Feeling the care and attention from his parents, the young guy whose name is Adam of Serbian origin from an early age got everything he wanted. He is deciding to link his own fate with ballroom dancing. Surrendering to the rhythm of all souls, the boy quickly settles into the professional world, winning several important tournaments, earning himself the name of a talented and aspiring dancer. The film takes place in Serbia in 1999.
Adams communicates well with his dance female partner. But trying to find a middle ground between studies and hobbies, he hardly finds time for his personal life. He suddenly meets with the guy whose name is Cole (his dancing partner's older brother) and this meeting turns out to be fateful for him.
Love literally blows Adam's mind. He has an incredible passion for Cole. A passionate and unexpected romance starts between them, which lasts only a day. However, the day turns out to be the most unpredictable and stormy in the lives of these two guys.
This sudden love forces them to come face to face with the complexities of their personalities, desires, and the troubled world around them. As the clock ticks on, they must come to terms with the reality that their time together is fleeting and that their newfound connection may be forever out of reach... Feeling sympathy from the newly-made friend, Adam does everything possible for their relationship to grow into something more, trying not to notice how the life he had built was crumbling, because the teen's inner circle met Cole with a cold welcome.
This is a story that shows that sometimes love comes when you don't expect it at all. That's just how to understand whether this is really love, or maybe it's just a passion that overwhelms a person and makes him do very crazy things? Who knows...
Shazam is a 2023 American superhero film based on the DC Comics character Shazam. Produced by New Line Cinema, DC Studios, the Safran Company, and distributed by Warner Bros. Pictures, it is the sequel to Shazam! (2019) and the 12th installment in the DC Extended Universe (DCEU). It is directed by David F. Sandberg and written by Henry Gayden and Chris Morgan, and stars Zachary Levi, Asher Angel, Jack Dylan Grazer, Rachel Zegler, Adam Brody, Ross Butler, Meagan Good, Lucy Liu, Djimon Hounsou and Helen Mirren.
Buckle in for a crazy ride, where Billy Batson and his foster siblings fight the Daughters of Atlas. This film has a fun tone and multiple action-packed sequences. This film had me grinning so much, my jawline hurt!
The sequel is set to explore his leadership and growth as the leader of the Shazam family.
Bestowed with the powers of the gods, Billy Batson and his fellow foster kids are still learning how to manage and govern teenage life with their adult superhero alter egos.
A surprisingly unique circumstance arises where three sisters return to earth seeking revenge, justice and redemption! This trio of ancient gods give you a twist of humour, surprise and entertainment!
The fate of the world lies with Billy Batson and his adopted siblings! His identity crisis and desperation to keep his family together ultimately leads to mistakes, loss of power and a sequence of unfortunate events ! Time is ticking and the fate of humanity lies on a group of teenagers still navigating their somewhat normal teenage lives ! I absolutely loved the film and think it’s a fun, light hearted comedy suitable for all ages and personalities. The final scene absolutely had me gobsmacked !
Not often do I walk out of a movie that hits me as heavily as ‘Living’ ! Nostalgic, clever and a spellbinding combination of human connection and furthermore the power of small gestures of kindness.
Living really shines light on individuals who have lived life in the same reality, in the same headspace and followed all the same rules all their life. Bill Nighy gives a nuanced and heartrending performance which moved me to tears.
Living is the story of an ordinary man, reduced by years of oppressive office routine to a shadow existence, who at the eleventh hour makes a delightful effort to turn his boring life into something beautiful and worth remembering.
The year is set in 1950s London where a humourless civil servant decides to take time off work to see the world outside his office after receiving a grim and terminal diagnosis.
A beautifully subdued and modest testament to the major life lesson Rodney Williams belatedly learns. The simple gesture of giving, turns out to be the best part of living !
Aimee Lou Wood is a classic favourite, but she absolutely played this role so sublimely that it appeared effortless! This film opens up the questions; are we allowed to want more in life ? Are we selfish for wanting a new career ? Is being a father enough ? When can we press pause and reevaluate our life’s ?
Such an incredible film with tickles of humour and heavy lessons on how best to live a life when time is running out! This film dives deep into the complexities of existence , purpose and life appreciation.
When loud applause was heard in Venice at the end credits of "Pearl", the bodies of those killed in "X" had not yet cooled down. The prince of underground nightmares Ti West tied his fate with the studio A24. This, as you know, is a direct ticket to people for scarecrows. Coquettishly and in an atmosphere of secrecy (which only adds to the charm of the project), after the filming of the seventies slasher, the hard work began on a prequel about the youth of a fierce old woman, whom evil fate prepared for a company of filmmakers of the erotic genre. Ti West rewinds the calendar to World War I to reveal how Pearl grew, while Mia Goth tweaks the script.
