RED ROCKETNEW website by Marina Skliar It is a countryside in Texas, USA, which feels like unwinding back in time. The action takes place in a jobless town with strangling financially and emotionally residents who do not have that much of a prospect for today or tomorrow, hardly meeting their daily needs. There are few things they can do though: work in the mining industry, work as shop sales assistants or sell drugs (and getting high themselves I guess).
Mikey's life has just peddled along on the bike: he is a middle aged ex porn star who has absolutely nothing to his name except a reputation of a total loser. Meeting a young lady by the nickname Strawberry gives him hope in porn industry.
Mikey proposes to Strawberry to leave her hometown and her family for a new adventure in LA. Sweat spot is a hall in the doughnut
He defuses the young but not so innocent girl to become a porn star, messing up with her emotions so he can get back into the industry himself (and possibly ruin her life too). Mikey is motivated by the most important agenda in his life which is money of course!
Nevertheless, the intention attracts the matching result and things turn literally rough for him. Mikey gets his neighbor, Mr. Hill into serious trouble ending up in prison with a sentence (for life!!!) for the wrong turn.
Mike must run again from Texas, this time for good. He is back right where he started.
It is a must watch for all young women in order to learn from other women's mistakes and see how and why women are so trusty of men, how gullible they are when the right twist of words can get them into lifetime suffering.
There is a hidden agenda in the film: it takes a lifetime to learn and see how the lies and manipulations can get you and those around you into trouble.
Don't let the words and story fool you, don’t go for an easy bucka as "easy come easy go"….
The only person you can trust is you, yourself (if only you can be honest with yourself of course).
Sing 2 is a colourful, motivating, musical and inspirational. Dreams come true, don’t ever give up!
What a great movie to watch with the kids as each one of us see what we want to see. It has fantastic script and music selection. It is a continuation of the first movie and includes fun and joy that the viewers experienced in the first movie. I had watched it in one breath.
This movie is inspiring for young and old audiences: if you believe in your dream and work on achieving them, they will come true. Nothing can stop you, but you.
The animation includes all kind of animals: big and small with a huge potential to be famous.
One of the characters, Moon has just proved that through the ups and downs of the rollercoaster, they somehow still gather crowds to the shell of what once was the theater and they get noticed by their small town, presenting one spectacular show performance and the whole town loves it.
Great movie to watch by the families Loved it
by Nicole Stenton
Sing 2
This last week, my kids and I went to Hoyts to watch Sing 2. We were expecting a fun, fast paced, exciting movie and that was exactly what we got. This is definitely a movie the whole family can enjoy. There were a few new characters introduced but most were return characters from Sing 1, so anyone that has seen that would know what to expect from each character. Even if you have a favourite character, all bring their own humour and warmth to the movie. The soundtrack was also a big hit for me with songs I grew up with and songs my kids now listen to, and the storyline kept us entertained all the way through. There was a lot of laughter in the cinema which was nice to hear. The story is based around the overachieving koala, Buster Moon who like in the first movie over promises what he can offer, however he is determined to see his dreams become reality. While the movie focuses on this, each character gets ample time to share their story, dreams, and struggles. Overall, myself and my kids thoroughly enjoyed this movie and would recommend it to people of all ages.
Film: Swan Song Country: America Australian Release: December 26th, 2021 Genre: Comedy/Drama Starring: Udo Keir Writer/Director: Todd Stephens Reviewer: Sherry Westley
Writer/Director Todd Stephens grew up in the small country town of Sandusky, Ohio. His film Swan Song is based on an actual town personality he became aware of in 1967, when he first set foot in the town’s gay bar, “The Universal Fruit and Nut Company”. The gently outrageous local hairdresser and drag entertainer, Pat Pitsenbarger. Pat was the town’s society hairdresser and a central character in the local gay community.The community hung out at “The Fruitcake and Nuts” and relied on one another for the acceptance, affirmation, friendship and support not generally forthcoming from the larger community.
The emotional feel of the film is both amusing and sad. It opens with Pat in a nursing home after a stroke, bored and listless, repetitively stealing table napkins, refolding and storing them without any apparent reason or need.
Both Pat and the tone change however, when he breaks free of the nursing home after a former client dies, stipulating in her will that he prepare her hair and makeup for her open casket viewing. The payment being $25,000! Of course there is a story that unravels as to why so much money. Mr Pat is Back!
The comedy is gentle and a bitter sweet thread runs through the film. Lead actor Udo Keir is extremely good as Pat.He doesn’t allow the flamboyance of Pat’s dress or his occasional naughtiness to dominate his character. His beautiful eyes and soft accented voice constantly remind us that there is a lot more to Pat than his colourful aesthetic.
I didn’t enjoy the background music very much, but it was entirely appropriate to the story. Big, tear jerky hit ballads sung by famous American female 20th century singers. Easy to imagine some of the songs may have been gay anthems when Pat was younger.
But this is not a drag performance film at all.
Todd Stephens says the film is about rediscovering one’s sparkle and learning it’s never too late to live again. Always heartwarming and inspiring, but not an unusual theme for a film, especially with an older main character. I found his social history take very interesting though, and it’s woven throughout the film.
He sees the film as “a love letter to the rapidly disappearing gay culture of America.” “As gay people become more and more acceptable, the thriving culture is melting back into society.” There are plenty of then and now contrasts to pick up on.
An enjoyable film with a stand-out performance from Udo Keir.
THE MATRIX RESURRECTIONS NEW website by Alexander O. Montgomery
The Matrix Resurrection Movie Review By Alexander O. Montgomery
The Matrix Resurrections is a sequel to the first Matrix film that took the world by storm in 1999. That year I was aged 26, young and fascinated by the movie. Fast forward to today in 2021, I am 48, still young (LOL) and all the same enthralled with the movie!
This sequel reunites Neo Anderson (Keanu Reeves) and Trinity (Carrie-Anne Moss) in an elaborate extension of their love story. Make no mistake, The Matrix Resurrection is not a romantic movie yet the love between Neo and Trinity forms the basis of this movie’s storyline. Every viewer is taken into the Matrix, out of the Matrix and into the Martix again and again albeit this time around, you will expect to spiral much deeper down the rabbit hole.
While the movie did not stint on brilliant kung fu choreography, it did lose me a little with its convoluted storyline. The forty-five-minute start was slow as it rehashed scenes from the previous Matrix instalments. Nevertheless, I found myself at intervals during the movie mouth agape. The USD150 million budget spent on this production does not disappoint. The special effects are bound to thrill every viewer, especially fans of the sci-fi genre. The Matrix Resurrection opens on Boxing Day in a cinema near you. Overall, I rate this movie a solid 9/10!
I’m Wanita is a self-titled documentary on Australia’s Queen of Honky Tonk, Wanita. Admittedly, During the movie, you watch Wanita struggle with everyday life, pleasing her husband, keeping those around her happy, alcohol and the biggest struggle seems to be reaching her dream of making a living from singing. Although barely 90 minutes long, the viewers are given an honest look at these different aspects of her life and struggles. Throughout, Wanita seems passionate and determined, yet at times overwhelmed and quite scattered. Wanita is upfront on everything from drinking (too much at times), working as a prostitute for 18 years to make a living and all issues in-between. You see that she genuinely has a good heart, wanting to help those around her and it was beautiful to watch the reactions she received from her music bringing people to tears at times. Overall, I enjoyed this movie, and seeing an honest opinion of how tough trying to make a life as an entertainer can be.
