Displaying items by tag: Glen Powell

THE SUPER MARIO GALAXY MOVIE

US/France/Japan, 2026, 98 minutes, Colour.

Voices of: Chris Pratt, Charlie Day, Donald Glover, Brie Larson, Benny Safdie, Kevin Michael Richardson, Keegan-Michael Key, AnyaTaylor-Joy, Jack Black, Luis Guzman, Issa Rae, Glen Powell.

Directed by Aaron Horvath, Michael Jelenic, Pierre Leduc.

For 40 years the Super Mario Bros and entertained generations all around the world. They are identified with Nintendo and computer and video games. There was a live-action feature in the 1990s, not well received or reviewed, starring Bob Hoskins and John Leguizamo.

However, the games and the programs developed, with special appeal to younger players and audiences, and, as the years pass, happy memories of now adults and parents. 2023 saw the first feature length animated version of Super Mario action.

The present film serves as something of a movie icon worldwide with its immediate success on release, breaking records, audiences flocking to see it, millions of dollars.

One might say that the production is hyper-spectacular, the range of animation figures, humans, creatures, spacecraft, castles and builders, action in space.

While the two brothers, plumbers in their overalls, are ordinary characters, Mario forceful, Luigi of less effective, they are presented as ordinary heroes in extraordinary galaxy adventures and rescues. But, there is a strong female presence, especially in Princess Peach, definitely coming to the rescue. The three are voiced by Chris Pratt, Charlie Day and Anya Taylor-Joy. And, for so many of the multi-varied characters, a wonderful array of voices which adult audiences will be enjoying, Glenn Powell, Jack Black, Brie Larson…

And, while there are heroics, there is also the money, and ambitions for not only world power but Galaxy power. Ambitious Bowser at one stage says to his son, in Jack Black’s voice, “I want to stand on the ashes of the world…” (And, at the time of its release in early 2026, Donald Trump was offering similar sentiments about Iran.)

So, excitement for the younger audiences, experiencing it in the cinema, experiencing the big wide screen and heightened sound, an invitation to come to the cinema more often. Extraordinary the way that animation films have developed over recent decades.

But, adults accompanying the children might find that this one is more than enough for them, Super Mario comedy and drama all over the galaxies.

HOW TO MAKE A KILLING

US, 2026, 105 minutes, Colour.

Glen Powell, Margaret Qualey, Jessica Henwick, Bill Camp, Ed Harris, Topher Grace, Zach Wood, Andrew Lukis.

Directed by John Patton Ford.

Quite a slick 21^st century American entertainment, the world of wealth, loss of wealth, ambitions, amoral, turning immoral, murder – murders.

And  a generally glossy affluent setting, some moderate hardships in New Jersey, the affluent world of New York. And, leading the cast is popular Glen Powell, several starring roles each years since his break out in Maverick, along with Margaret Qualley, an even more frequent screen presence in recent years.

This is a murder drama, a touch of the serious, a touch of the satiric, not intending to be a film for thoughtful reflection on ethical and moral issues – though, there is quite an unexpected twists towards the end which certainly gets the central character thinking.

In the final credits, there is an acknowledgement that this film was inspired by the 1949 British film, Kind Hearts and Coronets, and the novel on which was based. This was a film, certainly, from another era, effective serious/satiric British filmmaking, and the famous tour-de-force performance by Alec Guinness playing all those to be murdered by the ambitious central character.

The origins of How to make a Killing may be of little interest to the 21^st-century audience. However, those who remember and appreciated the original have the advantage of knowing what is going to happen. But, they will have the regrets that while there are victims here to be killed, they are played by a varied including Bill Camp, Topher Grace and, ultimately, Ed Harris.

So, the audience is invited to have sympathy for Glen Powell’s ability to bring grinning charm despite his ordinary upbringing even though he discovers he is heir to millions. He is Beckett Redfellow, his pregnant mother disowned by her wealthy father, having to go to work, and Beckett finishing up in a clothing store.

As a boy, he fell for the charms of the rather dominating Julia who grows up to be the dominating Margarette Qualey, false charms, ready to twist any man around her little finger. And she does.

The screenplay, remembering the original, has the whole story told in flashback, Beckett on death row, execution imminent, and the prison chaplain, a serious priest, asking the question and spending the whole film listening to Beckett’s interesting story and his murderous quest for his fortune – including quite the finale and the deathly confrontation with his grandfather.

The unexpected twist towards the end leads the story in a somewhat different direction.

