From the title you can tell that NOPE is going to be a funny movie. It’s the first thing you think of when you hear suspenseful music in a horror film. This movie pulled through with the comedy aspects, it was filled with dark humour but was balanced out with enough blood and guts to be considered a thriller.
Although, while this movie was enjoyable and the acting and cinematography was incredible I was left felling as though the movie was not complete. It was like I was watching 2 separate story lines and I didn’t get the answers I need to make this movie satisfying in the end. We learn about the mystery cloud that doesn’t move that is first thought to be hiding a UFO but then become aware it is actually a giant jelly creature that starts to become territorial and will suck you up if it sees you, so just don’t look at it. Simultaneously we learn about Jupe, - the owner of the cowboy theme park - he was a childhood actor and a survivor of a vicious monkey attack that took place in the studio (which I think he needed some serious therapy afterwards) but instead he gained an unhealthy obsession with the incident. We don’t learn anything else about Jupe, his storyline just cuts off after we learn about his past trauma.
After I finished watching the movie, I was throughly confused as to why we just saw this whole backstory of this monkey going on a killing spree so I had to do some digging to find out why this was added. It goes onto say Jupe thought he had a connection with animals due to being the only uninjured person through the gruesome event and he thought he could befriend the Alien. This was poorly shown through the movie and it honestly would’ve been the same without it, I think this movie would be great if you’re doing a film analysis on it for a high school paper to look for deeper meaning but if you’re wanting to relax and watch an actual horror movie, I’d say pick anything else.
Besides having a random plot line thrown in, the trailer really tells you all there is you need to know, there’s not much more action than what you’ve already seen. I was prepared to be on the edgy of my seat waiting to see what would happen but other than the few funny comments that were thrown around, I was quite unsatisfied.
MOONAGE DAYDREAM NEW website review by: Sherry Westley
Film: Moonage Daydream Style: New Music Documentary on David Bowie Country: England Director: Brett Morgen Writer : Brett Morgan Producer: Brett Morgan Release : Australia : Imax 15/9/2022 Reviewer: Sherry Westley
Even well informed Bowie fans won't have seen some of the footage used in this immersive and informative film. Director/writer/producer Brett Morgen is the only filmaker ever given access to the artists' archives, by the Bowie Estate. The film is an expression of Bowie's art and it's underlying philosophy and psychological drivers. Mostly voiced by Bowie himself, we learn little of his personal and domestic life, but a lot about his thoughts, his fears and their ever changing exploration.
Most of us know Bowie as a colourful singer, writer and performer. But he was a multi talented artist , working across many genres. He presented himself in performance as an animated piece of art and theater. He lived a life that pushed boundaries, especially his own.Yet he survived an experimental personal life and a highly productive artistic life. At age forty-five he entered a second marriage with an adored second wife. It lasted until his death in 2016, 24 years. A fascinating man.
Director Brett Morgan provides a running visual link through the film with repeated black and silver full screen animations.They portray dark, other worldly themes such as the stars, moon, the universe, and the unknown. They point to Bowie's philosophy, that the meaning of life is unknowable. Life is transcient and chaotic : " there is no scissor cut, no absolute!".
The films' sound and colouring to some extent echo Bowie's intellectual, emotional, and artistic development: in the early parts often loud and chaotic, with harsh bright psychodelic colours .At other stages gentle, warm , very entertaining, unchallenging.
It was a bit long, but I really enjoyed the extravagance and entertainment , combined with the challenge of trying to understand the underlying source and meaning of his work. Crucially perhaps, despite the singular focus of the film, Bowìe comes across as an intelligent and very likable person!
This is a documentary about Princess Diana (Diana Francis Spencer). The film consists exclusively of archival footage about the most important events in Diana's life: details of her personal life, marriage, birth of children and death and is released on the anniversary of her death (she died in a car accident on August 31, 1997 at the age of 36).
The documentary premiered in January 2022 at the Sundance Film Festival to trigger all different reviews from film critics.
The film tells a linear story about the life of Diana Spencer and is completely assembled from audio and video chronicles of those years from television news and other publicly available audio and video materials.
It's directed by Oscar nominee Ed Perkins (Black Sheep, Tell Me Who I Am). The viewers should expect "an intuitive immersion into the life of Diana under the constant and often obsessive gaze of the media."
