Displaying items by tag: Nick Robinson

TURN ME ON

US, 2024, 99 minutes, Colour.

Bel Powley, Nick Robinson, Griffin Newman, Justin H. Min, Nesta Cooper, Julia Shiplett, Patti Harrison.

Directed by Michael Tyberski.

Two Academy Is a film for young adult audience, raising contemporary issues in something of her science fiction/fantasy context. But, the screenplay raises quite a number of key questions, especially about human freedom and decisions, that a significant for older audiences.

The screenplay posits a society where medication controls emotions. Life in the community, where people are often asked whether they are content, is something like a cult experience.

But, what if someone decided to disobey the, exercise freedom, defy the authority, and not take the medication, what would the consequences be.

The two central characters are played by Nick Robinson, in popular dramas like catalogue, Simon and Jurassic Park films, with British Bel Powley. The strange experience of having emotions leads her to persuade William and other friends to experiment with her.

The consequences for emotions, sexual experience, are presented in the context of the discovery of freedom and lack of experience as to how to handle this freedom.

So, what will be the consequences for the central couple, when William not take his medication, what about the others? What about the founder of the community and the defiance of authority?

One of the deeper philosophical/theological issues that the film raises is that of human freedom and how important it is, and not being controlled by authority beyond oneself. On the other hand, over the centuries, the experience of tragedies has often raised the issue of why God doesn’t intervene. The theological answer is that God graces us with our freedom – and having to cope with the consequences of the exercise of human freedom as well as the evolution of nature and sometimes disastrous consequences.

The screenplay for this film opts for human freedom, human choice, and not the imposition and intervention of a higher authority.

1. The title, the tone, the activated? The contrast with the narrative of the medication turning people down?
2. The setting, the community, like a University College, the apartment blocks? The exteriors, park and garden? The visit to the seashore? The interiors, the rooms, workplaces, meeting rooms, corridors? The musical score and atmosphere? And the insertion of popular songs and classical music?
3. Science-fiction? Futuristic story?
4. The basic premise, a controlling management, Our Friends? Recruiting, appealing to people who were depressed, needed some kind of hope? The Institute, the medication, suppressing emotions, suppressing memories, people becoming automatons, the tone of the greeting, “Are you content?”. The nature of this contentment, impassive?
5. Couples put together, companions, no sexual attraction or activity? Cohabiting? The routines of getting up, the taking of the tablets daily? Going to work? The monotony of the work, the irony of Joy and her name?
6. The opening, the television presentation, the founder and his encouragement? Later in the film, his television appeal, Joy listening? The other member of the staff seen, the doctor and explaining to Joy that she had cancer? Not to take the tablet? For a day? The later visit from the supervisor, the interrogation, to and fro, the indication that the scenario had been a test for Joy, that she had past, the invitation for her to become part of the management, her skill with people, her discovery of enjoyment, the television programs, comfort and freedom?
7. William, with Joy, appointed as partner, cohabiting but no real emotion? The meeting with Frank and Michelle, newly appointed to the core group, Christopher and Samantha, his leadership? The nature of the meetings?
8. Joy, not taking the tablet, the effect on her feelings, psychology, looking in the mirror, the prospect of cancer, her beginning to smile, to laugh, going to work, opening the boxes, discovering the rings? The talking with William, persuading him to not to take the tablet? His reluctance, his agreement? The consequences for him, smiling, coming alive?
9. The discovery of their freedom, exercise of free will, the friendship, the love, the sexual attraction, the experimentation, “the Sinking”, the consequences for the relationship? Shared enjoyment?
10. At the meetings, the other couples, the discussions, the possibility of them all not taking the tablets, the consequences? Emotions, love, lust, sexual reactions, Christopher with Joy, William and his being hurt, reaction? Samantha and Michelle, the mutual attraction, the exclusion of Christopher? Frank, his bewilderment? Christopher accosting Joy, William seeing this, her reaction?
11. William, his being hurt, the description of the hurt and the physical and psychological consequences? His taking the tablet again? The reaction of the others, resuming the tablets, giving up their freedom? Security rather than risk?
12. The future for Joy, in the management, the reliance plan placed on her, separation from William, yet the truth, her love for him, going to see him, his not taking the tablet, the possibilities for a future, into the unknown, exercising free will, the escape through the building, out into the countryside, at the barrier on the shore?
13. The ending of the film, the option for freedom rather than control? For human living?