An easy night out kind of entertainment.

1. The 21^st century American entertainment, ambiguous hero, romantic entanglements, ambition and greed, murders, the law?
2. The credit with the note about Kind Hearts and Coronets, 1949, inspiring this film?
3. Beckett Redfellow, his story, in death row, execution close, the arrival of the priest, prison chaplain, Beckett telling his story, the priest listening, his interventions, encouraging? The execution time, the prayer?
4. The flashbacks to the past, Mary, wealthy family, her dominating father, the attraction, the date, her pregnancy, the birth sequence, the father collapsing and dying? Her father confronting her, denunciation, cutting her off? Bringing up her baby, encouraging him, her hard work, Beckett as an adult, his life, prospects?
5. Explaining the issue of money, the family, the family tree, those between him and the fortune?
6. His mundane life, accommodation, his job, the clothing store, Julia arriving, the flashbacks to the flirtation in the past, her being dominating, his response? In the store, memories, announcing her engagement? His having to give up his job because of the owner and replacement? Going to the warehouse, working there, the beginning of his plan? The encounter with his uncle, sympathetic, giving him the job, privileges?
7. The first victim, playboy, extravagant, wild scenes, on the yacht, Beckett present, the plan, the rope, the anchor, his death?
8. The final sequence – and the repetition for each of the victims?
9. Noah, music and art, the gallery, the encounter with Beckett, the discussions, friendship, revelations, Noah and his death?
10. The FBI, the couple, the interrogations?
11. Stephen, money, swindles, religion, his following, his speeches, Beckett pretending to interview him, the boastful interview, the sword, the revelation, Stephen’s many enemies, the contrivance of his death?
12. The aunt, the adoptions, her charity, her personality, her teeth, the whitening, her death?
13. Julia, her continued appearances, dominating, charm and ruthlessness, her husband, his inefficiency, wealth, losing, her asking for the loan, the various visits to Beckett, seductive and tantalising, the ultimatum? The timing, blackmail, Beckett hurrying to the office, the encounter with Lyle, the confrontation, collapse, the FBI, the accusation, the evidence, the murder?
14. Ruth, her relationship with Noah, about to break it, the attraction to Beckett, him to her, her life, working in the garment industry, the outings with Beckett, his falling in love with her, the time together, the proposal, the plan for the engagement, the party, and their fashionable apartment?
15. Beckett, prospering, arrogant, wealth, lifestyle, the meetings of the wealthy board, his uncle, his uncle’s collapse and death?
16. His grandfather, personality, in the shadows, emerging, inviting Beckett to dinner, his dilemma about his engagement party, his arrival, the vast mansion, the meal, the discussions, the grandfather and his rifle, eating attacking his grandson, Beckett and his defence, firing the arrows, the death of his grandfather? His hurrying back to the party? Ruth and her waiting, her decision to walk out on Beckett?
17. The arrest, the irony of his being arrested for a murder he did not commit? Interrogation, the evidence, the trial, being found guilty? Julia, her testimony, talking of Beckett always loving her? Julia with the incriminating photos?
18. His finishing his narration for the priest, going to execution, the stay, Julia and her letter assisting him, her visit to the prison, the breakup, his desperation? Her deal, his signing away all his wealth to her?
19. The finale, the priest in the bar contemplating what he had heard, Beckett released, Ruth, meeting him, giving him the hair token of his mother which he often looked at, motivation, her driving away? Julia in the parking lot – and future, Beckett subservient to her?

THE RUNNING MAN

US, 2025, 134 minutes, Colour.

Glenn Powell, James Brolin, Colman Domingo, William H.Macy, Michael Cera, Emilia Jones, Lee Pace, James Frecheville, Sean Hayes.

Directed by Edgar Wright.

Stephen King, under his other name, Richard Bachmann, published the novel, The Running Man, in 1982. The film version was released in 1987, starring Arnold Schwarzenegger. This reviewer checked his review from 1987 and was surprised to find have the key elements from that period, political, media, violence, was so strong then. And, they are definitely to the fore in this version, almost 4 decades later.

It is hard to remember whether the television networks promoted such life-and-death hunts in those days – although, in 1988, the Truman Show was released, a more benign but nonetheless overarching intervention by television directors to control human stories. The other aspect of the novel and of the 1987 version was to refer to the hunts in terms of the Coliseum, gladiatorial combats, an avid audience relishing the possibilities for government sanctioned public deaths.