The plot of the documentary, among other things, touches upon the personal relationship of Diana and Prince Charles, which for almost two decades "served as fodder for the tabloids."
“In the end, it was the media that helped crown her as the ‘People’s Princess’ by showing the world a real fallible person living among royalty. And it was the media that was her judge, jury and yes (sadly), her executioner.
"Instead of focusing on the young years of the future princess, the new project focused on the moments that swept Diana's life when she became famous all over the world." The film "is a reflection of the society of the time, revealing the concerns, fears, aspirations and desires of the public.
In addition, the creators of the movie question the idea that “something has really changed” even a quarter of a century after the tragic death of the People's Princess, who crashed in a terrible car accident in Paris, when her bodyguard tried to break away from obsessive paparazzi.
Princess Diana's funeral was attended by 3 million people, and another 2.5 billion watched the television broadcast of the ceremony.
The story of Diana, Princess of Wales, touches all hearts. Films about her were and are being shot and, honestly saying, Perkins' vision is really not new as the shots used in the film are well known to all viewers, or to anyone who is at least a little interested in the royal family.
After an exciting start, the film shows what the audience has already seen many times in the past and all the complexities and vicissitudes of the fate of Princess Diana were not disclosed.
The film has already provoked a wave of negativity though and many comment that it is necessary to leave the princess alone. I agree - some respect here would not hurt, the past should be left in the past and learnt from and, well, enough is enough IMHO.
GOOD LUCK TO YOU, LEO GRANDENEW website review by Katherine Kelly
Good Luck to You Leo Grande
Directed bySophie Hyde Written byKaty Brand Produced byDebbie Gray Adrian Politowski
Cast: Emma Thompson Nancy Stokes / Susan Robinson Daryl McCormack Leo Grande / Connor Isabella Laughland Becky
Good Luck to you Leo Grande, by Australian Director Sophie Hyde, is a thoughtful, partially light-hearted, look at sex in middle age.
Nancy (Emma Thompson - Sense and Sensibility) a middle-aged, newly widowed ex religious studies teacher engages a male sex worker to assist in exploring her sexuality. Following decades of a repressed, pedestrian marriage, Nancy is unhappy and unfulfilled with concerns about body image and sex in later life. Her disappointing children have long since flown the nest and have their own lives.
Filmed entirely in a posh hotel room, except for a short scene in the hotel café, Good Luck to you Leo Grande is divided into four meetings, each of which displays comedy, confrontation, tension, and apprehension as a terrified Nancy steps out of her rigid, repressed existence in the search of some pleasure. Enter Leo Grande an exotic looking 20 something year old (Daryl McCormack –Peaky Blinders). Leo a kind, very engaging, non-judgmental person, sensitively plays a role akin to a psychotherapist. He is very reassuring to an extremely rigid, unhappy Nancy who has plenty to unpack.
Nancy increasingly becomes more relaxed with each meeting which leads to her overstepping a boundary, which brings the process to an impasse and eventually to an intriguing resolution.
Performances were excellent with Emma Thompson skilfully portraying the uptight woman and Daryl McCormack sensitively and reassuringly placating his client.
I feel this excellent film was of course about sex, but more importantly it encompassed non-guilty, pleasure, human communication, and personal boundaries.
Press PLAY is an unusual genre film that combines romance, time travel and surfing.
Time travel themes are all the rage right now. This sci-fi sub-genre of modern romantic comedy has captivated viewers who no longer wish to watch fake stories about smoldering vampires or wizards falling in love.
Press PLAY is the latest addition to this growing genre, a low-fi record that focuses more on music and emotional connections than the logistics of time travel back and forth.
This was made possible, all thanks to the sensitive direction of Greg Björkman, who took part in the project for the first time, and the dedicated lead role of Danish actress Clara Rugaard. Greg Bjorkman directed and co-wrote with James Batchelor a film based on a short story by Josh Boone (The Fault in Our Stars).
Speaking to digital trends, the songs that are on the time travel mixtape are amazing, the soundtrack is very touching - there are songs from Japanese Breakfast, Father John Misty, Dayglow and more.
Nobody can change the past. The best we can hope for is to change the present and the future.
But what if the past was not an inaccessible place in space and time? The story gives one woman a chance to go back in time and avert a tragedy.
However, this is much easier said than done. There could be dire consequences if she succeeds.