Fans of Frank Herbert’s novel series have long since accepted that Dune is an unadaptable story. The dense interwoven narratives, the heady themes and introspective characters, simply do not lend themselves to any medium except script. Many have tried, all have failed. Yet for the long-shot, pie in the sky hope that just maybe THIS time will be different, we keep trying. Such was the pessimistic, supportive, yet resigned mindset that many went into Denis Villeneuve’s latest film holding. Yet, in a stroke of serendipity beyond all hope, Dune: Part One has proven to be the exception to the rule, succeeding where all others could not.
Dune: Part One follows the first act of Herbert’s titular novel Dune. The classical hero’s journey sees a young Paul Atreides ripped from his home by the political machinations of those beyond his reach and forced into a conflict vaster than he can imagine. Where other films would focus on the action, bringing interstellar conflict to the big screen and keeping audiences invested by way of explosions; Dune takes a different path. Wars are more often won and lost behind closed doors, than on open plains after all. Dune takes it time to follow its characters, to let the audience get to know them. Their quirks and eccentricities, their fears and desires. The reason Villeneuve’s film is able to achieve what no one has, is that he is willing to gamble on his audience. Instead of lengthy expositions scene and constant voice over explaining every one’s inner monologue, audiences are treated to subtle facial tics. A camera focus at just the right time, and a seemingly unrelated smash cut for context. Villeneuve goes out of his way to avoid spoon feeding the viewers and trusts they will be smart enough to figure out what is going on while he desperately tries to make it through the dense and intricate plot.
A task that would likely have proven to be impossible if the film had anything less than a perfect cast. It would be an unreasonable request to list out the biggest names present or even to attempt to rank them by any metric. There is simply too much star power in this film to truly explain without gushing. From the relatively new and rising stars like Timothée Chalamet and Zendaya, to the established players like Rebecca Ferguson and Oscar Isaac, all the way to old school juggernauts, such as Stellan Skarsgård and Charlotte Rampling; Every single actor in this film, steals every scene they are in. Dune is a tour de force of sheer acting talent.
It also doesn’t hurt that Hans Zimmer turned down working with Christopher Nolen in order to focus on writing a completely unique and overwhelmingly emotional soundtrack for Dune. Blending throat singing, vocalisations, sweeping orchestral movements and a level of finesse that only a master of his level could ever hope to achieve, the films OST is an emotional rollercoaster. This combines with cinematographer Greig Fraser herculean efforts to give the film a truly one-of-a-kind appearance; infamously shooting the film digitally on large format cameras with Panavision lenses, before transferring the picture onto 35mm film and then scanning it back to digital. Dune has a look and sound all its own.
From start to finish, every single aspect of Dune: Part One is a labour of love. Cast and crew have all gone above and beyond to ensure the story they love is finally given the respect and admiration it deserves. It’s long and tense, slow and riveting, character driven and largely nonverbal. A beautiful work of cinema that deserves every scrap of praise it receives and then some. Above all, Dune is art. Unadaptable, no-more.
Paul Thomas Anderson's new film "Licorice Pizza" is due to its Australian release soon. The film is set in the San Fernando Valley in the 1970s. The main character is a high school student who dreams of becoming an artist. On the way to fame, he will meet his first love: his classmate, Alana and star producer, John Peters, to whom Barbra Streisand owes her success.
I thought for variety to publish something different this time to pay a tribute to this film which I loved a lot... I thought to publish some extracts/short excerpts of reviews that I found online by journalists from the most positive to the most negative.
Phil de Semlien “The sunniest film by Paul Thomas Anderson. This palimpsest of the San Fernando Valley is so bouncy and bubbly that it almost floats off the screen. It’s the dizziness that takes you over with a sense of impending opportunity and a hint of naivety. I was overwhelmed with euphoria. "
Justin Chang “Anderson is an artist whose skepticism never got in the way of passion; for him, the past is more than just an excuse for nostalgia. In Licorice Pizza, he sowed a haze of highly embellished fairy tales and half-forgotten memories, collecting something more concrete and painful, but tangibly real, unlike almost any American film this year. "
David Ehrlich “In Licorice Pizza, time is not what separates people from each other, but the only thing that allows them to find each other. And this euphoric film doesn't waste a minute. <…> The plot unfolds simultaneously with logic and the snowy impulse of stand-up comedy. "
Robbie Colleen “In the world of content sorted by algorithms, Anderson's ninth film as a whole and the first since 2017's Phantom Thread is very difficult to evaluate: you will have to go back about 50 years, to such films as Hal Ashby's Shampoo or Peter Bogdanovich's The Last Picture Show ".
Peter Bradshaw “It looks lighter and sunnier than Anderson's previous paintings. As if erotic scenes were cut out of "Boogie Nights", and metaphysical anxiety from "Inborn Vice". It's a delightful film, I'll cut another piece of myself very soon. "
Tim Grierson "Narrating politicians and Hollywood producers with a touch of Robert Altman's lighthearted spirit, Licorice Pizza is gaining traction and the result is Anderson's most tender and charming film to date."
Alonso Duralde “This is a magical memory of a time and place that everyone remembers from the life and films of that era. <…> The painting rests on the shoulders of newcomers Alana Haim and Cooper Hoffman, and they are both absolutely charming. "
Mike Ryan “The plot of this film does not matter, because there is almost no plot in it. It's incredibly interesting nonetheless. "
Peter Debrugge "Liquorice Pizza is a stunning and realistic take on what it was like growing up in the backyard of the film industry around 1973."
Rodrigo Perez “It is possible that non-Paul Thomas Anderson fans will not like this somewhat rootless and brooding film, which is almost two and a half hours long. <…> But if you are open to his [Anderson's] unconventional, distinctive tastes, then Licorice Pizza is a wonderful dreamy and nostalgic ode to youth, skillfully made by a director who doesn't care how much you like it."
Richard Lawson "It's a living, convoluted growing up story that transforms the conflicting elements of its name into a reflection of youthful stupidity and courage, a penchant for base, rude humor and grandiose revolutionary thinking."
David Rooney At its best, Liquorice Pizza demonstrates a lightness that hasn't been found in Anderson's work since Boogie Nights. Nowhere else are there such incredibly truly lived scenes than in the scenes of Alana and her family, played by the real sisters and parents of the actress. <...> But overall, the film, especially the twisty one in the second hour, makes you wonder where the plot is leading to, rather out of frustration than out of curiosity. "
review by Alex First of MAPT
Licorice Pizza (M) – 134 minutes – by Alex First
A delightful, quirky and comedic coming of age tale, Licorice Pizza has originality stamped all over it.
We’re in the San Fernando Valley in 1973.
15-year-old smooth talking, super confident Gary Valentine (Cooper Hoffman) eyes off and chats up an older school photographer, Alana Kane (Alana Haim).
She can’t believe his gumption and bravado when he tells her he’s an actor and businessman, whose mother works for him.
Gary is nothing if not an opportunist and early on he identifies Alana as the future Mrs Valentine.
She wants to maintain her distance, but is intrigued by him.