The husband (Alistair Sewell) writes letters in the mud of the trenches, Pearl rehearses her dance steps in the barn in front of the barnyard. German migrants in the States are waiting for news from the newspapers - the prim mother Ruth (Tandy Wright) does not want to read about dead compatriots before dinner, while her daughter is desperately waiting for the end of the war. Farmers devote all their time and energy to the land and caring for their father-husband (Matthew Sunderland), who is confined to a wheelchair. The alluring world of the stage and the magic of cinema are a sweet pill for gray everyday life: one day Pearl will become a star! In the meantime, you have to grit your teeth, endure the reproaches of a disciplined mother, swallow your father's morphine and feed the alligator (un)successfully caught under the pitchfork goose.
Pearl names domestic animals, which include the reptile in the lake, after the stars of the “great mute”: the toothy girlfriend got the name of the artist Theda Bara, who played Cleopatra in the film of the same name. Pearl is content with rare miracles of escapism: you can run away to a session, steal your mother's old dress and soar in the clouds, rereading the messages of your spouse. But one day, Mitzi's sister-in-law (Emma Jenkins-Purro) offers to audition for a dance group with the prospect of a Christmas tour: the gap between expectations and reality can either disappear or open right under your feet.
Those who watched "X" know what kind of retirement Pearl is destined for: a spectacular postscript and an inglorious end become the happy start of Maxine's solo career. The last girl is waiting for another exit in the closing chapter of the trilogy about cinema, sex and violence. Mia Goth played both, or rather, three: Maxine, the naive Pearl and Pearl, who for years looked failure straight in the eye. But for what: a beautiful gesture? A nod to the boundless talent of the actress? A doppelganger nightmare come to life? Or a cinematic illusion?
We will return to the parallels later, but for now let's try to look at the tape in isolation from its predecessor. If we subtract the “X” events from “Pearl” in the general equation, then what remains is a bizarrely beautiful horror biopic about a failed artist, almost like “The Seagull” by Anton Chekhov in the Technicolor color palette. Masterful stylist Ti West makes the warmth of MGM family musicals sizzle, pumping the tales of the Wizard of Oz through the veins of Tobe Hooper's blood. Pearl - Dorothy, who was not carried away from Kansas by a hurricane, the scarecrow did not come to life, and the animals did not speak heart to heart with the hostess. The farmer's daughter did not receive the coveted shoes, a dose of adventure, and most importantly, real friends. West rhymes the Spanish flu and the covid pandemic, in bright colors and dances collecting a canvas about the horrors of isolation and the lack of sane communication. A disliked daughter with an inability to empathize seeks a return in illusory glory - compensation for recognition in the unconditional adoration of the crowd. Mia Goth enjoys the role in the same way that Pearl relishes violence: consistently, accurately and with all her heart. The heroine instantly entered the pop culture fund of charming villains with a second bottom (country Joker! Maniac from the Overlook Hotel!): look for girls in a red ruffle dress during the upcoming Halloween in bars around the world.
But let's get back from the outfits to the nudity of "X": Ti West stirs up old films on the editing table to feel the wind of change and the weight of the boulders of tradition. The interval between the youth of Pearl and Maxine is about 60 years - 60 years of the 20th century with wars, revolutions, emancipation and the development of film language. The eras cascade and cancel each other, and then become a source of nostalgia: sexual liberation, which Pearl could hardly dream of, became a reality for Maxine, as well as a career contrary to her parents' word. Pearl suffers in the conservative and stuffy arms of her mother: Ruth even considers dancing in a church ensemble to be a sin, while Maxine broke off relations with the sect family (the preacher from the TV screen talks about the escape in the very finale of “X”).
In the mirror fates one face is reflected: the same oval, the blush of the cheeks and plump lips. With literally the same initial external data, talents are surrounded by completely different social conditions, but similar patterns of behavior. Ti West resorts to the mysterious category of the X-factor: Maxine is all around saying that he is, and Pearl - that the young lady did not get the “pearl”. And in both cases, the fate and career of women are danced by men: that very MacGuffin of talent is nothing more than a private opinion, someone else's projection, a fair label. Lovers (pimp Maxine and projectionist at Pearl) open the doors to the world of the porn industry for young ladies and promise a sky in diamonds.
The general start is crowned with a different finish of the race to popularity. The era, despite the bloody revolt, leaves Pearl in the trap of patriarchal dependence: either the projectionist will take him to shoot banned films in Europe, or the director of amateur performances will take him to the ensemble, or the husband will forgive everything and remain with his wife in sickness and health. You have to be content with what you have: boiled corn for dinner and a cold (literally in the finale) family. In the epilogue, Pearl shows the consequences of any martial law: the desire not to go forward, but to roll back, in times of prosperity (bad relatives are better than having no relatives at all). The frenzy and rebellion of the 70s more loudly propagate a break with the past, a change in the paradigm of consciousness and unfamiliar horizons. Two horror films of different stylistic cuts give rise to a diptych of the fate of one person on different dates of the calendar: Pearl crashed against a glass ceiling, Maxine broke closed doors.
