His agreeing to do the interview, his impatience? A deathbed confession?
5. The structure of the film, the interview in 2023, the many flashbacks to 1968, the flashbacks to the classes in the 90s? The range of flashback memories? The style of the film, muted colour for the interview, bright colour for some of the flashbacks, the many black and white flashbacks?
6. Richard Gere, his career, in his mid-70s, portraying a dying man, but also the flashbacks the 1990s and teaching, and the insertion of the older Leo instead of the younger Leo in flashbacks? Jacob Elordi as the younger Leo?
7. Leo reviewing his life, facts, lies, confessions, confusions? The effect on him, wanting to keep going, wanting Emma to be present, for her to know the man she married, his tiredness, the nurse, going to the toilet? Coming back, his insistence? Finally stopping, his attitude towards the filmmakers? In his room, with Emma and the nurse, Sloane putting the camera in the room, the filmmakers watching his dying scene?
8. Leo, his family, his home town? His wandering, the relationship with Amy, her pregnancy, loving her not, the encounter with Amanda, sexual relationship? Meeting Alicia, the marriage, her son, her pregnancy, Leo and his writing, the prospect for teaching, going to Vermont, the pressure from his father-in-law and his brother, to work for the firm? The break, his going away, not seeing his son for 30 years, the loss of contact with Alicia?
9. The various pieces of his story, 1968, the draft, his lining up, costume, questions about being gay, his answers, awaiting his documents? Going to Vermont, hiring the car, the scene in the shop, the clothes, stealing the money and the clothes? Visiting Stanley, the conversations, Stanley and draft dodgers, his art, relationships, Gloria (and being played by Uma Thurman), the sexual encounter, his leaving?
10. The visit to his hometown, the diner, memories of his family? the family discussion, all in the priest, his declaration going to Cuba – is not getting there, the story of his crossing America like Jack Kerouac, the calling of the priest for advice?
11. Going to the border, the signpost, his choice, standing in the field, the sign, his crossing the border to his future?
12. The documentary makers, past students, the scenes of their eagerly listening to him, his invention of the camera and looking at the interviewer on camera, his comments on Susan Sontag and photography, the meetings, the tutorials? His relationship with Emma and Victoria?
13. Marrying Emma, the 30 years, her devotion to him, her concern in his illness, during the interview?
14. Leo and his career, the film about testing weapons, the glimpses of his further films, about exploitation of the Arctic, about the sex offending Bishop? His reputation? His being introduced, bringing Emma on stage?
15. The encounter with his son, the son driving to the screening, talking to his father, Leo turning his back and disowning him? The son and his conversation with Emma? The news about what happened to Alicia?
16. The final death scene, Emma and the nurse, breathing his last, having made his confession?