Before long, she is accompanying Gary on a flight to New York, where he is about to appear alongside the adult star Lucy Doolittle (Christine Ebersole) on a television program.
A fellow child actor shows an interest in Alana during the flight over and subsequently. Gary is not impressed.
Thereafter, the relationship between Gary and Alana continues to ebb and flow.
He seizes the opportunity to capitalise upon a couple of new trends … revealing his business acumen. On occasions, Alana works with him.
At the same time, he shows an interest in another girl, much to Alana’s chagrin.
She dabbles with acting and decides to volunteer to work with a seemingly honourable councilman looking to be elected to office.
Licorice Pizza is all about first love and jealousy is a significant part of that.
With a magnificent commitment to period detail (spoiler alert: look out for the Batmobile), the script by writer and director Paul Thomas Anderson (Phantom Thread) is a cracker.
In short, surprise is the name of the game.
The movie is enormous fun, characterised by a number of “look at me” performances.
A chip off the old block, Cooper Hoffman (the son of the late Phillip Seymour Hoffman) makes an auspicious acting debut.
He oozes self-awareness and self-belief. Alana Haim too shows she is no wallflower in a poised and confident feature film debut, which showcases her range.
Sean Penn is the consummate performer as lauded actor Jack Holden, who enjoys the adulation he receives and discovers Alana in an audition.
Bradley Cooper turns on the histrionics as film producer and Barbra Streisand’s partner John Peters.
One of the most memorable scenes in a film that has a surfeit of them is when Alana tries to win over an agent.
Harriet Sansom Harris is cast in that role and grabs it with both hands. She is a standout with her utterances.
Licorice Pizza is cheeky, cheery and thoroughly entertaining – a joyous and engaging romp, which is sure to strike a reverential chord with many.
Rated M, it scores an 8½ out of 10.
JFK - DESTINY BETRAYED NEW website review by Vellu Khanna
JFK - Destiny Betrayed Throughout the decades since the Cuban Missile Crisis, rarely is one subject that bespoke the mysteries and conspiracies that allures to the point of it being romantic, than that of the assassination of President John F. Kennedy (JFK).
This film (JFK - Destiny Betrayed), which is a four-part series stylised in a documentary manner, sheds light on seemingly obvious holes in various elements - from eyewitness testimonies to the alleged redacting of the death certificate by the Military Medical Examiner who performed the autopsy on JFK - is one of the most profound and comprehensive investigative venture on the subject.
One could readily attest to its underlying feature, that it would not bear to have no stones unturned. Every piece of evidence is carefully analyzed and appreciated in a new angle, and deep queries as to the validity and influence of the powers that be are professed. Even the legitimacy of the investigative body (the Warren Commission), and that of whether the famed shooter Lee Harvey Oswald was the lone shooter, is pondered upon thoroughly.
And with Donald Sutherland being its primary narrator, the audience is undoubtedly beset to be a witness to a series circumstances that distinguishes fact from fiction, on the matter of the assassination of JFK.
DEAR EVAN HANSENNEW website review by Jeanette Russell
Dear Evan Hansen was originally a musical on Broadway, opening at the Music Box Theatre in New York . The story was based on a book by Steven Levenson. There was also a West End musical, at the Noel Coward Theatre, in London. Some of the original actors returned to hit the screen, Evan Hanson played by Ben Platt had starred on Broadway getting great reviews. His father Marc Platt co-produced the film with Adan Siegel . The director was Stephen Chbosky. Steven Levenson wrote the screenplay and the musical.
The story, I believe, is very powerful and sensitive, As Evan struggles through his life, and weaves his way through the mess that becomes his journey when as a loner he is suddenly plunged into the limelight. It's a heartening story when characters open up, and even try to raise awareness, about teen suicide issues and the challanges that lots of young people face. The story is told with music and thoughtfulness on these very delicate issues, and those same issues, felt by many families today in the light of social media and information which can suddenly get shared by many, and that may go viral about people's private lives. Evan is doing an exercise for this therapist which mistakenly gives many the wrong idea about a friendship he has with a teen in trouble that wasn't really a relationship at all. Incidents quickly spiral out of control as Evan's personal letter that he has only written to himself is mistakenly found, and publicised, eventually. The troubled teens family, who ends up taking his own life, assumes that Evan and their son Connor are friends. This youth Connor hasn't been associated with Evan, really. The events afterwards have Evan playing a role as Connor's mate to appease the family, who became a unit that he feels like he has never had. It becomes even more complex as Zoe Connor's sister is a girl that Evan has had a crush on at school.
It's an engaging and inviting tale depicting highs, and lows,emotions and feelings that portray the hurts and anguishes felt by the characters. The cast does a superb, acting job in my view. Many well known stars grace the big screen . Julianne Moore as Evan's Mum , Amy Adams as Connor and Zoe's mum, and Danny Pino as Zoe and Connor's stepfather.
I think this Universal Film is well worth watching, as I thought it was indeed heartwarming . The characters navigate their way through a very touching journey as Evan steps into a task as mentor and role model for other teens, assisted by his friend Alana. Evan's unwilling and somewhat reluctant sidekick in the story is his family friend Jared. . The music was written by Benj Pasek and Justin Paul. There are 11 songs in the movie sung by the cast. Five of the pieces are being sung and released, by other artists below, "Waving through a Window'' Tori Kelly. '' You Will Be Found ``, Sam Smith. Included in those that have been released by various artists" Only us" Carrie Underwood, Dan and Shay. " A little Closer" Finneas, as well as "Anonymous Ones" SZA.
Thank you for the chance to review this movie. I recommend watching this thought provoking story and musical that I found very entertaining . It goes for around 2 1/2 hours.
THE WORST PERSON IN THE WORLD NEW website review by Amit Singh
Movie – The worst person in the world, By Oslo Pictures:
Julie is the epicenter of the movie. She is one mesmerizing character who takes us through the different facets of life. Sometimes when we are young, we are not sure of our goals, our career and our purpose in life.
But, as they say, experience and life are the biggest teachers. We learn and grow from our mistakes and that’s what has happened with the main character of the film. Julie is a young bright student who takes admission in medicine studies not because she wants to be a doctor but because she thinks that’s what her good grades deserve.
She soon realises that it's not her cup of tea and she shows her interest in photography, meanwhile she has a hobby too in which she writes amazing pieces of art which sometime are hard for feminist people to digest.
Julie goes through many faces in her life where she meets one guy and thinks he is best, but then she meets another one and falls in love with him. At this young age it seldom happens that we sometimes don’t have clarity in our thoughts and sometimes we learn from failures.
Sometimes we also doubt ourselves or ask our selves-many questions, like what do we want to do in life? Do we love this person? Are we ready for marriage? Are we ready to have kids? And these questions can be sometimes so stressful however as Julie goes with the flow and listens to her heart, life unfolds in front of her...
This movie also throws some light on adult humor which we seldom forget to appreciate. We have freedom of speech and freedom to write. We should appreciate the art of writing with adult humour in mind as it’s a writing skill not everyone has and if it bothers you, you can opt to cut yourself out from that bookshelf which is not meant for you.
As an audience we also love the fact that the movie also touches the topic of environment: change of climate etc. Being a bold character, Julie manages to keep us engaged throughout the film breathlessly.