But metamorphosis is not displayed in the only true way. In a cyclic composition, Ti West confidently draws the lines of inevitable succession. Pearl in "X" unwittingly inherits her mother's fate and the condemnation of the younger generation, Mitzi's words "it will be our secret" become a passing banner from the 1910s to the 1970s, and Maxine, albeit ironically, copies Pearl's gestures. Any table can be covered with a genre tablecloth of repetitions: both feminist discourse, and the development of film language (how far are MGM musicals from Hooper and Giallo slashers?), and the limits of decency. It remains to be seen how Ti West sees the end of the saga and how the trauma of separation helps to become a star in an era of pop cultural generalizations.
A film about revealing the truth, devastation, injustice and racial discrimination felt by African Americans, more specifically Mamie Till-Mobley and her boy.
This film focus on the grim and unsettling reality of an African America living in Mississippi in 1855. This is the true and brutal story of Mamie Till-Mobley's relentless pursuit of justice for her 14-year-old son, Emmett Till, who was brutally lynched in 1955 while visiting his cousins in Mississippi.
In the summer of 1955 and at the age of only 14-year-old, Emmett Till had gone on vacation from Chicago to visit family in Money, Mississippi. His mother was hesitant and extremely concerned about his visit to Mississippi.
He was shopping at a store owned by Roy and Carolyn Bryant—and he whistled at Mrs. Bryant, a white woman. This is where the film gets incredibly disturbing and gut wrenching ! I actually found myself clenching my jaw to avoid the on flow of countless tears ! The authenticity of this movie is ground breaking.
The film accurately depicts the boy being kidnapped and the outcome of being kidnapped, beaten and shot in the head. I was incredibly surprised that they showed the body in its entirety. This was hard to watch but really shows people the pain, anguish and realism of the situation this mother had to face.
The murderers were eventually acquitted of the crime by an all-white jury. This very scenario really does shed light on the systemic racism in the Jim Crow-era South. Emmett Till's ghastly and horrific murder was effectively the impetus for the civil rights movement.
This film is a reminder of the universal power of a mother's ability to change the world. What a mother wouldn’t do for their son in times of desperation! Honestly, I’ve never been more emotional than I have in this film! Brilliantly heartbreaking and a true magnifying glass on the broken system a mother had to face.
Special mention to a powerhouse female actress, Mamie Till who is played by Danielle Deadwyler. Every emotion was real and uncomfortable to watch! She was absolutely phenomenal in her role! Goose bumps from start to end. A difficult movie to watch given how many intense themes are addressed but it is incredibly worth while watching this movie as a mark of respect to a woman who never gave up on seeking justice for her son !
Grace and I had a fantastic time at the press screening of “Champions” at the Village Cinemas.
The film is about a basketball coach that is sentenced to do community work by coaching a team of mentally disabled players. This American sports comedy, is the solo directional debut of Bobby Farelly from a screenplay by Mark Rizzo. Woody Harrelson stars as the temperamental, hard drinking, G-league coach, Marcus. He dreams of making the big time and is at first disappointed to being relegated to coaching mentally disabled players. This becomes somewhat of a coming of age film for him as the players gradually change him into becoming a better man.
Cheech Marin also stars in this movie in a role that is very different to the usual comedy ones we’ve grown accustomed to seeing him in. He plays Julio, the manager of the rec centre where our team, “The Friends” plays.
The films also has romance in it. Kaitlin Olsen plays Alex, the sister of one of the players and Marcus’s love interest. She too has a transformative experience, but I don’t want to give away any spoliers here.
The real stars of this movie are the mentally disabled players. They do an amazing job as actors and outshine the established stars.
This is a film that the whole family will love. There are a couple of black humour skits that might not be suitable for children, but aside from that, the whole movie is a feel good comedy that is unique.
The documentary tells about the struggle of the photographer, Nan Goldin with the infamous Sackler family, engaged in large pharmaceuticals.
She is also known for her work related to LGBT subcultures, intimate shots, and activism against the abuse of opioids known as "country heroin." After she herself had to go into rehab for an addiction caused by a drug she was taking for her wrist pain, Goldin created the "Prescription Addiction Intervention Now" campaign against the infamous Sackler family, owners of the pharmaceutical companies Purdue Pharma and Mundipharma, which manufacture, specifically the opioid drug OxyContin, which is said to have killed several people in the US.
All beauty and bloodshed” was part of the program of the 79th Venice Film Festival. The director previously won an Oscar in 2014 for the documentary Citizenfour: The Truth of Snowden.
First 2 weekends in March: 3, 4 and 5 and 10, 11 and 12 March TEN 2023 #Oscars NOMINATED short films (animations and live actions) ahead of the 95th #academyawards FULL LIST OF 2023 OSCAR® ANIMATED SHORTS An Ostrich Told Me the World is Fake and I Think I Believe It – Lachlan Pendragon, Australia Ice Merchants – João Gonzalez and Bruno Caetano, Portugal/France/UK My Year of Dicks – Sara Gunnarsdóttir and Pamela Ribon, USA The Flying Sailor – Amanda Forbis and Wendy Tilby, Canada The Boy, the Mole, the Fox and the Horse – Charlie Mackesy and Matthew Freud, UK / FULL LIST OF 2023 OSCAR® LIVE-ACTION SHORTS An Irish Goodbye – Tom Berkeley and Ross White, UK Ivalu – Anders Walter and Rebecca Pruzan, Denmark Le Pupille – Alice Rohrwacher, Italy Night Ride – Eirik Tveiten and Gaute Lid Larssen, Norway The Red Suitcase – Cyrus Neshvad, Luxembourg // Bonsai Filmshttps://www.bonsaifilms.com.au and https://www.youtube.com/watch?v=E_sWJNh4Zqk&t=7s
Review by Cassandra Van Zeyl
Ivalu – Anders Walter and Rebecca Pruzan, Denmark, 17 min.