Press Play introduces Laura and Harrison, a young couple who really like each other. They achieved many couple goals, including surfing together and making music mixtapes for each other. Laura and Harrison have the perfect romance built around their shared love of music
But the happy days end when Harrison dies in a fatal accident.
In her grief, Laura discovers that the mixtape can transport her thoughts to the literal moment she and Harrison first heard the song.
This is her chance to change everything if she can convince Harrison that she really is from the future.
Naturally, there are difficulties... In at least one of Laura's trips into the past, Harrison does not seem to know her at all.
In another time period, Harrison seemed to believe that Laura was telling the truth... and yet, even if Harrison is warned in advance, it may not be enough to change the course of history.
The mysterious man known as Cooper seems to be familiar with the intricacies of time travel, and his warning to Laura is very direct.
Press Play reminds you that love can always be replicated.
Clara Rugaard stars in the film as Laura, with Lewis Pullman as Harrison, Danny Glover as Cooper, Lyrica Okano as Chloe, and Matt Walsh as Mr. Knoll.
The film is to be released in theaters on 28 July.
review by Alex First
Press Play (PG) – 85 minutes – by Alex First
A fantasy romance, Press Play concerns two young people who meet and fall in love, before their happily ever after is struck by a boulder.
For some time, Chloe (Lyrica Okano) has been keen to set up her best friend Laura (Clara Rugaard) with her stepbrother Harrison (Lewis Pullman).
He works in a record store in Hawaii – where they all live – named Lost & Found. It is run by Cooper (Danny Glover).
When Laura and Harrison do finally come face to face, their attraction is instant. In no time, they are inseparable.
She is a talented artist, while he is looking to pursue medicine. They bond over music. He teaches her how to surf.
A noteworthy aspect of the record store is that it has a wall of pre-owned mix tapes.
As their relationship deepens, Harrison and Laura start recording their own. And then, everything stops.
However, magically and most unexpectedly, Laura gets a second chance when their mix tape transports her back into his arms. Mind you, making that permanent is a particularly difficult proposition.
Targeting a young female audience, Press Play is pleasant, fanciful, contrived fluff. If only miracles of the sort dealt with here did come true.
Populated by good looking people in a picture-perfect setting, the best way to enjoy the movie is to go with the flow and let it wash over you. “Yes”, I am asking you to suspend belief.
The detail in the storyline by James Bachelor and Greg Bjorkman (who also directs) is somewhat convoluted, even if the intent is never in doubt.
Still, I warmed to several of the straightforward characterisations, even if the narrative did have a manufactured feel.
Clara Rugaard brings her character’s driven persona to the fore. She is passionate and insistent. Her facial expressions add weight to her performance.
As he beau, Lewis Pullman has an easy-going charm.
There is a playfulness about Lyrica Okano’s characterisation of Laura’s bff.
I wasn’t quite as sold on Danny Glover’s portrayal of the ageing record store proprietor, who added life experience.
The location of Press Play is a cinematographer’s paradise and Luca Del Puppo doesn’t let us down.
What does is the appearance of the tip of a boom microphone in several scenes. Most disappointing and unprofessional.
Still, there is clearly an audience out there for those who choose to believe in the power of enduring love, as portrayed by those in the prime of their lives.
It's a very powerful, and at times very disturbing film, but - there are some "buts"...
There is a Christian theme of forgiveness and redemption against the backdrop the eternal confrontation between Africans and "whites"
It is a good, but too superficial and unsophisticated story about the focus of human vices framed by popular Moroccan tourist color, so loved by tourists.
Irish-born British director John Michael McDonagh ("Once Upon a Time in Ireland", "Calvary", "War Against All") correctly groped for accents, but either he was afraid, or he could not press the gas pedal to the fullest - there is something that is missing.
This is the tense story in short: while driving through the Moroccan desert to attend a lavish party of their old friends for the weekend, wealthy Londoners, David and Jo Henninger (Ralph Fiennes and Jessica Chastain) crossing monotonous sand dunes in an SUV in pitch darkness, while intoxicated by alcohol David loses concentration and accidentally runs over a Moroccan teenager. Upon reaching their destination, David and Joe discover that most of the guests are in a state of deep intoxication. They are trying to hide the traces of what they have done and collude with the police.