The bloodlust of audiences, rather sharpened by the variations on reality TV of the 21^st-century, is again to the fore. This time the target is Ben Richards, Glenn Powell reminding us that he is an attractive screen presence (emerging three years ago in Top Gun: Maverick, fighting tornadoes in Twisters, Romantic comedy in Anyone but You, and a charming Hit Man). Then his angry, fired for insubordination, desperate for finance for his sick daughter, auditioning to go into the Running Man Show, pursued by official and masked Hunters, getting bonuses for everyday of survival, million dollar reward if he survives 30 days.

A lot of action adventure, needless to say, risks, threats, narrow escapes, high-powered dangerous situations… And his eluding them all. Josh Brolin is severe as the network executive, controlling, dominant, until you are then further. And there is Colman Domingo as the television host, staring up the audience, showing clips of Ben and his survival as well as the pursuits.

Ben gets various amounts of help along the way, most eccentrically from a bizarre character played by Michael Sarah, pumping up the risks, magnifying the dangers.

At 2 ¼ hours, the film is very long, repetitive the pursuits and escapes, culminating in a perilous flight with a television soap Opera star as hostage.

On the one hand, action packed for the fans. On the other hand, a huge critique of this kind of gladiatorial reality show and its effect on its audience.

1. The title, the reality of Ben Richards being pursued, the television show, the network managers and controllers, the compere is, the Hunters, and the participation of the public, hounding the runner, helping him?
2. The perspective of Stephen King, his insights into this kind of world as early as the early 1980s, the film version of 1987, the development of this kind of media world and violence over the next four decades?
3. Action spectacular, the details of the chases, tensions, pressure, crowd watching in reality, in the studio, on the television screens, supporters, informers, the effect on Ben Richards?
4. Ben and his situation, his bosses, being fired, insubordination, anger, asking for money, his wife, his sick daughter? His motivation? The money and aid for the family? Going to the auditions, the range of tests, his helping the competitor falling? The team, the uniform, the other two members, the confident young man and his quickly being disposed of, the woman, at Las Vegas, defying the authorities, escaping, trapped and her death?
5. Dan Killian, manager of the network, his personality, seen on screen, his proposal to Ben, the money situation, his continued interventions, lucrative office, the bonuses? His ultimate intentions? The interventions, the Hunters, filming, the drones, the final plane ride and his control? The finale, the confrontation with the TV host, his defeat?
6. The TV host, the reality and the parody of the style of the host, taking sides, watching the sequences, staring up the audience, the progress of the hunt, the days passing? His ultimate stands, the confrontation with Dan Killian?
7. The various helpers along the way, the young man and his family, taking Ben into their home, his equipment, his pod cast, the information, driving the car? Morley, the past connections, the documentation, the authorities coming in killing him? Elton, eccentricity, his mother, the help, the challenges to the Hunters, the chases, the traps, tunnels? The vehicles on the escape, the crashes and pursuits?
8. Ben and the hotel, changing his identity, the cards, hair, moustache, disguises a priest? On the building, the pursuit, the sign, hanging, falling and crashing? The ultimate explosion?
9. The public, tracking him down, giving information, cheering him on?
10. The television show, the Americanos, Emilia, in the car, her believing the propaganda, then persuading her of the truth, the pursuit, the roadblocks, Ben being shrewd with Dan Killian’s intentions, his being led through, the plane, the pilots as Hunters, the unmasking of the previous competitor, the fights, the plane, potential crash? Emilia, helping, outside the plane, the parachute?
11. Ben, the images of his wife and child, the flashbacks, motivating him? Ultimate success?
12. A commercial and money world, Killian and his wanting Ben to have his own program, to be the TV Hunter?
13. The film offering a commentary on the contemporary world of power, the wielding of power, the media, the role of the individual, motivations, money, integrity?

TWISTERS

US, 2024, 117 minutes, Colour.

Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Brandon Perea, Maura Tierney, Harry Haddon-Paton, Sasha Lane, Darrell McCormack, David: Corenswet.

Directed by Isaac Lee Chung.

By a happy twist of fate, Twisters is an entertaining crowd-pleaser. Anyone who buys a ticket, keen to see tornadoes in action as well as the human efforts to chase and combat them, will find a multitude of twisters here. The special effects of the tornadoes themselves, the visuals of their destructive force, the ruins and aftermath, are quite spectacular. And the editing keeps the action running at a very brisk pace, often edge-of-the-seat adrenaline pumping.