Powerful, raw and insightful. Within the first minute of this short film, the audience is captivated and drawn in with the wonders of nature ! The raven flying over the icy landscape paired with the calm music really drew me in. The story follows a girl who is trying to find her sister Ivalu. The bird acts like a spirit guide whilst the girl tries to use the strong bond the sisters had to locate her sister inside her memories ! The memories become locations the sister could be hiding at. The transition between memory and present moments in this short film are very cleverly done. Quite an unsettling ending given the sister ran away from a harmful home environment where the father abused her. I think this film is highlighting the bond of sisterhood but also raising the awareness of domestic abuse and the effect it has on families in isolated areas. The use of videography really captures the beauty of nature in winter. Memories give humans strength and hope for a better tomorrow!
The Red Suitcase – Cyrus Neshvad, Luxembourg, 18 min
My stomach is in knots over the thought of a woman being sold! This was an emotional roller coaster ride from start to end. What an incredible and accurate representation of a woman in this boat. The actress really showcased the emotional, cultural and real life scenario many women face. How far will a family push a daughter ? Can a woman truly be free, with the choice to switch off from cultural responsibility and family expectation? This short film opens up a world of concerning issues in the modern day woman wanting their own identity, dreams and choice of husband! This is a fragile subject that should have more light shone on it! This sixteen year old teenager is sold to a man in exchange for visas into the county. With only a red suitcase, she decides to make a run for it, leaving her cultural identity behind in an attempt to live a life of her own, unfortunately having to disconnect from home and family. The last minute of the film is set on a billboard where a woman is smiling and showcasing perfume. The movie focuses on this image as a reminder that happiness comes after bold choices are made! Bravery will always be rewarded and sometimes happiness comes at a price.
My Fairy Troublemaker NEW website review by Cass Joy
Review by Cassandra Van Zeyl
Vibrant, unique and colourful ! What an adventure Violetta goes on whilst training to be an official tooth fairy. Cheeky, spontaneous & rather curious Violetta becomes lost in the human world whilst battling with her inability to conjure up toys and only violets !
Home becomes the priority as she teams up with the human girl Maxie who is 12 years old and discovers her true destiny and purpose.
Maxie is a country loving girl at heart who was devastated after leaving her home to move with her mother to the city home of her mother’s new partner, Amir.
What an incredible explosion of bright graphics paired with an upbeat soundtrack and a fun loving plot.
Violetta couldn’t pass the tooth fairy examination and decided to take matters into her own hands to prove her worth.
After stealing a gem from a pompous fairy called Yolando she realises that her tooth fairy skills haven’t improved. After getting stuck in the human world, Violetta meets Maxie and they struck a deal. If Maxie will help Violetta find her way back into the fairy world, Violetta will work her magic and help Maxie go back home to the country. Magic, friendship and destiny bring you this beautiful combination of themes and character development!
The kids will absolutely fall in love with this film as they anxiously await the conclusion of Maxie and Violettas adventure ! Will Violetta slowly transform into a flower? Can Maxie help her friend get home before time runs out? Will Maxie learn to love her new home ?
Dive into this fun filled animated film for all ages.
I absolutely loved every second of the movie. It has fantastic script and characters.
If you enjoyed watching Rocky with Sylvester Stallone who is an executive director of Creed III, you will Love this movie even more.
We all know that if there is a success, there is always a high price to pay. Nothing comes easy in life, not all dreams for all of us come true. Your friend might not be your true friend, but only pretending to be. Your enemy may not be your enemy, and life takes us to the most interesting and twisted ways, which are not always the Ways we have planned or hoped for.
Be vigilant and don’t be afraid of what is ahead of you. Never forget that you need that one special person in your life to mentor and lead you and be your supporter in troubles.
This movie is very emotional and it also picks up well on man’s health issues, self doubt, betrayal and th ways to overcome that.
We should never blame ourselves for others' wrong doing, we should be patient and should not turn our backs on people who love us.
As Cus D’Amato said: in boxing 90% is mental preparation and 10% is power and technics.
You will see a crushed course on life, success, poverty in this film, and how to get your mind set to achieving your goals.
I'd recoomend this film for all walks of life. I had watched it in one breath, and absolutely loved every minute of my experience.