All the characters do a tremendous job and Julie nails this performance. We really loved the movie and would recommend all to watch it once to explore and understand their true self.
Reviewed by Amit Singh Saini
DELICIOUS NEW website review by Marygrace Charlton
Film Review: Delicious / Delicieux By Marygrace Charlton
Director:Éric Besnard Producers:Philip Boëffard, Christophe Rossignon Writers:Éric Besnard, Nicolas Boukhrief Classification:Drama, Comedy, History
From the opening scene, my mouth was watering, as the camera zoomed into the hand making of a loaf of bread, prepared as it would have been for centuries. I could almost smell it!
“Delicious” is set just prior to the French Revolution which commenced in May 1789. France is and has always been famous for its gastronomic delights, however in that era, it was strictly the realm of royalty and the upper class. The reputation of a noble house depended on its dining experience - the quality of ingredients, craftsmanship, creativity, delectable banquets and of course, presentation.
Pierre Manceron (Grégory Gadebois) is passionate about food, using all his senses to create not only mouth watering meals for his employer, the Duke of Chamfort, but works of art.
All courses must have the strict approval of the Duke, so when the talented Manceron presents his unapproved creation (which Manceron christens Delicious or Delicieux) he is humiliated by the Duke and the noble guests who categorise it as peasant food; the ingredients not fit for cultured tastes. Manceron refuses to apologise to the Duke and guests when asked. He is immediately dismissed.
Subsequently, Manceron opens the first public inn/eating establishment where he is able serve the style of dishes he desires.
The cinematography brilliantly showcases the preparation of dishes, focusing particularly on “Delicious” (Manceron’s creation) as it is carefully, craftily and precisely assembled.
The simplicity of the movie was indeed a highlight for me – sensitive and absorbing with convincing performances by a talented cast.
You certainly begin to understand why the starving, overworked people living in hovels revolted against an upper class that flaunted their excesses.
Any Francophile, or not, will adore this joyous movie. Indeed, a wonderful journey, delighting all the senses.
Bon Appetit!
THE SCARY OF SIXTY-FIRST NEW website review by Taylor Cougle
Film Review: The Scary of Sixty-First Director: Dasha Nekrasova Writers: Dasha Nekrasova and Madeline Quinn Cast: Madeline Quinn, Betsey Brown, Dasha Nekrasova Running Time: 98 minutes Genre: Horror/Thriller Trigger Warning: Sex Scenes, Blood/Gore
Two friends, Noelle and Addie, rent an furnished apartment in Manhattan only to find out from another female of no name that it was owned by the infamous Jeffery Epstein.
Noelle soon develops a close friendship with the mysterious woman as they investigate deeper the conspiracies surrounding Epstein. Meanwhile Addie seems to become possessed by the unhealthy sexual energy of the place only to get deeper and deeper into a more sexually driven uncontrollable behaviours. Conspiracies of sacrifice emerge and the relationship between the two friends starts to break down along with the relationship of Addie and her boyfriend. Watch to the end for the twist and the true reason for the timeline of events.
This independent film was screened at the 2021 Berlin International Film Festival and is a good debut film from Dasha Nekrasova who both Directed, wrote and acted in this film. The pace of the film can be a bit slow at times and the acting sometimes feels a bit awkward compared to higher budgeted films but the core messages from this film is clear and well told once you understand why these events are happening to the triad.
This film will divide its audiences between those that like it and those that don't – there is no middle ground here. This film is as much about sexual slavery, even from beyond the physical world, as it is about the divide by those who are in power and those that serve. I enjoyed the film once I watched this film from the context of meaning and not just as a film for entertainment.
CLIFFORD THE BIG RED DOG website review by Nicole Stenton
Clifford the Big Red Dog
My kids and I had different expectations for this movie. I remember the books from when I was younger, meanwhile my kids had never read the books but had watched the series on pay TV. My daughter is also extremely obsessed with anything dog related, so I knew regardless of what her brother or I thought of the movie it would be a huge hit for her.
The movie focuses on a young girl named Emily Elizabeth (played by Darby Camp) who struggles to fit into her new school. There are the stereotypical bullies who make school life that much more difficult. While her mum is away and her uncle is responsible for looking after her, she ends up with Clifford, who at the time is just a small puppy. She was told the puppy grows depending on how much he is loved. This is how Clifford ends up the size he is. We are also introduced to Zack Tieran, who plays the villain in the movie. He has spent hundreds of millions trying to make things larger. So, when he sees footage of Clifford, he makes it his mission to make him the property of his company Lyfegro. This is where the adventures start.
Overall, I thought Clifford was a feel-good family movie. While some of the storyline seemed exaggerated or predictable it was an enjoyable watch. Both of my kids loved it which made it that little bit more enjoyable for me.
Saturday, 4 December 2021 was the long-awaited Australian premiere of Sing 2. To say my kids were excited would be an understatement. The morning started with lots of excitement which didn’t subside on our arrival. We arrived at Hoyts to be greeted by glitter streamer, coloured lights, a DJ and the biggest hit, two lovely ladies serving fairy floss. Once we had had our photo taken on the large photo set, we headed into the cinema. The noise inside the cinema was one of many excited kids. The lights dimmed and the previews started,..
'Bergman Island' is a movie written and directed by Mia Hansen-Løve, a French director who is known for her easy and reflective exploration of modern women's issues.
The main character, Chris, comes with her partner to one of the Baltic sea islands, where Bergman once lived. They are both filmmakers and are looking for inspiration and a secluded place to work. While Chris's partner is very assured in his approach, Chris is having a creative block and seemingly unable to finish the screenplay she is writing. Her story is about two ex-lovers who accidentally meet again for three days on the island and attempt to rekindle their passion.
In the words of one of the main characters, this is a movie about 'invisible things that circulate between couples'. I enjoyed this part of the movie. The director puts the viewer in the centre of the story and makes you relive the scenes, feeling the joy and the struggle from the woman's perspective.
But not everything is as transparent as it looks. Hansen-Love skilfully nests stories within a story and intertwines them in an eerie and masterful way. Fiction and reality are heading to a junction that will take you by surprise. The director is like a magician showing us something unbelievable. Is it a dream? Is it a future? We all will have different answers and this is the magic of art.
It could be said that 'Bergman Island' is a tribute to a famous Swedish director, and will appeal to many fans of Bergman's art. It gives a visual guide and a glimpse into his personal life, not idolising him but making him flawed, and therefore more accessible. This is a movie about the creative process of making a movie, and it depicts well the atmosphere and the feelings of Bergman movies.
'Bergman Island' is currently screening around Australia.
Roger Mitchell’s 2010 film Morning Glory is a charming, funny romantic comedy in which Rachel McAdams proves she is more than a romantic interest or YA high-school melodrama antagonist – her natural charm and charisma are enough to carry a movie.
She plays Becky, a fledgeling television executive whose morning show is failing badly in the ratings. Out of desperation, she takes a desperate gamble on legendary anchor and field reporter Mike Pomeroy – a revelatory performance by Harrison Ford – who in his retirement has become a curmudgeonly old drunk with a special hatred for morning television.
Nevertheless, he relents. What follows is a touching comedy with stellar backup performances by Patrick Wilson and the legendary Diane Keaton in full flight in which Becky awakens Pomeroy’s humanity and learns a few things about the world from him in exchange.