The Henningers arrive at the mansion and pretend that nothing happened. They try to hide the incident even after the patrol arrives at the party. The criminals promise a big bribe if the policemen agree to hush up the case.
The boy's father learns about what happened and rushes to the pompous home of expats in search of justice, but instead finds a gaping cultural and value abyss that separates strangers from the local population... and at this moment, the ground begins to move away from under the feet of the presumptuous couple, who can not even imagine what will follow this appearance.
When the boy's father arrives in search of justice, he makes only one request for the couple: David must go with him to the desert to bury his son according to local customs.
The cast is remarkable (In addition to Fiennes and Chastain, Matt Smith, Caleb Landry Jones, Abbey Lee, Christopher Abbott, Marie-Jose Croz, Alex Jennings, Said Tugmaoui, Morad Zaoui and others took part in the filming of the film.) and the film atmosphere is ominous.
David and Jo were leading an equally laid-back and unencumbered existence. The incident seems to be one high volume trigger for what was hidden before.
Jo, the well respectful wife at this time of Davd being in the desert somersaulted with whom she could - it is an interesting contrasting line, when the husband is taken away to where his life begins to hang by a thread, the wife embarks on a "separation to the fullest."
Then the couple drove home along the road, casually discussing whether they should tell their friends. It was quite weird.
What special repentance the main characters have is not particularly noticeable, an unfortunate accident is their attitude.
The film may seem completely uncomplicated, but a lot of sense lies behind its external simplicity here and the attitude of different people to life, and the awareness of guilt by a person, and the peculiarities of the mentality, and much more.
I liked two Arabs from the servants of a rich man hosting guests, who turn out to be much wiser than their years and their social status.
These Arabs who live an ordinary miserable life appear as very wise and strong characters.
What is worth only the piercing gaze of an old man who has lost his son, his balance, control over emotions and the way of punishing the murderer of his son.
Great acting game, which left the impression of deep work on the roles of the main characters. There are few words in the film, little action, but some kind of difficult inner strength emanates from it.
review by Alex First
The Forgiven (MA) – 117 minutes – by Alex First
Arrogance, entitlement and indulgence meet desert justice in a rich and textured movie by John Michael McDonagh (Cavalry). It is based on a 2012 novel by Lawrence Osborne.
Medical specialist David Henninger (Ralph Fiennes) and his wife Jo (Jessica Chastain) spend a lavish weekend with old friend Richard Galloway (Matt Smith) in Asner.
The location is hundreds of kilometres from the Moroccan capital. To get there they have to drive through the Sahara Desert.
He frequently drinks to excess and his pomposity is on show from the get go.
The openly gay Galloway has a castle, seemingly in the middle of nowhere, and a lover, Dally Margolis (Caleb Landry Jones), who – too – is fond of the bottle.
Galloway has invited a group of friends – who are waited on hand and foot – to the party. No expense has been spared.
When David and Jo fail to turn up, Galloway starts to get concerned.
It turns out that David drove into and killed a Moroccan teenager, Driss (Omar Ghazaoui), the consequences of which play out for the rest of the film.
Police are ready to dismiss the incident as an accident.
Then Driss’ father Abdellah Taheri (Ismael Kanater) turns up.
He insists David accompany him to his village – a long distance away – where he intends to bury his son.
Populated by bandits and, in places, controlled by ISIS, the Sahara is a dangerous place, but David is left with little choice.
The experience is a chastening one.
Meanwhile, Jo lets her hair down with a hedonistic financial analyst, Tom Day (Christopher Abbott).
The Forgiven, which has morality at its core, has considerable merit.
The attention to detail is admirable. The location and cinematography by Larry Smith are noteworthy.
The juxtaposition between the haves and have nots couldn’t be starker and the picture painted is particularly ugly.
Galloway’s friends and lover are largely self-indulgent narcissists, with a holier-than-thou attitude.
The way John Michael McDonagh has painted it is quite sickening.
The performances are particularly strong.
Fiennes appears to revel in his dastardly characterisation of the intelligent, opinionated anti-hero.
Chastain shines as his long-suffering wife. Smith impresses as a man of even temperament who caters to other’s vices, while respecting the locals.
There is much to be gleaned, too, from Kanater’s role as the wronged father.
McDonagh’s unhurried style of filmmaking allows us to appreciate the gravity of what has occurred.