FISHERMAN'S FRIENDS 2 NEW website review by Jeanette Russell Fisherman's friends is based on the true life story of an awe inspiring group of Cornish fisherman, who's journey encompasses a rise to fame to the UK top 10. They sing sea shanties which are traditional.
The next instalment, Fisherman's friends 2, is a lovely heartfelt story about the group of singers, who impressed us with the first film and are back again. After losing his father, lead singer Jim is not in a good way. He's feeling quite frustrated about replacing his Dad's role in the group and won't accept a new band member.
With the story roughly based on the Cornish band Fisherman's friends who became famous this second movie has some elements of truth in that the famous band made it to Clastonbury.
The film has some great humour, is quite light in parts, serious in others, and contains an interesting story line. In this picture is a newcomer and love interest for Jim , Aubrey is played by Imelda May. James Purefoy does an excellent job of enacting the strong willed, and at times stubborn Jim. The band have their ups and downs trying to release their second album. Maggie Steed portrays Jim's mother who eventually saves the day.
The music is engaging, throughout the film. The group also auditions to a live audience in a restaurant. who lap up their performance. Some breathtaking scenery is a backdrop to the film, set in the little fishing village in Cornwall, Port Isaac. Directed by Meg Leonard and Nick Moorcroft, I feel the movie is well worth watching. Leonard and Moorcroft wrote the story with Piers Ashworth. It's produced by James Spring and Distributed by Samuel Goldwyn Films. Thank you for the opportunity to review the movie..
Initially, I had strong skepticism about this film. The synopsis gave out a passable b-movie, which was confirmed by veteran cinematographer Ray Liotta but the spectacle of the trailer, the epic nature of the declared actions, and in the end, the bear stoned with cocaine convinced me. So it happened: cocaine transit suffers a violent fiasco! A huge amount of white powder does not go into the nostrils of vacationers, but is scattered throughout the surrounding forests. This blunder sounds very upsetting for the middle hand businessman, because our bigwig, (his old years let him down), sends a couple of assistants into the wilderness in order to collect the lost coca. Unfortunately, the pension businessman did not take into account the absurdity of the situation ...
Events are developing, frankly speaking, rapidly. If Cocaine Bear was limited only to the central characters, then a dull buddy movie would come out, where a raging clubfoot chases these Ray Liotta's henchmen. Luckily, the film is a solid comedy…bloody frenzy? for it cannot be attributed to horror, and the rating R is quite normal for the plot drive. A big plus is in the abundance of all sorts of freakish characters. The hero of the huckster David, who is fiercely similar to Ice Cub-a, especially delivers, and of course Ray Liotta himself, who, once again, proved that with many years of charisma, you can create the image of a bright gangster of not-the-first-grade.
The coolest thing is that this whole parade of curiosities, in the sense of people, completely harmoniously interact with each other. The characters are somewhat cliched, and a couple of children, and a park ranger, and a fat detective, and of course the above-mentioned Liotta, but it's all so bright and easy that as soon as blood forms on the screen, and it immediately pours over the edge, you squeal in "admiration". Seriously, the frantic violence in the film is not stinted absolutely, there is a lot of it, and it is quite "juicy".
The Bear also works as a kind of meme, although he is completely generated on a computer, but delivers no worse than people squealing and running from him. From which the conclusion follows: Cocaine Bear is a 100% comedy of black humor where there is everything that industry geeks love so much: blood, trash, idiocy on serious cabbage soup, grotesque, and a certain "happy end".
So be sure to take your time, the movie is ok to watch.
NTL: THE CRUCIBLE NEW website review by Nishtha Chand
I’ve watched many plays throughout the years but nothing quite like the Crucible live production. The characters did an exceptional job at portraying the scenes, mood, atmosphere, tone and voice of the Salem Witch Trials in such a contemporary time. The theatre was packed and the audience was highly engaged with the play making the experience even better, the storyline and script was perfectly directed to grasp the attention and humour of this generation. Overall, the production team did a great job with props, transitions, clarity and of course their performance and I am looking forward to following their journey and hopefully attending another awesome play!
WOMEN TALKING NEW website review by Sherry Westley
Women Talking Review Film: Women Talking Genre: Drama Release: Australia 16th Feb. 2023 Director: Sarah Polley Screenplay: Sarah Polley Reviewer: Sherry Westley
The film is based on a book by ex Mennonite writer Miriam Toews. In turn the book was inspired by actual events at a Mennonite community in Bolivia, between 2005 and 2011.
I found this film gut wrenching in parts, but totally absorbing. Initially I struggled with adjusting my modern Australian viewpoint to the perspectives of a traditional Mennonite community. “But where are the good men?” I silently objected. They were there, but operating on their own specific Mennonite tenants of forgiveness, pacifism and community.
“Women Talking” can be seen as a discussion of the nature of forgiveness, viewed from both a Christian and human behavioural perspective.
It is basically a discussion between women representatives of a Mennonite community, which has experienced the rape of about 100 women and girls aged 3 to 69 years.The rapists have been arrested and the men of the community have gone to town to try to secure their release and return them to the community. The women have been given two days to forgive the rapists and accept them back.