On the other hand, Aubrey Plaza and Michael Caine couldn’t save a knockoff with publishing in place of television. Best Sellers suffers from a lack of structure. Caine’s character’s book becomes a bestseller and saves the company barely halfway through – nothing that follows elevates or enhances the drama. The problems are solved and the audience is left with forty minutes of padding to sit through.
Caine and Plaza are wasted. Morning Glory remains the superior film.
ITALIAN FILM FESTIVAL 2021: TO CHIARA website by Sherry Westley
Film: To Chiara Country: Italy Released: 2021 Writer/Director: Jonas Carpignano Star: Swamy Rotolo Cinematography: Tim Curtin Executive Producer: Martin Scorsese Reviewer: Sherry Westley
I enjoyed this film very much.Set in a loving Calabrian family, it centers on persistent and determined fifteen year old Chiara, as she suspects, discovers and reacts to her adored fathers’ financial activities. The source of her comfortable material life.
It premiered in the Director’s Fortnight at the 2021 Cannes Film Festival and opened the current Ali Italian Film Festival in Melbourne.
The third feature film of young award winning American/ Italian writer/director Joseph Capignano, It’s a slow burn, absorbing drama.
I knew nothing about Carpignano or the film , and was surprised to see the end credits list eight main actors with the same surname! He is highly skilled in drawing thoroughly convincing performances from non professional actors. It was fascinating reading up on Carpignano’s methods, his film philosophy and the larger genre of neo neorealism. No you don’t need to know any of this to enjoy and admire this film, but for me it really extended the post viewing pleasure.
Although the film is complete on it’s own, it is actually part of a trilogy, intimately observing three facets of the social make up of a real Calabrian town, Gioia Tauro. Carpignano lived there for ten years and used non professional actors in all three films. His first feature film “Mediterranea “ (2015),focused on North African refugees. The second, ”A Ciambra “(2017), on the Roma community, and now “To Chiara“, on the coming of age of a strong minded Ndrangeta mafia daughter.
Campignano refers to “guerrilla film making”: combining both fictional and documentary elements in his films.
“A Chiara” is shot in dark , secretive colour tones ,at first seeming to be at odds with the loving, relaxed family interactions at home .Later we realise there are in fact dark secrets in the family. There are metaphores to notice….or not. The atmospheric sounds, while not subtle, are intriguing and tense.
Although I found the early party scene too long, I was soon absorbed in Chiara’s search for the truth and the strength and intimacy of Swamy Rotolo’s acting.
I’ll be searching out his previous two feature films and looking forward to the next one.
Many in metropolitan Melbourne have delighted in the reopening of cinemas, following the end of our sixth lockdown. Last week I attended a preview screening of new release Blue Bayou. And whilst it wasn’t quite the welcome back to the cinemas I had expected with only a handful of people in the cinema, the film itself didn’t disappoint. Blue Bayou is a moving story of an American family fighting for their future.
Antonio is a Korean-born man, living in New Orleans. He has lived in America nearly his entire life, having been adopted at 3 years old. Unknown to Antonio, the family who adopted him never filed the correct paperwork to make him a legal citizen. This only comes to light when he gets in trouble with the police as an adult, and the government step in to deport him.
Even being happily married to an American doesn’t make Antonio a citizen. He is also an adoring step-father to a daughter from his wife Kathy’s previous marriage, and their own first child together is on the way. Money for the family is tight, and Antonio struggles to find additional work to supplement his income he earns as a tattoo artist.
The first time we meet Antonio on screen he sits and patiently answers questions for a job interview. He is questioned on how he got his last name, and where he’s from. Antonio takes the questions in his stride and answers naming the American town he grew up in. The interviewer asks again ‘No, where are you from? Like born.’ The line of questioning is nothing new for Antonio. He is basically forced into saying Korea, even though he has no ties to Korea.
Interestingly I also attended a book launch this week, where the author discussed a similar experience of being commonly asked where he’s from. When asked repeatedly, the author said the question starts to sound more like ‘Why are you here?’ America is Antonio’s home – he considers himself American – he is American and is he desperate to stay. As things start to unravel for the family, they engage the services of an immigration lawyer to appeal the case. The sympathetic lawyer lays out the difficult road ahead, and the outlook does not look hopeful.
The film is multi layered and does a great job of balancing the themes of family, and the tension of overcoming the past. One of Blue Bayou’s biggest strengths is in the authentic performances, which really put you in the front seat as we follow the families struggle. The film has an unexpected ending, with a final devastating scene where the film makers really work hard to hammer down and pull on the heart strings. With several blockbuster titles having been released over the past few weeks, Blue Bayou may not be front of mind and may slip under the radar. However it is certainly a worthwhile film to watch. A powerful story that needs to be told, and will no doubt open conversations towards America’s unjust immigration system. Blue Bayou opens in cinemas on November 18.
BAD LUCK BANGING OR LOONY PORN website by Sam Bell
In a time of fake news, online propaganda, and normalised national conspiracy theories. People have learned to doubt everything and suspect all players. Political rhetoric in particular is deconstructed and sifted for the slightest trace of bias, in order to justify its removal. The solution for filmmakers, and artists of all kinds then, is to avoid a frontal assault and flank their audiences. Using satire, parody, and abstraction, the modern artists greatest skill is to spread their message without every saying what it is.
Writer, Director Radu Jude seems not to have gotten this message, as his new film Bad Luck Banging or Loony Porn rides the wave of Romanian cinema directly into the throats of its audience. The film definitely relies on satire to express its circus mirror reflection of modern Romania, but its messaging and themes are about as subtle as a brick to the face, and at times only slightly less painful.
Jude has a lot to say, about a lot of topics. Loony Porn comes out of the gate swinging, aiming its blows at cultural misogyny, nationalism, antisemitism, and xenophobia. All valid targets, but the refusal to focus and instead hit everything that passes by, means that each conflict is watered down and the message becomes slightly less biting with each new victim. Had Jude stayed on target with his clear message on sexuality, or even just sexually adjacent topics, the film would have been a very different affair. Loony porn does give equality and domestic violence a passing mention. He even gives historical context for some, explaining, in detail, the philosophical concepts of others and throws in the occasional metacinematic consideration. Even the film structure itself is eclectic and difficult to parse. Broken into three separate parts, each acting as a stand alone narrative, held together by a paper-thin plot. Each with their own aesthetics, themes, cinematographic language and style.
The film begins with a decidedly unique prologue, show the explicit, unsimulated pornography that will later become the centrepiece for the plot. Before down shifting noticeably and immediately swerving off course in the first act. Theoretically, the film follows the protagonist in near real time as she walks through the city running errands before an important meeting that night. In practice, Jude uses the film as a Romanian hit piece. The director goes out of their way to ensure that the city is shown in the worst light possible. Veering away from cinematic standards when they stand in the way of his antinationalistic propaganda. The camera focuses on anything but the characters presented, the dialogue is grating and forced, while every single passer-by is some kind of disreputable bigot. Even the city itself is shown as dirty and decaying, with long shots on delict buildings and graffitied walls. This film was not sponsored by the tourism bureau.