Julie (Laure Calmy Call My Agent), a single mum with two young children travels long distances to her job as head chambermaid at a posh Parisian hotel. Julie’s life is nothing short of chaotic and stressful, as she attempts to keep numerous balls in the air: her job; her ex-husband’s failure to keep alimony payments up to date; the struggle to make ends meet; the bank chasing late mortgage payments; the babysitter’s grumpiness due to Julie’s failure to collect her children on time; the babysitter’s daughter’s threats to report Julie to Welfare; and the stress of wanting to return to her previous marketing career. To top it off, unions pull a national transport strike, paralysing France’s public transport system hampering Julie’s attempts to commute the long distance to her job. Julie is at odds with her boss due to her timekeeping and unexplained absences to attend an interview for the job of her dreams.
In spite of the setbacks, Julie keeps on going in her unflappable manner. Each day starts before dawn when she prepares breakfast and children for the long day ahead – and ends after dark. I felt myself becoming stressed watching her deal with challenging situations and always in a rush along the Paris streets. To add to the tension, the music had a constant frenetic, pulsating rhythm similar to that of a train. Pauses in the music were replaced by tapping.
Full Time gives a great insight into contemporary daily life which affects us all. Calamy’s performance is first-class. No wonder she was awarded Best Actress at Venice in 2021. A film not to be missed.
"A lawyer's job is not to know. It's to not know." Tessa
PRIMA FACIE (penned by Australian British playwright Suzie Miller) captured live from the intimate Harold Pinter Theatre in London’s West End is screening across Australia July 23.
Tessa (English actress Jodie Comer (The Last Duel, Killing Eve, Comer, Free Guy and Star Wars Episode IX: The Rise of Skywalker)). She has received various accolades including two British Academy Television Awards and a Primetime Emmy Award, in addition to nominations for two Golden Globe Awards, two Critics Choice Awards and a Screen Actors Guild Award. ) is a young, good lawyer. It is Jodie's debut in this one-woman play, it is a one-woman monologue that grabs your attention and disturbs your core for the entire duration of the play. Tessa has developed her way to the top of the business from the working class origins. She is to be at the very high standards of her defensive game: cross-analyze and succeed... while a sudden new case forces her to confront trails where the patriarchal energy of regulation, burden of proof and morality diverge. Prima Facie takes us to the heart of where emotion and experience meet the foundations of the business. Add to this, she is in the male-dominated profession, she wins most and best cases. Yes, loses some, but she always does a brilliant job while she charges her astronomical fees. She IS a thoroughbred. This phenomenal play is directed by Justin Martin.
National Theater Live is presented by FilmScene in partnership with Englert Theatre and Riverside Theatre.
If you love theatre, want to experience something emotionally-massive indeed, this is the great play you must see.
Prima Facie will play in select cinemas around the country — including the Hayden Orpheum, Dendy Newtown, Palace Chauvel and Ritz Cinemas in Sydney; Cinema Nova, Palace Brighton Bay, Palace Como, Palace Balwyn, Lido Cinemas, Classic Cinemas, Cameo Cinemas and Yarraville's Sun Theatre in Melbourne; and Palace James Street, Dendy Portside and Dendy Coorparoo in Brisbane. It'll also show in Palace Nova Eastend in Adelaide, as well as Luna Leederville and Luna on SX in Perth.
THE BLACK PHONE NEW website review by Lylah McKenzie
Normally I am not one to watch a horror movie but this one has honestly changed my mind. Although I am still not a fan of jump scares - thankfully this one has minimal.
The acting from all the young kids is incredible, I specially enjoyed watching Finny (played by Mason Thames) character development as he starts off as a shy, bullied little boy who needs his little sisters help to get out of a fight to a clever, courageous fighter who escapes from the basement.
The Grabber was terrifying, not because he hurt Finny but because he didn’t. He was quite nice to the young boy and that’s what gave an eerie feeling about the character, we later learn why he didn’t hurt the boy but it definitely didn’t help how terrifying the situation was.
I think what really tied together this film was not only having the Black Phone ring and Finny be able to talk to the past victims as to how to escape but also Gwen having visions and dreams to be able to help the police find Finny. I think there is some backstory about Finny and Gwen’s mother that would make for a great prequel as we learn that she had the same visions as Gwen, but when people found out about them people used them against her.