The women argue between leaving the community, or staying and fighting. Staying and doing nothing is soon discarded as an option.
Females are not schooled, so they neither read, write or speak the language of the wider community.They are helped by August, the community’s male school teacher, who has been out of the community and to University. I was left at the end of the film, wanting to know more about August. A gentle, sympathetic, but possibly broken man.
The film is mostly shot in a barn, in dark, sepia like colours. Violence is not depicted at all, “just” the aftermath of it, still confronting. After the women make their decision, the music and shots are rousing, hopeful. For me, this is where the part fiction becomes obvious. I wished them luck, but was not convinced of the reality of either the decision, or the hopeful future.
Having now thought a lot about the film, I’d actually like to see it again to better pick up on the detail of the arguments. But it’s not a film everyone will enjoy.
13-year-old boys Leo and Remy move to a new school. They have always been very close, but classmates find such a relationship strange. Due to pressure from their side, Leo began to move away from his friend. Remy's mother tries to reconcile friends.
The film deserves a relatively high rating, but also causes a number of undoubted claims and questions. It has the main advantage in external pictorial brightness and a well-chosen key idea. There are far fewer films about friendship than about love, although it would seem that this topic is almost as important and interesting. This shortcoming is to be blamed on the notorious left-wing sexual revolution of the cultural Marxists, which led to an excessive insanity in the field of sexual relations, in comparison with which other aspects of life were depreciated.
Unfortunately, the director and co-writer, Lucas Dont, does not manage a good idea and quality shooting in the best way. He deserved a nomination and an award at the Cannes Film Festival, it is quite possible to assume that other films presented there are much more boring. But this does not justify how weak L. Dont is. This is especially true for the script. The characters' responses are insectified to the very last possible primitiveness. There is nowhere else to fall. Used meditative, God forgive me, the prevailing style. Exactly nothing happens, all the characters are a set of zeros. The Lord of the Rings, Lucas Dont did not bother to put anything into the heroes. Did he want to show by this the ordinary ordinariness of family and school life, or was he simply not able to come up with anything - who knows? We have what we have for any background. Where have you seen older brothers like that? Impossibly false, reminiscent of the false templates of mediocre films, say, about a zombie apocalypse. Where, in the original peaceful idyll, the families are so friendly and loving that it is already sickening.
the blissful-paradise world order is collapsing here. Even in a short synopsis for the film, it is this one meager thought that turns out to be the main one in Lucas Dont. The emphasis shifts from the history of friendship to its semantic sexualization. Apparently, a weak screenwriter, but the director seems to be not bad.
In real friendship stories, of course, this is not the case. Tragic breakups do not happen because someone has looked at good friends the wrong way or said the wrong thing about their closeness. It's like with an indispensable broken heart in any love story - it's not the heterophobes who are to blame. Everyone who has such an experience of friendship knows this. Therefore, one has to regret that L. Dont abruptly breaks his main winning theme of friendship already towards the middle and switches to the theme of guilt, suffering, experiences. The dramatic technique of L. Dont can be called classically Shakespearean. And therefore there is no doubt, it works, passions are pumped up to the ceiling. But wouldn't it be better to unwind the topic of the gap deeper, as it usually happens in reality, and not in Shakespeare.
The second part is even more silent, consisting of panting and interjections. The viewer is waiting for what will be the consequences of what happened and therefore watching the film is by no means boring. But I would like to see an even more successful masterpiece with 8-9-10 points, and not 7. Among Russian writers, as is one who is well known, V. P. Krapivin coped best with the image of friendship. He also has quite convincing, brilliant, psychologically justified breaks in former strong attachments that evoke such empathy. But in the cinema, this topic is unlucky; friendship is not interesting in cinematography.
KNOCK AT THE CABIN website review by Cassandra Joy
A calm and ominous opening scene leads into a very intense,unexpected and rather curious ending! Knock at the Cabin is a 2023 American apocalyptic psychological horror film written and directed by the talented M. Night Shyamalan.
Knock at the Cabin adapts a 2018 novel by Paul Tremblay, The Cabin at the End of the World. The film stars Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Kristen Cui, Abby Quinn and Rupert Grint. In the film, a family of three are vacationing at a remote cabin. Soon after, this family is suddenly held hostage by four strangers, who demand they sacrifice one of their own to avert the apocalypse. Making an unthinkable choice to avert an apocalypse is almost a laughable concept at first until sacrifices start happening. Time is running out to decide the fate of the world. Limited access to the outside world causes confusion, agitation and fear ! Doomsday cult or the last stand against what could be the end of the world! The longer the family takes to decide who has to die, the more tragedies will befall the Earth, including tsunamis, earthquakes, plagues and unspeakable tragedies.
What is real ? Which truth will save the world ?
Their deadly seriousness and conviction gives credibility to the four strangers' claims, and most importantly, makes the family doubt their own beliefs on what is real.
Are the four weapon-wielding psychos claiming the world is going to end right ?
Certainly a different take on a doomsday film and one to make you think about impossible choices. Enjoyable from start to end !
