Displaying items by tag: Edie Falco

AVATAR: FIRE AND ASH

US, 2025, 197 minutes, Colour.

Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Oona Chaplin, Kate Winslet, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Brendan Cowell, Jemaine Clement, Giovanni Ribisi, David Thewless, Britain Dalton, Jack Champion.

Directed by James Cameron.

The third Avatar fantasy and science-fiction adventure from James Cameron. It is, in fact, 16 years since the first Avatar film was released with great success. Then a 13 year wait for Avatar: The Way of Water. Only three years wait this time. And, Cameron has noted that although sequels are in preparation, his making them will depend on how this film is received. There is no doubt of its popularity and success at the box office – but, along with critical comment and popular reactions, will this be enough?

In the meantime, here we are again in Pandora, out in the galaxies, beautiful floating islands, homes in the forests, mountains, cliffs, crags and oceans, huge creatures swooping in the air, exhilarating transport for humans, marvellous giant beasts of the sea with consciousness, communication – and the background of a creation mythology. Audiences who relished all this in the first films will appreciate it once again, especially since this is how this film begins, the fantasy, rather than focus on the Sky People, the humans who had journeyed here with their vast laboratories, scientific equipment, boats and weapons.

Many of the responses to Fire and Ash have stated that, in many ways, most ways?, is a replay of the previous films, the establishing of the families and tribes, the dangers from the humans, the relentless human expansion, clashes between the tribes, the buildup to the final battles. And, this is quite true. But, there are many audiences who are willing to surrender themselves to this kind of repeat experience.

Once again Sam Worthington and Zoe Saldana play the parents, the leaders of the Navi tribe, their children, especially Loach, still suffering the loss of his brother and feeling responsible for his death, his bonding with his brothers and sisters, and with the children from the local tribes. But there is a change in the family, the presence of the human, Spyder, teenager, needing a mask to breethe, but welcomed into the family except for the severity of the virulent hostility from the mother, loathing humans. In fact, Spyder is the son of the former soldier, Quaritch, who, like Jake, has been transformed.

The presence of Spyder, his welcome in the family, his father searching and wanting him back, provides much of the drama at the centre of this film, leading to the issue of whether Spyder be sacrificed for the safety of the tribes (echoes of the biblical story of Abraham and the sacrifice of Isaac).

But, this time there is another warrior tribe, led by one of the most savage female leaders, absolutely relentless. And she teaming up with Quaritch to wreak vengeance.

And the expected battles: the confrontation between Jake Sully and Quaritch. And, of course, at great length, intensity and spectacle, the Navi’s long and spectacular battle with the humans.

There is one complaint, true of the other films. Much of the dialogue is quite commonplace, often trite, and, with Spyder, the kind of quick American slang that would appear in the bubble a cartoon panel.

So, for the fans, more of the same but with some variations as a new characters like Spyder and barre. It runs for 3 ¼ hours but, with continuous action, it keeps up its pace. And the question raised: can there be still more created stories out there in Pandora?

1. The third in the series? The popularity of the films? Box office records? The work of imagination and James Cameron?
2. Recreation of the world of Pandora, the visuals of space, the beauty of the floating islands, the colonies for the various tribes, homes, cliffs and rocks, the sea, rivers? The contrast with the scientific base, the scientific equipment, elaborate, the controls? The space vehicles? The ships? The creatures, flying, the giant creatures in the sea? The range of special effects, especially for the confrontations, the battles, the rescues, the attacks, the deaths? In the background of the musical score?
3. Presuppositions from the earlier films, the range of characters, Jake Sully, his human background, becoming part of the tribe, the romance, his wife, the children in the family life? His being hero, his wife and her prejudice against the humans? Quaritch, human, transformed, his son, his warrior behaviour, his death, revived? The general and her command, the Captain Scoresby on his boat, the scientists and their demands, the warriors, the humans and their scientific advances, the havoc on Earth, potential havoc for space? The development of these themes again?
4. The previous emphasis on the science and the expedition from Earth? This film taking it for granted, opening with Pandora, its beauty, peace, the islands in space, the homes, the family? The audience invited to enter the world of fantasy rather than science and science fiction?
5. The repeat of the situations, humans as Sky People and their attack on the Navi? The life of the Navi, the relationship with the other tribes? The buildup to the confrontation between the tribes, and the clash with the humans?
6. Jake Sully, established character, his leadership? The death of his son, the blaming of the younger son? The younger son and his friends from the other tribes? Spyder and his being the son of Quaritch, received by the Navi, wearing a mask, the hostility of the mother?
7. The revelation of the warlike tribe, the leader, visualised, fierce, merciless? Teaming with Quaritch? His associate?” Marriage and his love for his son, wanting with him? Spyder’s response? Spyder and the experience without the mask, the daughter, her special powers, her representing the God, his revival?
8. The focus on the family relationships, the dangers, the threats, the role of the young son, relationship with his father, clashes, reconciliation, his role in the final battles?
9. The mythical aspects, Kiri and origins, the visual manifestations, the flying creatures, the creatures and the sea, communicating with them, their communications, life? These beasts the target of the humans?
10. The range of battles, their being visualised, in the air? The humans and their weapons and vehicles? The herding of the sea beasts?
11. Focus on the humans, the general and her attitude, commands? The captain of the ship, his mission? Dr Garvan, sympathetic, his helping Jake Sully? The contrast with Selfridge and his wanting to get Spyder and study him?
12. The buildup to the confrontations, Varang and her fierceness, her role in the battles, the final defeat?
13. The issue with Spyder, Jake and his decisions, his wife, agreeing, changing her mind, seeing Spyder saving Jake’s life, Jake taking him out, echoes of the Abraham story and the sacrifice of Isaac, his inability to kill? Leading to the confrontation with Quaritch and his falling into the abyss?
14. Peace among the tribes, Jake as leader, the defeat of the humans – abandon ship? The future, peace in Pandora? The role of the humans?
15. And the success of sequels depending on the commercial success of this third in the franchise?