The second part is when the film will lose most of its audience. Replacing the long shots of the first act with an extensive clip show, Jude leans into the artistry, takes off the gloves, and begins aiming at the unmentionables. This is where the films core themes are hammered into the audience with an unrelenting passion. The messages are abstracted, but only through a thin, transparent veil. An explanation of a published novel, made entirely of letters sent to celebrities without reply, is followed by a video of a woman masturbating for a cam show. It doesn’t take a genius to read between the lines here. Liberal use of explicit nudity and pornographic material, ensure this is the segment that will be focused on by most, but those same segments are why the more telling, and poignant messages are largely ignored, or unnoticed.
This is not a problem shared by the third act. Returning to the supposed protagonist, Jude sets his characters in a mock trial, rachets their own idiosyncrasies to eleven, and flattens them all into one dimensional caricatures. Any and all subtly is now long gone. Every theme or message mentioned so far is explicated stated and spelled out in excruciating detail. In an impressive feat of self destruction, the film beats its audience over the head with its themes so harshly and overtly, that the message is lost in the sheer audacity of its portrayal. The nationalistic idiot is wearing a military uniform despite never serving. The xenophobe is wearing an SS uniform without the swastika epilates. Every one takes the time to give long, uninterrupted speeches explaining their perspective and give a thorough deconstruction of all their arguments. Students of sociology could use the last twenty minutes of this film as a checklist before their finals.
The most disappointing aspect of this film is that Jude isn’t wrong in his observations. He clearly knows what he is talking about and has put a great deal of effort into his take on each topic. That he chooses to present them in a deliberately antagonistic fashion, prioritising audience reaction, over education is telling. Satire is offensive by definition. It breaks down the subject and forces the audience to rationalise something they would rather not think about. Its purpose is to make the audience think, rethink, and then reassess their own thoughts. Offending your audience and then telling them what to think isn’t satire, it’s mental reprograming. A far less laudable goal. Likewise, the film bills itself as a comedy and outright claims itself to be a joke by the end, yet until the last 2 minutes, the humour is decidedly hard to come by. It has a light tone, and a playful delivery. Jokes are clearly being made and time taken to account for laughter, but with all the punchlines removed or hidden, the audience is left awkwardly waiting, trying to get the joke.
In the end, Bad Luck Banging or Loony Porn, had the potential to be a truly biting, politically relevant, historically memorable short film. At a third of its current length, the film would likely have swept through western audiences and made itself known. As it stands, Bad Luck Banging or Loony Porn is a satire without context. Romanian audiences may well find this film perfectly represents their reality and can appreciate its masterful strokes. Foreign audiences are far more likely to either fall asleep, or walk out in anger. You can't debate satire. Either you get it or you don't.
It is important to remember that Daniel Craig is no stranger to Bond controversy. Those old enough to remember will recall that tabloids were up in arms when his casting was announced and nearly the entire world decided pre-emptively that Casino Royal would be the worst James Bond film ever made. Likewise, after the critical failure of Spectre, fans were ready to riot. No Time To Die was a long time coming and many used the delay to further sharpen their pitchforks and practice their disparaging speeches. It’s a good thing Crow pairs so well with merlot, because director Cary Joji Fukunaga brought his absolute A game, as did the entire, star-studded cast.
As the first ever true finale, any Bond has ever gotten, it is painfully clear that everyone involved in the making of this film knows they are making history. Craig’s baby blues are as piercing as they have ever been, and this film demands more of him then any of its predecessors. Rami Malek proves that for all the charm and charisma he possesses, few can make themselves quite as subtly unsettling. Léa Seydoux gets significantly more room to stretch her wings in this film, and uses it to fly straight off the screen and into the minds and hearts of all to see lucky enough to see her. Given that the supporting cast consists almost exclusively of Hollywood heavy weights, it should come as no surprise that every one of them knocks it out of the park. From the recurring power trio of Ralph Fiennes, Naomie Harris, and Ben Whishaw; to the new comer Lashana Lynch. No Time To Die provides a vehicle for all involved to show off the depths of their skills, to the point that at times it almost feels like there is a silent competition going on behind the scenes to see which actor can force the audience to weep/cheer the loudest. Nowhere is this more obvious then when watching Jeffrey Wright cement his name forever as the one and only Felix Leiter, almost directly after watching Ana de Armas appear unexpectedly, steal the entire scene from the likes of Craig himself, then vanish into the wind.
Gone are the days of 1D characters and static film archetypes. A chronology of 5 films allows for true characters arcs and, for the first time in Bond history, true story progression. The times, they are a changing. This is does mean that for everything improved, their will be some who like it just the way it is. Engraved into the bedrock. Even the die hard fans should have enough to keep them occupied, if not happy though. For his final swansong, Craig leans into the classic Bondisms. The most future tech heavy Bond outing since Die Another Day, No Time To Die is filled with quips, humour, and more goons than any villain could realistically payroll. This isn’t your grandaddies Bond, but they aren’t too far off either. Fans will recognise a distant cousin to Sean Connery’s Bird hatted Debut.
That said, Fukunagais unafraid to break new ground and go boldly, where no one has before. With an intact chronology, and four previous films behind him. This Bond knows he is getting on in years and uses it to his advantage. This isn’t the grey haired spy, bedding the high school aged model. This is a worn and experienced solider, who’s lived through more than most and survived long enough to get sick of it.
It would be remiss to not address the various predictions made about this film during its production. Articles about a cuckold Bond, and a retcon heavy storyline have all been thrown about as if fact. People have made assumptions about studio interference and political correctness gone mad. None of this has come to pass. Craig era Bond is known for its strong female roles and departures from the series more misogynistic roots. As with its previous entries though, there are strong, well-written characters, that do what well written characters in actions movies do. It’s not until the film is over and people start making lists of their favourites, that people start to realise how many of them are women.
Thematically, No Time To Die is the most ambitious Bond film to date. Every Film in the series has tackled their own questions, with varying success. From Casino Royal’s exploration of What make a 00? To Quantum of Solaces musing about whether or not an assassin can do their job while still feeling? To Skyfall’s excellent deconstruction of the price we ask our armed services to pay in our name. Even Spectre tried to fumble around the question of whether closure is possible while the pain is still raw. No Time to Die however asks the question that people have asked for nearly 60 years, Who is James Bond? Without passing judgment, or claiming any sense of morality, a clear answer comes to everyone paying attention. James Bond is the greatest spy to ever live; a broken, patriotic man, driven to protect the few positive forces in his life.
Gone are the days of “Men want to be him, women want to be with him”, now we are forced to all stop and stare at a force of nature made human. Cursed to suffer the consequences of their actions, yet powerless to stop themselves. In place of envy is awe and respect, with a hint of pity and understanding. This isn’t the mythological face changing super soldier of yore. It’s a man, with a tortured past and nothing but duty and love holding him together. An avatar of violence, who dreams of nothing but retirement and peace. He goes through the motions we all know and love, he dances through enemies, making slaughter look like ballet, he saves the world, he beds beautiful women, but it’s not the same anymore, and it never will be.
Every Era has their own James Bond. Most people are highly protective of their own. This is no different. The 2000’s all the way to the 2020’s got the first Bond unafraid to rock the boat and potentially sink the whole ship. A fierce, vulnerable Bond, who cries for his loss, bears the scars of his foes, and was more human than anyone would have ever predicted. No Time To Die, isn’t the greatest film ever made, but it is beautiful. It is poignant. It is fitting. It’s not the send off many wanted, but it’s the one we needed. Love it or hate it, No Time To Die will not be forgotten anytime soon. Nor will its star. Rest well Daniel Craig, and thank you for everything.