1996, the original Twister was a holiday entertainment, much the expected theme, two experts, despite divorce proceedings, working together to chase the tornadoes. The director of that film, Jan de Bont, had not heard that there was to be this kind of sequel, making a comment that a sequel could only succeed if the tornadoes were bigger. The filmmakers this time have absolutely taken notice of that observation, not only are they bigger, there are many more of them.

But, the screenplay here places quite a lot of emphasis on the science – whether the audience understands the details of it or not. In fact, the film opens with a young enthusiast, Kate, Daisy Edgar-Jones, leading a team that hopes to release chemicals into the eye of the twister to dissipate its force. There are some scientific explanations. But, the experiment is a tragic failure, the deaths of several of the participants.

Then we go five years later. One of Kate’s former colleagues, Javi (Anthony Ramos) enlists her help with his experiments, placing tracking machines around the tornado in order to get a three-dimensional reading. Again, scientific explanations. By contrast, there is Tyler (a grinning Glen Powell more gung ho at first and he was in Top Gun Maverick), a so-called tornado wrangler, with his own team of scientists (who, In All clothes, do not look like it), and filming his exploits, taking tornado tourists out to witness the phenomena, and a British journalist joining. in

Obviously, there is going to be rivalry. And there is. However, there are some jaw-dropping sequences of the tornadoes and their force, extraordinary destruction and ruin with the challenge to Kate and Tyler and Javi as to whether they pursue their research or go to help people in distress. (And in the background there are themes of corporate exploitation of those whose homes of livelihoods have been destroyed.)

In fact, Kate retires from the chasing and goes home, her mother urging her to do more research, Tyler tracking her down and collaborating – after they go to rodeo, also a tornado victim. Already magazine articles are being headed “whirlwind romance”! At first it is a battle of the sexes, but very strong on equality between men and women, and then scientific collaboration. Actually, there are some sequences during the final credits when audiences are stampeding for the exits, which actually show further plot developments.

Twisters sets out to be an action-disaster holiday entertainment. It succeeds well.

1. The reality of tornadoes, twisters in the United States, the Southern States? The weather phenomena? The impact on towns and populations, on the countryside?
2. The 1996 film and its popularity? Continued films on twisters? This sequel, many more tornadoes, much more devastation, much more scientific speculation, tornado wrangling, tornado tourism, experiments to understand tornadoes, physics and chemistry?
3. The film in the disaster movie tradition? Action, adventure, characters, crises?
4. The opening, Kate and her team, the scientific background, their personalities and interactions, the dangers of the tornado, the attempt to release the chemicals, winds, vehicles overturned, characters blown away? Kate and her relationship with Jeb, the driver, saving her under the bridge, his being blown away?
5. Five years later, Kate New York, her work, observation of storms? Javi and his visit, his story, the Army, experiments, technology to observe twisters, three dimensions? His sympathy, his participation in the early experiment and surviving? Asking Kate to come for a week?
6. Kate, meeting Javi’s team, professional, academic backgrounds, Scott and his hostility to her, his criticisms of her? The connection with developers and the later consequences? The chasing of the tornadoes, Kate and her expertise, the encounter with Tyler, rivalries, her missing out and Javi’s response?
7. Tyler, tornado wrangler, big grin, cowboy, his team, vehicles, theyir not looking scientific, their passengers for tourism, the risks of the dares, the British journalist, observation, anxious (bounced around, later sick, his seatbelt)? The audience later realising that they were scientific and skilled despite appearances?
8. The tornado sequences, the dangers, the twisting, the air, the wind, blasting vehicles, the placing of the machines for the three-dimensional picture?
9. Kate, her background in the state, Tyler underestimating her, the later going to the rodeo? The awareness of the towns in danger, the decisions to go to help, the visuals of the twister attacking the towns, the people, the aftermath? The businessman and his exploiting the survivors, allegedly with financial help? Kate and a sense of disillusionment with Javi and his team?
10. The destruction of the rodeo, the audience enjoying it, Tyler and his saying he used to ride the bulls, the wind, trying to rescue people, the movie theatre, survival, Tyler holding onto his associate? Kate going out, the experiment with the chemicals? Their rescuing her?
11. Kate, distance from her mother, going home, settling in, her equipment, the model village, her looking at her notes? Tyler tracking her down, interest, explanations? Her mother inviting Tyler to stay? Their working together, working out the chemicals, rain precipitation, lessening the impact of the twister?
12. The final opportunity, the tornadoes, going out, the battering, explosions, the dangers?
13. The final success, the release of the chemicals, lessening the impact of the twister?
14. Kate to get back to New York, Tyler the airport and his truck and its ability to dig into the ground and stay, the credits sequences and the photos, the clips, the development of the plot, working together, success, romance…?