THE ADDICTION

US, 1995, 82 minutes, Black-and-white.

Lili Taylor, Christopher Walken, Annabella Sciorra, Edie Falco, Paul Calderon, Katherine Erbe, Michael Imperioli, Robert W. Castle.

Directed by Abel Ferrara.

The Addiction is a significant film in the career of Abel Ferrara. In independent filmmaker, eccentric, Catholic background and frequent Catholic themes, an addict himself.

After small budget violent films, he was recognised in the 1980s as a significant film maker. And, especially during the 90s, with such well-received films, Bad Lt, The Funeral as well as The Addiction, he was able to make some studio films as well is to continue on his own way.

He also drew on several actors in many films including Christopher Walken and Harvey Keitel.

This short feature, filmed in black and white, goes to the New York streets, to the University, to hospitals. It focuses on a young woman played by Lili Taylor, studying philosophy, an encounter with a vampire, played by Anna biller surer, and transformed into a dark vampire, then praying and transforming others, erratic behaviour, sexual, stealing, preying on people in the streets.

She encounters reforming vampire, played by Christopher Walken, who takes her in, tries to help her, getting her to read William Burroughs’ The Naked Lunch, helping her to get her PhD.

However, in the celebratory party, with many guests, she lets loose, transforming the party into a kind of vampire blood orgy. But then, she wanders the streets, goes to a hospital, a visit by a priest for the last sacraments and The attic.

Finally, she visits her own grave, and the question whether she has been redeemed or continue to be part of the living dead.

1. The title, expectations? Abel Ferrara and his own addictions? His life, memories, possibilities for change and redemption?
2. The effect of black-and-white photography, New York City, the University, the streets, the dark world, academia, the party, the hospital? The musical score?
3. Vampire films, the traditions? Transferred to the United States? The LOI ready, blood, the living dead, biting and killing? Possibilities for overcoming the condition? The range of characters that arise here?
4. The religious themes, Ferrara and his Catholic background, evil, sin, repentance, redemption? And the priest visiting Kathleen in hospital?
5. Kathleen, her age, studies, her thesis, the encounter with Casanova, her being transformed? In the dark, needing blind, HIV fears in the 1990s, the hospital, her anaemia?
6. Her changing character, the sexual approach to her Prof, stealing his wallet, Jean noticing, her attack on Jean, the attack on the young woman and her weeping, Kathleen asserting her indifference? The encounter with Black, the blood? Gene talking to her about guilt?
7. The encounter with Pena, his history as a vampire, trying to overcome his condition? Taking care of Kathleen, her reading William Burroughs The Naked Lunch?
8. Defending her thesis, the award, the party afterwards, the guests, the transformations into vampires, and all G of blood?
9. Kathleen, regrets, walking the streets, in hospital, life and death, the priest visiting her with Communion?
10. Her visiting her grave, the meaning of her life – and the quotation: self-revelation is annihilation of self?

THE PARENTING

US, 2025, 94 minutes, Colour.

Nik Dodani, Brandon Flynn, Brian Cox, Edie Falco, Lisa Kudrow, Dean Norris, Vivian Bang, Parker Posey.

Directed by Craig Johnson.

It might seem strange to begin a review of filma  that looks to be focusing on family, The Parenting, with an alert to potential audiences.

Those who take cinema very seriously may be attracted by the significant names of cast members, Brian Cox, Edie Falco, Lisa Kudrow, Parker Posey. But, if they began to watch, they would soon be wondering what they were watching – and why the strong cast actually said yes to be in the film.

Audiences who  enjoy offbeat and broad comedies with touches of horror as well as innuendo, will be entertained with no intellectual demands made on them! In fact, the writer of the film, Ken Sublette, has written almost 300 episodes of sketches for Saturday Night Live, as well as several special episodes.

While there is a linear plot, the main effect of this film is, as with comics sketches, short episodes, some working, some working less well, but one after the other to make the effect.

There is a mysterious parenting prologue to the film, 1983, a family with difficulties, some mysterious supernatural goings-on and the family trapped and their house becoming a haunted house.

40 years on, an estate agent, played by Parker Posey in a tantalising style, rents the house. The first occupants are a young gay couple with intentions of proposing. They invite their parents to join them. And, there later joined by a great friend.

On the one hand, this is a comedy which takes gay characters and relationships seriously (even with quite a number of jokes on them), focuses on the response of the parent generation, but quite a lot of tangles. The couple is played by Nik Dodani and Brandon Flynn. But the interesting casting is that of the parents, the very serious-minded Brian Cox and Edie Falco, the happy-go-lucky parents, Lisa Kudrow and Dean Norris. In fact, the two sets of parents rather dominate rather than the couple.

Then the haunting starts, revelations about Parker Posey and books for raising the dead, the key to raising a ghost being the Wi-Fi password! And, the various parents are asked to caricature stereotypes – and even more demands, testing dignity, a of Brire made of Brian Cox.

Plenty of farce, supernatural and ghost raising themes (and the ghost is certainly not a parent), many audiences enjoying the rollicking tone and others may be questioning why they are watching what might be called politely, “absurd”.