Surprisingly there was an element of humour added to this psycho thriller that definitely help lighten the mood, using Max as a comedic relief character who had a tragic ending but never the less was a great add on to the story line with a great plot twist at the end.
I would definitely watch this movie again, and encourage my friends to watch it too.
SCANDINAVIAN FILM FESTIVAL 2022 The Woodcutter Story website review by Katherine Kelly
Carlsberg Scandinavian Film Festival 14 July – 7 August 2022 Palace Cinemas
Last week I attended the Media opening night for the upcoming Scandinavian Film Festival due to open next week. Prior to the preview screening of the Woodcutter Story from Finland, Lisa Ricketts presented what was on show during this Festival.
On opening night (14 July 2022) Margrete – Queen of the North will be shown. Featuring well-known actors including Trine Dyrholm (Face to Face), Søren Malling (Borgen, The Killing), Margrete is the story of one of the powerful women in Denmark during the 15th century who brokered the historic Kalmar Union.
This year’s line-up features the remake of the 1971 epic, The Emigrants from 1971, which starred Liv Ullmann. Directed by Erik Poppe (The King’s Choice), The Emigrants 2021, follows the lives of Kristina and her children
The festival also celebrates iconic Nordic actresses from the 20th Century: Greta Garbo (Queen Christina 1933), Ingrid Bergman (Casablanca 1942), Liv Ullmann (The New Land 1972 and The Serpent’s Egg 1977) and Britt Ekland (The Wicker Man 1973). The New Land will feature on closing night 7 August 2022.
Another attraction is the Tuesday Club from Sweden a romantic comedy drama featuring food, friendship and embracing life.
Other films include Nordic by Nature (Denmark), a documentary about the Faroe Islands, and The Pact, a biographical drama about author Karen Blixen.
Our Preview on that night was a dark comedy from Finland as follows:
The Woodcutter Story Director: Mikko Myllylahti Cast: Jarkko Lahti, Iivo Tuuri, Hannu-Pekka Björkman, Katja Küttner Finish with English subtitles Duration: 99 minutes
The Woodcutter story is Director Mikko Myllylahti’s debut. Set in a close-knit, snow-covered sawmilling village in Northern Finland, this film is indeed an absurd tale about tragic events occurring over a few days. The village’s sawmill is abruptly closed to make way for a mining venture, which cruelly robs the community’s livelihood. Devastation affects everyone except for Pepe (Jarkko Lahti, Helene, ScandiFF2021, The Happiest Day of Olli Mäki)), the eternal optimist, who maintains his position with his mantra being there’s always an option. Trudging through the snow dressed in a red and white ski suit with a sheepskin hat, Pepe appears to be permanently startled and open-mouthed in spite of his optimism. Whatever occurs, his job loss, his wife’s desertion, an axe murder, and his son’s ultimate disappearance, Pepe continually remains unfazed whilst those around him become swept up in the devastating events.
Shot on 35mm film, The Woodcutter Story was a nominee for Critics’ Week Grand Prize, Golden Camera, Cannes Film Festival 2022.
It is talentedly filmed, but at the same time it is rather repulsive and viscous movie.
An indication of the horror genre in the description can definitely mislead you. According to the plot, the film is more reminiscent of not being a horror, but being a psychological arthouse with elements of mysticism - even despite the victory of the movie at some Horror Film Festivals.
The main theme of the picture is childish cruelty: it is senseless and merciless. It is everywhere, as they say, in abundance.
It is filmed in a naturalistic, shocking way; after watching you feel a rather vile aftertaste from what you see, and you begin to look at your own childhood and at your own children with some anxiety.
The kids in the film are conditionally divided into dark and light forces; each of the groups is endowed with superpowers. If you watched X-Men, you might think that the director is an ardent fan of this franchise... but...I liked Eskil Vogt's version much less.
First of all, in order to demonstrate the heartlessness of individual young creatures, it seems that it was not at all necessary to turn them into gurus of telekinesis. It certainly added to the spectacle of the film though.
Artistically, the film is beautifully done: if such a term can be applied to a picture where various injuries and deaths follow one another.
Scandinavian cinema is generally distinguished by its special characteristics: cold, restrained tones, unhurried frame changes, skillful play on contrasts: green forest and gray stone jungle of the city, in which no one can feel safe.