HIT MAN

US, 2023, 115 minutes, Colour.

Glen Powell, Adria Arjona, Austin Amelio, Retta, Sanjay Rao, Molly Bernard, Evan Holtzman.

Directed by Richard Linklater.

With a direct title like Hit Man, we know what to expect. And, the expected happens, but, of course, with some differences.

This is a film by prolific filmmaker for more than 30 years, Richard Linklater, based in Austin, Texas usually, though this time in New Orleans. Linklater was able to explore relationships with his Before Trilogy, trace the development of a child to adolescence over 12 years in Childhood, and is always able to blend comedy with seriousness.

This time, in collaboration with his star, Glen Powell (emerging into prominence with Top Gun Maverick, Anything But You, Twisters), he has gone for offbeat comedy.

Powell is playing a character based on a real-life person (though Linklater emphasises that they have added the murders which didn’t happen in real life!). Gary teaches at the University, an academic who enjoys his work. However, he is also employed by the local police with their work in profiling as well as entrapment of a range of citizens who are searching to employ a hitman. He is open to change his persona, quite inventively, and an enjoyable collage of characters, men and women, old and young, rich and poor, make rendezvous meetings to hire him. Then the collage of them all being arrested, astounded, in prison.

But, this kind of story needs a femme fatale. She arrives in the form of Andrea Arjona, wanting to get rid of her obnoxious husband. Gary is in the character of Ron, tough, reliable hitman, but, he falls for her. Fans of crime writers may be on the alert, especially for film buffs, and though the work of James M.Cain and Raymond Chandler. Chandler adapted Cain’s novel, Double Indemnity, 1944, an archetypal story of the victim of the femme fatale.

This is all interestingly and entertainingly played out, scenes with the aggressive and jealous husband, a colleague of Gary who is not above some blackmail, some very pleasant police officers with integrity, and, then the death of the husband. Whodunnit?

Because of the complications when the wife he is the news of her husband’s death, when Gary has to unmask his hitman facade, will it be a happy ending?

That doesn’t happen in this kind of thing – but, spoiler alert, some unanticipated, surprising happy ever after!

1. The title? Expectations?
2. The New Orleans setting? Homes, police precincts, college? Clubs, the streets? The musical score?
3. The screenplay based on actual characters and events – but the screenplay adding the killings? Stability of the plot, the professor, schools in undercover work, consequences?
4. Gary, in class, the students, themes and studies? Is private life? His connection with the police? The set-ups, his skill in reading characters, the arrests?
5. The squad, setting up criminals, the variety of settings, the variety of characters, the collage of interviews, Gary and the various characters, the discussions, the entrapment? The consequences?
6. The squad, there were, confidence in Gary? Jasper, blowing his cover? Calling in Gary, setting up the character of Ron? Diffidence, his success, the performances, the affirmation? Jasper and his surliness?
7. The situation with Madison, his character, Ron, the meeting, listening to her, falling for her, her story? Giving her advice? The relationship? His cover? Do with her husband, the issue of divorce, his manic aggression, hatred for Madison?
8. The irony of his contacting Gary for a killer against Madison? The revelation? Jasper and his encounter, something of the situation, action, blackmail?
9. Madison falling in love with Ron, reaction to his being Gary? The death of her husband, Gary and his suspicions? The squad, the pressure on Gary to trap Madison? His going to the house, his double game, indicating answers for her, her getting away?
10. The epilogue, their being together, getting away with murder?
11. The blend of the serious and comic?

ANYONE ABOUT YOU

US, 2023, 103 minutes, Colour.

Sydney Sweeney, Glenn Powell, Gata. Alexandra Shipp, Hadley Robinson, Dermot Mulroney, Rachel Griffiths, Bryan Brown, Michelle Hurd, Charlee Fraser, Joe Davidson, Darren Barnett.

Directed by Will Gluck.

Romcoms! Their success depends on whether we want more romance or more comedy.

Shakespeare, over 400 years ago, offered a title, perhaps a definition: Much Ado about Nothing. (But he also offered a comedy of errors and stated that all’s well that ends well.) And, despite appearances and less than Shakespearian dialogue, Anyone but You is a contemporary, slight re-working of Much Ado, a Shakespeare quote to begin with and quotes turning up in all kinds of places to keep us on track.