Spoiler Alert is one of those rare films that captures the raw, unsettling footage of terminal illness and the avalanche of emotions that follows.
Isn’t love meant to conquer all ? What happened to happily ever after ?
This love story will have you in tears, gripping your fists, wishing you didn’t know the ending when unfortunately given its title ; the audience knew what would inevitably unfold.
Spoiler Alert is an American romantic drama film starring Jim Parsons and Ben Aldridge as two lovers in a same sex relationship exploring the highs and lows of life. What’s hard to swallow is that it's a true story directed by Michael Showalter.
Parsons plays Ausiello, and Aldrige plays his lover Kit Cowan who ultimately struggles through the pain of terminal cancer whilst battling with his own demons and regrets. The hardship is felt when watching him repair the damage to a once perfect relationship.
Beautiful and achingly honest ! This relatable love story reminds us of the importance of communication, honesty and acceptance! This film sheds light on how incredibly important memories, moments and spending time with loved ones is!
MET OPERA: THE HOURS website review by Cassandra Joy
Spellbinding, emotional and enlightening! Opera can be so incredibly powerful and present emotions in a truly unique way. ‘The Hours’ has a truly remarkable and renowned storyline but this version, through opera, is groundbreaking and successful as a stand alone performance. The overlapping of storytelling is remarkable and perhaps only successful because it’s integrated through opera resulting in an understanding of all voices harmoniously singing together. This version of ‘The Hours’ is honestly written for those individuals who haven’t seen the book or movie which is an achievement in itself!
‘The Hours’ is a 2022 sensational opera in two acts with captivating music by Kevin Puts and an English-language libretto by Greg Pierce. This opera is famously based on Michael Cunningham's 1998 novel and its 2002 film adaptation, both with the same title.
‘The Hours’ is a powerful story involving three women from different eras who each grapple with their inner demons and their roles in society. You as an audience are left curious and questioning if it is better to live your life for your own happiness or others. Powerful themes, emotional scenes and phenomenal vocals! ‘The Hours’ had a three-part structure. The three distinct worlds and eras sit side by side before eventually combining in a perfect combination of emotion. I agree wholeheartedly with Paul Cremo that “The great thing that opera can do is simultaneity,”. This opera was able to have three people in three different decades singing onstage at the same time. ‘The Hours’ performance has persevered and risen above various musical and dramatic challenges.
You Can Go Now is the documentary that had to be made!
Grace and I were lucky enough to be invited to the media screening of the new documentary, “You Can Go Now” at Cinema Nova on Tues 17th January. The film promoted as being about first nations artist, Richard Bell and his career, but it is so much more.
Richard is described as being an attention seeker, activist and artist … in that order. The movie takes us across Richard’s life from an impoverished living as a child to walking the world stage as a creative and Aboriginal activist.
This on its own would have been more than enough justification to make the film. The reason I said that this is the documentary that had to be made is because it also covers the native struggle and includes many events such as the Canberra tent embassy and Black Panther inspired programs to feed and educate the young.
Many Australians are not well versed in Aussie history, outside of stories of Captain Cook and Bushrangers. When it comes to documentaries about Black struggle, many of us have seen American offerings that cover their civil war through to the Watts riots right up until today. Even for those that haven’t looked at educational sources would have seen quite a bit in American tv shows and movies. The fight for rights here though is just not well known.
Rather than give a detailed, blow by blow description of Richard’s career, or the various milestones covered, I would simply suggest that you see this movie. Words are not going to give you the emotive experience that you get when you see footage the oppression and injustice. I I can talk about seeing Richard's childhood shack bulldozed but you do need to see the footage.
To better understand, you need to see the highs and lows, and to hear it in the words of those who were there. Don’t worry about the movie being a downer though because there is so much humour in it that it is well balanced. “You Can Go Now” is being launched on Australia Day, or if you like … Invasion Day!
A cultivating, raw and emotionally engaging perspective on the life of an obese human being. There were multiple jaw clenching scenes, creating a mixture of sadness, uncomfortableness and tears. The audience are shown an authentic reality of severe obesity, abandonment and complications involving same sex relationships. Watching this movie gave me physical chills! Brendan Fraser's comeback was absolutely phenomenal with him delivering a captivating performance as Charlie, the reclusive English teacher who is tortured by his failings as a father and left facing the physical dilemma he caused himself. Charlie seeks redemption whilst accepting death is knocking on the door. His love and devotion as a father are questioned harshly by his daughter. Navigating the severity of obesity opens up old wounds, hurting his self worth, confidence and sending him down a spiral of negativity and insecurity. His only salvation is to be truly understood and to walk towards the light of truth. This is world class acting and a movie that I will truly never forget! Not often does a movie reach a variety of emotions all in one sitting.