The soundtrack of the movie also matches the general atmosphere: restless, disturbing, pressing on the psyche.
The adults in the film look like extras, while the performance of the young actors is truly impressive. This fact, as well as the visual and sound components of the picture, did not allow me to give the higher rate to this film... but there are many questions to the director (after all it is his vision:
First of all: why is there so much outright bloodthirstiness in the film? This is more of a drama, but not a slasher, not a film about some maniac with sadistic inclinations... The fact that children are vengeful and ruthless can be shown in other ways, equally without turning the picture into a remake of "X-Men" in this weird Scandinavian way.
Next: what is the motivation of the behavior of the characters. We are shown that the main villain is a boy from a not very prosperous family... but is his mother really that bad, and is the average child in a similar situation really capable of being so evil? All this seems unobvious or deliberately omitted by the authors: counting on the emotional shock that the viewer must experience.
Another point that caught my eye: the “light forces” in the film are represented by a local Norwegian family (whites), while the antiheroes are visitors (migrants), and single-parent families. This is hardly a coincidence, but the likely ethnic conflict that is present in the film is not disclosed by the director at all, as is the way of life of each of the three families that are shown here.
As a result, the film, despite its individual merits, does not look very solid. It largely manipulates the emotions of the audience. It is possible to experience the shock watching it, but not everyone will be able to take out something positive for themselves and remain in memory.
NT Live: Henry V website English actor and star of the series "Game of Thrones", Kit Harington plays Henry V in a contemporary production based on Shakespeare's tragedy of the same name.
The play by National Theater, filmed opens on 25th February 2022. It is taking place at the recently refurbished Donmar Theatre, housed in an old warehouse in London's Covent Garden.
Max Webster, who recently directed "Life of Pi" for the West End, is the director.
In one of his interviews Kit said: “Henry V is the role I have always dreamed of playing, and Donmar is the stage I could only dream of playing. This is the role of a complex and ambiguous leader. Max Webster is a fantastic director... I'm honored to be a part of Donmar's return". As I mentioned earlier, Harington is best known as Jon Snow on the television series "Game of Thrones" He has already been seen in the realm of "fantastic leadership". As Henry V, he explores "modern political power and the psychology behind it", how it strengthens or not and what it means to have a privileged white man running a country that is much more diverse than that.
Of course, unification is also a topic that is highly relevant to Henry V.
This remarkable production explores the corrupting influence of power and leadership in times of crisis.
Donmar's artistic director, Michael Longhurst has scheduled a resumption of a season of performances exploring the role of the individual in society.
Film : Elvis Director: Baz Lurhmann Main Writer: Baz Lurhman Designer: Catherine Martin Style : Musical drama Staring : Austin Butler Tom Hanks Olivia Delonge Melbourne Release. : June 23, 2022 Country : For Warner Brothers. Entirely shot in Australia with supporting Australian actors. Reviewer : Sherry Westley
This looks like a big Christmas Trifle of a film. A number of story threads woven together in a luscious visual palette with a sensual central performance. Wonderful Baz Lurhmann and Catherine Martin theatrics again!
But at the same time, it is skilfully and sensitively grounded by the subtleties in the performances of the American actors, Austin Butler as Elvis and Tom Hanks as his manager Colonel Parker. We are fully drawn into the complications and dramatic effects of their duplicitous relationship. A human tragedy unfolding beneath the glitz and glamour. This is the dramatic thread that holds us through the film. And yes, Austin Butler’s performance as Elvis places him in the major star category. He sings some of the earlier Elvis songs extremely convincingly.
Elvis’s musical and to some extent social roots in Negro culture, are a thread Lurhmann weaves in, including vignettes of the black struggles for equality and the murders of Dr Martin Luther King and John F. Kennedy. Again though, with emphasis on some exceptionally good Negro singing and visuals.
Another thread is the fear in white society of the expression of such explicit sensuality in Elvis’s movements. Vulgar and degrading, or is “the spirit in him”? Is his mother right? “ The way you sing it is God given, so there can’t be any harm in it.’’
It is true that the film’s’ opening scenes are somewhat raucous and scattered. But that soon settles down into a showy but involving story.
Amongst the Australian supporting cast, watch out for well known actors such as Richard Roxburgh ,David Wenham and Anthony La Paglia.