The Duke Screening for the British Film Festival Max Davine
Melbourne awakens from hard COVID lockdown and theatres begin to open for guests again. Audiences make their way in to the stalls ready to feel the electricity of live performance. Cinemas open too, and it’s a different kind of energy when the lights go dark and the curtain lifts to a canvas screen. You feel your fellow audience members brace. The proscenium arch is lost in residual light. You are half witnessing and half involved in the events that are about to take place.
How we’ve missed them both.
The British Film Festival opens in Melbourne with The Duke, a fictionalised account of the true story of 60-year-old bus driver Kenton Bumpton’s theft of the portrait of the Duke of Wellington from the National Gallery in London and the subsequent trial that saw English laws rewritten so that theft had a clearer definition.
Roger Mitchell’s sedate direction lets veteran masters Helen Mirren and Jim Broadbent work the magnificent script by Richard Bean and Clive Coleman – every scene between them is a joy to watch. The younger cast are well chosen too and hold their own in an intimidating set piece. The story itself is lightened from its historical context to allow moments of jolly English humour and though the pacing drags its heels sometimes there is an innocence and playfulness abounding that perfectly capture the essence of the fictionalized Bumpton.
ERIC CLAPTON: LOCKDOWN SESSIONS website review by Jeanette Russell
The Lockdown Live Sessions were recorded in 2020. The resulting 17 track album is titled, "The Lady in the Balcony Lockdown Sessions", so named apparently because Clapton's wife was the very private audience of one.The film takes us on a somewhat nostalgic journey featuring the multitalented Eric Clapton at the helm. Some are classics, all tracks put down are presented live and sound magical, and phenomenal. I so enjoyed hearing "Layla" and a very moving recent rendition of Clapton's song inspired by losing his 4 yr old son called "Tears in Heaven. We were also treated to "Black Magic Woman" Some other hits that were included in these Lockdown Sessions were " Believe in Life'" Going Down Slow" and " Nobody wants to know you when You're down and Out,".
It feels like such a privilege to be invited into the personal journey of this wondrous group. Such talent ensues. The camaraderie between them all, their philosophies of life and inspirational tales are really captivating. Such an entertaining show.
I highly recommend the film. The music is extraordinary, creative, and harmonious. Live acoustic guitar rhythms , drums, base, are ever present, as well as the grand melodies. These live concert sessions , I feel , are not to be missed. It was also wonderful to have insight into the musos ventures, loves, passions and most of all delightful music making which spans the ages.
Thoughtful reflections from this diverse group as well as Eric sharing his thoughts of the pandemic world were most profound as well as interesting.
Thank you for the opportunity to view this exclusive, special and enjoyable show. I was certainly swaying to the awesome music and it's catchiness which doesn't seem to me to date. They still "got it" Even though there were discussions and deliberations, planning and some warm ups it was still completely professional, and always on point and key. The band members are Nathan East (Bass and vocals ) who has worked with Eric since the early 80s Steve Gadd plays Drums and he has been with Clapton since the mid 90s. Chris Stainton is on Keyboard.
The recordings take place in a mansion in West Sussex, we get to view the beautiful vistas of the lovely English countryside during the film. The landscapes are quite picturesque, and add to the atmosphere and settings.
DEAD AND BEAUTIFUL website review by Taylor Cougle
Film Review: Dead and Beautiful Writer/Director: David Verbeek Producer: Erik Glijnis, Leontine Petit Cast: Gijs Blom, Aviis Zhong, Yen Tsao, Anechka Marchenko, Cheng-En Philip Juan Running Time: 98 minutes Genre: Thriller/Drama
What happens when you have all the money in the world and is there anything that you can do to experience being alive when the everyday does not stimulate you?
What a very nice and refreshing twist on the vampire genre from the mind of David Verbeek. The films centres around five super rich friends, their relationship with each other and how the bored elite find ways to bring excitement into their lives. Each of the friends have their “turns” to create more exciting and elaborate experiences for each other just to feel alive. After a night camping out and undergoing a shamanic ritual, they wake up to find that they have fangs, and that the shaman is dead. They are at first surprised and not sure what to do but soon come to embrace their new accessories. They quickly go back to a safe place in the city out of the suns reach and start exploring the night in all the glam and opulence that only the elite can do. They try some “blood” and feel invigorated and alive, though one of the friends does not partake as he is not convinced by the idea due to his moral position. One of them goes deeper into the rabbit hole and embraces his new life by kidnapping a victim to feed upon and starts to believe his new powers. The film continues to explore upon the mental and emotional ties that each have with each other.
This film is a wonderful social experiment in how the psychology of each person is affected by something new and how they develop mentally and emotionally through that experience be it real or perceived. Given the right circumstance and incentives it does not take much to bring out the monster within. The ending has a surprising twist and is worth watching all the way through.
By their very nature, all war films are propaganda. For this reason, there have only ever been two kinds of war films. Pro-war, and anti-war. The films that tell tales of heroism and nationalistic ideals of violence for the greater good, pitted against portrayals of the horrors of war and all the harm it brings. As with fashion, these trends come in cycles. Political instability breeds tales of political might, while peace and introspection bring reminders of past atrocities. It is no surprise then, that Covid and the general state of the world has called forth J.P. Watts and his new film, The War Below.
Optimistic audience members may read the synopsis and focus on the specifics of the story. A team of sewage workers and their profound effect on WW1 using their expert tunnelling skills. It sounds like a story never before told, and perhaps it is. It’s not a subject often covered by Hollywood or even the state education system. Specifics aside though, this is a story of underdog protagonists, defying the power structure and proving themselves to be heroes against all odds. It’s as patriotic as earl grey, as sappy as maple pine, and contains enough British tropes to make Blackadder blush.
The question then, is how does it stand out from the crowd, with nothing new to offer. The answer is as simple as it is impressive. By going back to basics and mastering the fundamentals. The War Below deserves to be studied in film schools around the world. Every shot is textbook and follows the time honoured traditions flawlessly. From Anné Kulonen’s soundtrack, that cranks up the brass for drama and sets the sorrow with slow piano/violin accompaniment; to the costumes of Oliver Cronk, that may as well be uniforms lifted from a museum. Even the Editorial Department have produced a work so unbelievably standard and seamless that it may as well be a stage recording; the post production is so invisible.
This isn’t to say that the film is boring; far from it. The War Below boasts a number of truly excellent features. Not least of which is the work of Nick Cooke and his incredibly cinematography. After a decade of shorts and a few tv episodes, Cook has truly proven himself capable with this cinematic debut. The shot composition is flawless and the lighting is truly superb. More than anything though, the writing of J.P Watts and Thomas Woods is what makes this film what it is. A grounded, realistic story, with some great dialogue, that hits every beat it can be expected to, exactly when it is meant to. Based in one of the bloodiest and most violent settings in modern history, The War Below is largely pacifistic, with very few deaths explicit deaths, and each one hitting far harder than they have any right to. This could also be due to the films spot on casting. Sam Hazeldine and Tom Goodman-Hill do most of the heavy lifting in this film. But every cast member does their bit and supports as much of the film as their screentime allows. No one steals the scene, but everyone works together with such incredible chemistry that at times it almost seems like Casting Director Shakyra Dowling merely found a large family of siblings and put them to work.