M3GAN is a 2022 American science fiction horror film directed by Gerard Johnstone, written by Akela Cooper. This film had a very rare and unique combination of comedy, horror and clever artificial intelligence sequences. Starring Allison Williams and Violet McGraw, with Amie Donald physically portraying M3GAN and Jenna Davis voicing the character. Jenna Davis brings an especially warm and joyous vocalization to M3GAN, making her sound both lighthearted and somehow sinister. Megans character is brought to life by the incredible combination of puppetry, animatronics, and visual effects. Cooper and James Wan create a plot that follows an eponymous artificially intelligent doll who develops self-awareness and becomes hostile to anyone who comes between her and her human companion. Megan is designed by Gemma, a passionate roboticist. M3GAN is created with various roles including role of friend, teacher, playmate and protector. Megan can listen, watch and learn but at a faster rate than expected. When Gemma becomes the unexpected caretaker of her 8-year-old niece due to a tragic accident involving her sister, she decides to give the girl a M3GAN prototype. This decision at first seems like the resolution to loneliness but ultimately leads to unimaginable consequences.
I bеliеvе it is all about that "imperfect past tеnsе"...
With girlish diligence and the diligence of a debutant, Frances O'Connor recreated the world of vanishing Georgian England. With what incredible care, "wavy strand to curl", she turned the faces of modern actors into faces vaguely familiar from the canvases of Hogarth and Zoffany. She made up the landscapes of Turner and Constable with thе paints, as if diluted with milk. If green, then it is the color of an unripe olive; if white, then it is baked milk; if scarlet, then it is faded raspberry; if blue, then it is powdered plum dust; and if gray, then it is light mouse.... Everything is modest, hublе and faded - this is the good taste of England at the beginning of the 19th century.
With such care, the director does not hide: her picture is not a biopic at all. The biography of Emily Bronte is extremely lapidary. Little is known about her. Most of the facts of her life are just versions. The director does not pay attention to those that are installed more or less accurately. She does not shoot a biography of a writer, the author of one novel and several poems, who died in her youth. She made a picture of how the Future is knocking on the door of the Present. That's what all those details of life, faces and light are needed for. After all, this is the end of the Georgian era. It is already on the threshold of the Victorian, which will bring with it the industrial, social and cultural revolutions. How does it happen? Who are the conductors through whom change powerfully declares itself? Why a little-known country priest family from some seedy English hole gave the world two writers who defined fashion in the most important city in the world at that time - in London. And in addition to them - a failed artist, a rebel without a reason?
These questions will not be answered. Nobody knows him at all. "Emily" is just a reminder that all theories, futurological forecasts and prophecies of clairvoyants are tinsel in front of that indistinct, incomprehensible, tormenting call that makes you create contrary to the rules, contrary to everyday interests. A film about what is strange does not mean dangerous. That opium or rum, "expanding consciousness," lead to the abyss. That intuition, fantasy, loyalty to the inner sense of style and duty - this is the voice of the Cosmos, which will determine fashion and rules.
How the father of three girls and one boy, a village priest, got stuck in routine and habit, how the inhabitants of the Yorkshire hinterland spend their unique and inimitable lives like a blueprint in the usual wheel of everyday life of not the richest area, how the new vicar appointed to this wilderness is ready to pull the strap of the way of life William Westman is one side of the picture. On the other, the asocial (as they would say now) actions of the girl Emily. Fantasies, dreams, the first samples of alcohol, participation in pranks and tricks of the brother (the word "performance" was not yet known) - the second medal. There is no reason for such behavior that provokes a good tonе. Yes, and in the nature of Emily there is no passion for revolutionism, unlike her brother but you cannot hide the seal of chosenness, of guidance. With the most exemplary behavior, the girl receives the reputation of "Strange". Happiness and torment to live on this edge, hearing the voice of the future, surrounded by the past - that's about this movie.
Emily will largely destroy her ideas about female sexuality, sensuality, and freedom of relationships with her novel Wuthering Heights. How? Are the researchers surprised? How did she know about it? After all, she never got married. No one has heard of her novels. Abracadabra rulеs hеrе. Novels were, but secret. She is asexual. She is a secret lesbian. She had an incestuous affair with her brother. The director did not join this disgraceful club of lovers to discuss events in other people's beds. Her version is Emily's affair with a young vicar. With the same set of joys of meetings and torments from the realization of sinfulness. With the intention to break up and the impossibility of doing so. With undelivered letters. With sudden departures. with fatal deaths. It's funny: the line of a secret, enticing desire to change the world, to hurry up Tomorrow, is drawn by OConnor with a subtle tempo, when each episode, starting in a classic, measured way, gradually picks up pace to explode with a window thrown open by a thunderstorm, a pouring downpour, the appearance in a dream of the one you are waiting for but you are afraid. But the love story is drawn exactly according to the canons of a girl's diary. With fear, hopes, suspicions, dreams. The romantic line in the picture turned out to be too earthy, understandable, girlishly capricious.
This is how the film turned out. With fine ornamentation, the secret course of a great story, and a line of earthly love. Sometimes refined, sometimes overly sensual, sometimes wise, sometimes extremely naive. A girlish film about the world of a writer who put a rather noticeable block into the foundation of this world. Stylistically, everything matched.