The film was entirely shot and produced on the Gold Coast, Australia. As I consciously watched the lengthy credits roll to the end, I reflected that it appears to take a small city to raise a film! A boost for our film industry thanks to Baz Lurhmann, the Australian Government’s Producer Offset,the Queensland Government through Screen Queensland and the City of Gold Coasts’ Screen, Arts and Culture Programs. I really enjoyed seeing the names of all these Australians the film had employed.
Has the young Elvis really left the building? No way, thanks to Baz Luhrmann, Austin Butler and an army of Aussie creatives, technos and others.
Definitely worth seeing.
THE 2022 MORO SPANISH FILM FESTIVAL: OFFICIAL COMPETITION website review by Alexander Montgomery
The 2022 Moro Spanish Film Festival for the Australian Premiere of the movie ‘Official Competition’.
It is a fact that we all have our favourites and I dare say that the 2022 Moro Spanish film festival for the Australian Premiere of the film ‘Official Competition’ was this one event that I had dreamt of attending. Firstly, it was the Spanish film festival (I love everything Spanish) and secondly, the film stars none other than the gorgeous Antonio Banderas, the stunning Penelope Cruz, and the heavenly Oscar Martinez!
The evening launch of the opening night reception was nothing short of a star-studded event. I had photos taken on the red carpet and revelled in delightful complimentary drinks. All of this while being entertained by live performances!
In a nutshell, and without giving too much away, ‘Official Competition’ stars José Luis Gómez who plays Humberto.
Humberto is an 80-year-old multi-millionaire who decidedly decides to leave his heritage behind by producing a film. What he thought was to likely eventuate to be his highly successful work of art in show business - his ultimate legacy to the world, instead unravels into a disastrous spiral of nothingness with the set director in the movie being accosted by an internationally acclaimed, world-famous cast members with egos as huge as the universe!
A comedic and entertaining film superbly produced by acclaimed directors Mariano Cohn and Gastón Duprat, multitude of fans to the all-powerful cast would be eager and will enjoy the performances of their favourite actors in ‘Official Competition’ which screens for 2 hours. Penelope Cruz plays the temperamental director (Lola Cuevas), Antonio Banderas (Félix Rivero) plays a playboy, and Oscar Martinez (Iván Torres), as Antonio’s rival.
Overall, I award this spectacular event a 9/10. I also award the film ‘Official Competition’ a solid 9/10!
The main heroine, who recently lost her husband, is trying to return to normal life.
She moves to a quiet English town to take a break from the whole world. There, surrounded by tranquility of counrty life she expects to come to her senses and start a new. She rties to hide from men in particular.
Suddenly something sinister from the forests nearby begins to haunt the woman . It does not let her forget about her grief and frightening her more and more each time.
Her husband, died under strange circumstances. Harper is not particularly grieving. Just before the tragic event, he severely beat her.
She either imagines, or not, a naked stranger emerging against the backdrop of idyllic landscapes. There are also completely real men, but this does not make it easier, because all of them, whether a policeman or a priest, are patented bastards.
The director and screenwriter of MEN is Alex Garland, the creator of such masterpiecesas "Ex Machina" and "Annihilation" and "Judge Dredd", "Don't Let Me Go". He also wrote the screenplays for the frankly great The Beach, Inferno, and 28 Days Later.
Garland's name in the credits meant one thing to me: it definitely will not be simple and corny.
For example, according to the conceptual author's idea, all male characters are played by the same brilliant actor, Rory Kinnear.
Every Garland project is an event not to be missed, and the beautiful and creepy MEN is the most anticipated horror movie you will watch of June, if not in whole winter.
The film will screen in cinemas from June 16.
Producers include Andrew McDonald (Far from the Madding Crowd), Allon Rich and Cahal Bannon. Cinematographer Robert Hardy is responsible for the visuals, Jake Roberts is responsible for editing, and the duet of Geoff Barrow (Gunfight) and Ben Salisbury is responsible for the musical accompaniment. The artists were Mark Digby and Lisa Duncan. The film's cast includes Jessie Buckley (Spy Games, Ms. Bad Behavior, Judy), Rory Kinnear (Imitation Game, Dance From Here!), Paapa Essieda (Anna Boleyn), Sonoya Mizuno (Beauty and the Beast, La La Land ), as well as Gail Rankin, Zach Rothera-Oxley, Sarah Twomey and other foreign artists.