Some will be disappointed by this film. It’s formulaic plot and cookie cutter assembly will not win it any favours among the more adventurous of film goers. These people are missing the point however. The War Below doesn’t break the mould, but it doesn’t attempt to. If it isn’t broke, don’t fix it. This film takes the war film genre that we all know and refines it into its core components, then polishes those parts to a mirror shine. Fans of the genre will love this film and haters of it, were doomed from the beginning. The War Below is a quintessential war film with all the trappings. If that appeals to you, then you owe it to yourself to watch this movie.
THE OBSCURE LIFE OF THE GRAND DUKE OF CORSICA website review by Sam Bell
There is an art to arthouse cinema. To blending the surreal and unexpected with the familiar and mundane. It requires a delicate touch and an eye for nuance. Writer and director Daniel Graham’s latest film The Obscure Life of the Grand Duke of Corsica contains neither of these things. It is a loud, messy, convoluted and largely incomprehensible film about an awful lot, that says almost nothing. A flaw Graham seems aware of since the film opens with narration urging the viewer to “pay attention”. Lamp-shading the issue does little to solve it however, and no matter how much attention is paid, there must be a payoff to reward the viewers efforts.
This is an equation the Australian director seems to understand as the film is packed to the brim with what could generously be described as Deliberate Choices. It is impossible to watch this movie and not understand that its maker very clearly wants to say something. But they are saying so much at once that it all becomes meaningless noise. It is easy to describe what happens in this movie; an elderly and overly cantankerous architect is hired to build a mausoleum for a Maltese billionaire. An ancient monk finds god in the conservation of matter and energy. A plague destroys a city. Among many other plots lines, these are all simple to follow and make enough sense. Blend them all together and portray them as if they are all part of a cohesive whole? Now there’s a problem.
There are motifs and symbols very clearly scattered throughout the film. Characters draw attention to similarities while plot lines run parallel. It’s not subtle. Nor is it in any way comprehensible. Plot lines are created and then cut without warning or payoff. Decisions are made to draw attention to things that are never seen or referred to again. Each scene is filled with witty dialogue that works for the 2-5 minutes the scene runs for, but nothing is connected to, or seems to affect anything else. The film feels like a compendium of the directors favourite scenes from at least six different movies stitched together just to see what would happen. It’s like watching a film through a kaleidoscope. All the parts are there, but trying to put them in order is impossible while you’re looking at it. The films pacing follows the plot. Extending and stretching out scenes of seemingly little importance, only to skim through what appears to be an information dump. For all that the film attempts to do and say, most of the plot and character progression all happens in the last 15 minutes; without build up or warning. As if the film makers were made aware that nothing had happened and then scrambled to make up for lost time.
To the films credit though, the acting is sublime. No matter how confusing, or inexplicable the movie becomes, the audience is inevitably drawn to the sheer magnetism on display. Unsurprising since both Timothy Spall and Peter Stormare are national treasures and deserve more recognition that can ever be given. They own every second they are on screen and bring their best to every scene. While it is often impossible to know why are they are doing what they are doing at any moment, it is always abundantly clear what is being done. What is a pleasant surprise though, is just how well the relatively unknown Matt Hookings is able to keep up with the two heavyweights. Though much less hinges on his performance, he has definitely made himself one to watch. Unlike this film, no matter how good the acting is, the stars can only work with what they are given after all. A good film can survive bad acting, but great acting cannot save a terrible film.
It is possible, if not likely that this film would reward repeat watches. That taking it apart and examining each scene would reveal some grand lesson. Unfortunately, The Obscure Life of the Grand Duke of Corsica is not nearly an enjoyable enough film to willingly watch more than once.
Director Philip Barantini brings the magic of the one-take film – in the tradition of Aleksandr Sokurov’s Russian Ark and Alejandro Iñàritu’s Birdman and that breathtakingly unforgettable episode of The Haunting of Hills House – to a busy East London restaurant. The demand placed on actors and crew by this technique cannot be overstated. However, a gimmick it is and should not be attempted unless you’ve got a stellar cast, great story, excellent script, and high stakes behind you.
Barantini succeeds for the most part – whether or not anyone cares Stephen Graham’s head chef Andy Jones gets through the health department check and subsequent busy service might be up in the air – but it’s the cast that carry this one through. Veterans of the London stage and a few survivors of Guy Ritchie films shine and bring truth and intimacy to their roles. The script is also strong.
An auteur piece for lovers of art cinema, Boiling Point is a fun, worthwhile piece that should induce fond memories to anyone who has cut their teeth in the stressful world of commercial hospitality.
Jacques-Yves Cousteau was born in 1910 in France and passed away in 1997 at age 87. He had an amazing life as documented in "Becoming Cousteau" that portrays his work, discoveries passions and achievements. Some of those were in the French Navy, exploring the sea quite extensively, and being the co-inventor of the Aqua-Lung, in his younger years. Later in life he made films, documentaries, and wrote. He formed the Cousteau society. This was born because Jacques was convinced that humans were ruining the planet. The documentary film is very interesting and informative, showing the man, emotional, real and active in preserving the planet for future generations. Cousteau's life was one of searches, pioneering journeys, and great accomplishments. Married to his first wife in 37, Jacques met her as the first female aquanaut and diver. . Simone loved the Calypso boat that became her home with Jacques and family, until her death in 1990. She loved the sea and the tours they took on the boat. She was also his business partner. They had 2 children Philippe who sadly passed at age 37 and Jean Michel. Cousteau's second wife who he married in 1991 had 2 children with him Diane and Pierre Yves, her name is Francine.
In 1957 Jacques made the documentary film called A Silent World. It was derived from a book. He won awards for it one an Academy Award and an Oscar as well as an award from the Cannes International Film Festival. Cousteau was a director in Monaco of its Oceanographic Museum, in 1957.
Jacques starred in many T.V shows and documentaries, as well as producing. One of his most famous was The Undersea World of Jacques Cousteau. He had produced many with his son Philippe. This multi-talented man also wrote many books. The documentary, Becoming Cousteau, was a fascinating insight into the life of this famous man. Showcasing his journey with commentary by Jacques himself as well as friends, colleagues and family. I highly recommend watching the film. Towards the end we are able to understand and get insights into his love of marine life and the planet, and wanting to leave a better world for future generations.
The Cousteau Society was a not for profit group formed that is dedicated to marine conservation.. In October 91 a protocol was established to protect Antarctica from mineral resource and oil collection, for the sake of the environment. A treaty was born in which the USA and 24 nations agreed to ban these explorations for at least 50 years. Antarctica balances the planet earth with the mix of sun and Antarctica's 90 % ice. Cousteau has described.
In 1992 Cousteau was heavily involved in "The Earth Summit " . Jacques ascertained that " Biodiversity is shrinking and energy is in demand" He was urging people to act, and stated that he believes in people to do the right thing for the planet, and our future.
Very impressive, well made movie well worth the watch. Released on the 22nd of October.
Thank you very much for the opportunity to review it.