DAMSEL

US, 2024, 110 minutes, Colour.

Milly Bobby Brown, Ray Winstone, Angela Bassett, Robin Wright, Brooke Carter, Nick Robinson, voice of: Shoreh Agladashloo.

Directed by Juan Carlos Fresnadillo.

The title, Damsel, seems very straightforward. And it is in the establishing of life in the kingdom:  there are two sisters, the older sister, Elodie, played by Milly Bobby Brown (Stranger Things, Enola Holmes) parents played by an interesting combination, Ray Winstone and Angela Bassett. But, there are difficult times and father has arranged marriage with a Prince in a prosperous realm.

However, the title is misleading insofar as Elodie is never a damsel in distress though she does experience quite a deal of distress, especially in confronting a Dragon (voiced by Shoreh Agladashloo) but the point is that she is one of those heroines, think Princess Diana in Wonder Woman, or Furiousa…

Everything seems initially wonderful in the prosperous realm, especially a Prince Charming played by Nick Robinson and his mother played by Robin Wright. But, immediately after the wedding, the narrative shifts gear and we see that Emily is a sacrificial offering to the Dragon, as has happened with many a Princess before her.

So, moving into action, but frequently in the dark cave of the Dragon, Ellie confronts the Dragon, suffers the loss of her father and his repenting of trapping her in the situation, confrontation with the Prince, with his harridan mother, and a rescue by her own mother.

This is something of a mediaeval show in the royalty versus the Dragon genre, some have complained that it takes itself far too seriously and would have been more enjoyable with some touches of irony. Perhaps.

1. The popularity of Game of Thrones, television, films, Dragon and kingdom stories?
2. Mythical kingdoms, landscapes, valleys and mountains, cities, palaces, dragons’ lairs?
3. Costumes, decor, special effects, action? Musical score?
4. The prologue, damsels, the tradition for distress and rescue, not this kind of film?
5. The king and his soldiers, approaching the mountain, the confrontation with the Dragon, the flames, consumed? The later flashbacks and the explanation of the killing of the Dragon’s children, the death of the king? Motivation for revenge on the descendants of the king?
6. Centuries later…? Introduction to Lord Bayford and his family, the two daughters, his wife, stepmother? The bonds? Characters? Famine, in need, the negotiations, the voyage to the Kingdom of Aurea?
7. Queen Isabelle, Prince Henry, the court, the planned marriage, the pomp and circumstance? Yet the stepmother and her wariness? Lord Bayford and his reticence? Two sisters, joyful, and D and her meeting with the prince, his tour, friendly? The prospects?
8. The wedding, the cutting of the hands of the bonding of blood (and the later information that the Dragon would suspect the smell of the blood and the princesses have been the daughters of the kingdom)? The brusqueness of the behaviour, throwing Elodie into the abyss?
9. Elodie, her personality, strength of character, the impact of the betrayal, injuries, the voice of the Dragon, the continued threats, vengeance, the pursuit, the flames, the corridors of rock, her taking refuge, her being burnt, leg injuries, but the finding of the glow worms and their healing, providing light? The taunting of the dragon? The hallucination of the other victims? The names carved on the rock, carving her name? The maps, taking stock of where she was? Energy, courage, the hook for the crystals, climbing the crystals, the dragon confronting, her fall? Leaping over the cousins, literal cliffhanging? In the sunlight, the vast cliff, seeing the men and the horses? The writing the horse, escaping, the Dragon and the horse on fire?
10. Her father and the men, coming to her rescue, calling out her name, the eventual confrontation by the Dragon, catching the man and flying and killing, confronting Lord Bayford? His plea?
11. Elodie and her witnessing everything, keeping silent, coming to her father, his apology, her for giving him? His urging her to take the rope?
12. The confrontation with the Dragon, the sword in the eye, tempting the fire and leaping aside and its rebounding on the Dragon? The possibility for killing the dragon? Not killing the Dragon, the conversation, the explanation of the deception by the Queen for the victims? The dragon and the motivation? Letting the dragon live?
13. Queen Isabelle, her reaction, taking the little sister, throwing her over the cliff, the reaction of Prince Henry, his appeal?
14. Elodie, finding her stepmother, wounded, the return to confront the Queen, the altercation, the dragon arriving, eliminating the enemies with Fire?
15. The sisters reunited with their stepmother, sailing home, a feisty warrior?