Actually, Shakespeare had tried the basic plot but seems to have awarded the winner of the battle of the sexes with the less than equal macho title, The Taming of the Shrew. And there was a nine updated version called To Things I Hate about You, which it also serves as a title here.

It all starts in New York City and an amusing toilet-seeking disaster, one way of bringing Bea and Ben (as we remember Beatrice and Benedict of old) together, a quick bonding, then misunderstandings and hostility, or, rather, enmity. They are played with enthusiasm by Sidney Sweeney and Glenn Powell.

In fact, most of the action takes place in Sydney, all the characters are gathering for Bea’s sister, Halle and her wedding to Claudia. But Bea is something of a disappointment and her parents always intervening, making suggestions, wanting to control. So, in Sydney, multiple glossy appearances by the Harbour Bridge, the Opera House, the harbour and ferries – and a koala! And, heavens, there are Bryan Brown and Rachel Griffiths, he Claudia’s father, she Halle’s mother, with Gilbert Mulroney as her husband..

Writer-director, Will Gluck (comedies from Easy A to Peter Rabbit) tries to make the comedy broad enough for everyone (and does) but there are many jibes of antagonism hoping that this will be as you like it.

At one stage, a character remarks that something is “stupid but nice”. Yes, more or less.

1. Romantic comedy? American style? 2023? And action in Sydney? The Australian tone?
2. Based on Shakespeare, Much Ado about Nothing, the quotes and signs of themes throughout the film? Bea and Ben?
3. The introduction to Bea and Ben, Shakespearian expectations, New York in the 2020s? The situation, Bea and the toilet, at the counter, Ben and his intervention, smooth talking, their walking, going home, his cooking, chatting, the night, her stealing away, returning, overhearing Ben’s derogatory remarks, upset? Her contacting her sister and friends?
4. Six months later, the club, the party, the prospective marriage, Claudia and Halle, Halle as Bea’s sister, Peter and the connection, Bea and Ben meeting, immediate hostilities?
5. The marriage in Australia, the flight, the two on the plane, Bea getting the cake, tangled in the seat? At the airport, Peter driving? Taken to the mansion, Sydney’s northern beaches?
6. The insertion of location photography, the harbour bridge, the Opera house, the harbour, even the koala? Attraction for American tourists? But the difficulty of Beau, the rather dumb Australian hunk!
7. The introduction to Claudia’s family, her genial father, her mother, family relationships, Australian? The introduction to Bea and Halle’s parents, very American, concerned about their daughter, their ambitions, controlling and interfering, law, not certain, secretly withdrawing? Her relationship with Jonathan, the break, her parents inviting him to the wedding, his awkwardness, the parents pressure?
8. The sequences of tension between Bea and Ben, the taunts, the wisecracks, animosity? The plans to bring them together, Peter and Roger and their drama for Ben? Claudia and Halle for Bea? The couple realising what was being planned?
9. The decisions, to appear as a couple? Conversations, pretence and then back to reality? The expedition to the country, the koala, the spider in Ben’s pants, the naked episode? The contrivance about the sunglasses on the yacht, swimming out? Issues of swimming?
10. The portrait of the parents, the Australian laid-back, the interfering Americans? And Jonathan in the middle?
11. Margaret, the past relationship with Ben, her being with Beau, provocative, wanting to rekindle the friendship, the various interventions, her being cautious, kissing Ben and Bea seeing it and misinterpreting?
12. Beau, Australian slang, the shower sequence, uninhibited, sports, immoral not to go for the best wave to surf!
13. Preparations for the wedding, travelling to the boat, the party, the Titanic joke, Bea in the water, Ben diving in, the helicopter rescue?
14. The buying of the cake, returning home, the dog, the ribbon, the upset with the cake? The impact on Claudia and Halle?
15. The buildup to the wedding, Roger presiding, his words about love, the declarations? The celebrations?
16. Bea and Ben, getting closer, the kiss, the realisation, the night together, his sudden leaving, her misinterpretation? Hostility, leaving and going for a walk?
17. Ben, the promise of meeting at the Opera House, going into the water, the rescue, deliver to the Opera House, the various proposals, his proposing?
18. A happy ending all round, all’s well that ends well, Shakespearian ending, and many comedy of errors along the way, parents behaving well, the finale of a Romcom?