Displaying items by tag: Peter Malone's Movie Reviews

PLAYBOY OF THE WESTERN WORLD: NATIONAL THEATRE LIVE.

UK, 2026, 145 minutes, Colour.

Nicola Coughlan, Eanna Harwicke, Siobhan McSweeney, Declan, Conlan, Lorcan Cranitch.

Directed by Caitriona McLaughlin.

The film version of the celebrated play by John Millington Synge, first performed in Dublin in 1907.

For those interested in the background of the play, of the career of Synge, of the riots and antagonism towards the play on its first performance, subsequent attacks in Ireland and the US, there is a very detailed entry about the play in Wikipedia, well worth reading as background to the experience of the National Theatre Live interpretation.

The most important aspect of the play is the use of the rhythms, cadences, emphases, grammar complexities, particular vocabulary of the Irish-English. Those who are able to respond to it, there is constant delight and wonder in listening. On the other hand, looking at comments on some reviews, it is clear that it is too much for some audiences. But, it is essential for appreciating the Irishness.

As regards the plot itself, is very much a mirror to Ireland in olden days, an Ireland of the 19^th century and the early 20^th century, not immediately familiar to 21^st-century audiences but an opportunity to go back into the past. However, in its time, many considered it an insult to Ireland, Irish life and values, a critique, sometimes satiric, sometimes raucous, especially of Irish men, a blend of old faith, the hardships of the 19^th century, British rule, drinking, celebration, races…

And the title? At the centre is Christy Mahon, on the West Coast, single, younger, wandering for ten days thinking that in his bashing his father, he has killed him. And, little love lost between father and son. The first part of the play has him arriving at a rural pub in County Mayo, becoming infatuated with Pegeen, daughter of the owner, sdreving at the pub, and she is engaged to a rather simple, righteous young man who is continually quoting the church, reference to Father Reilly (not seen) and his influence on him and life in the village. There is a rather large supporting cast of men and women of the village, but especially a very lively widow who takes a shine to Christy Mahon.

In the second, shorter act, his father turns up with his wound, trying to track down his son, the son, now something of a hero, infatuated with Pegeen, her turning against him, the townspeople listening to the father and getting a rope to attack Christy. Romantic expectations are turned upside down and, at the end, there is a wailing lament by Pegeen.

The staging is interesting, the interior of the pub, but a backdrop of landscape and the actors able to move from one side to another describing a race that they are watching from a distance. And, with the backdrop, it can even rain. And, in the Irish vein, musicians and chorus move along the back, into the action and transforming the stage set, many of them covered with the historic mumming headgear. Irish atmosphere and some keening.

Nicola Coughlan (many episodes of Bridgerton and so lively in The Magic Faraway Tree) is a lively Pegeen. Eanna Hardwicke, sinister in The Sixth Commandment, confronting in Saipan, may appeal to some audiences with sympathy in his somewhat naive simplicity after the death of his father. On the other hand, some may consider his performance too eccentric, sometimes over the top. A very favourable comment on Declan Conlan as the drunk owner of the pub, one of the most persuasive stage performances of someone drunk.

Many favourable reviews exhorting audiences to appreciate the Irish English rhythms. A number of reviews who found the play eccentric, over the top, rushed and unsympathetic.

Since its first performance, Playboy of the Western world has been confronting.

DISCLOSURE DAY

US, 2026, 145 minutes, Colour.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo, Wyatt Russell, Elizabeth Marvel.

Directed by Stephen Spielberg.

The title, Disclosure Day, has the touch of the apocalyptic about it. And, when the focus is on alien visitors to earth, will it be a genial close encounter or will it be a continuation of the war of the worlds. Even, a variation on ET? So, a reminder that for almost 50 years, Steven Spielberg has been fascinated with the alien encounters. (And, a lot of the promotion of the film raises the issue of whether Spielberg actually believes in aliens and their visits.)

Most audiences will enjoy this film, especially the Spielberg fans over the decades, not only his encounters movies but also his action shows and the heritage of Indiana Jones. And, the screenplay here dwells a lot on mental communication which may remind audiences of Minority Report.

And, we remember the visiting alien theories, Roswell 1947, conspiracy theories… Enough ingredients here to foster all of this and the question as to whether the world is able to accept the aliens.

The two central characters, a science mathematical cyber-whizz played by Josh O’Connor and weather television personality in Kansas City played by Emily Blunt, seem to have special powers, and, her being pursued by governmental but sinister powers, led by Colin Firth, forgetting all his charming roles of the past and his proving an intense sinister presence. On the other hand, Colman Domingo, more genial, is leading forces to save those pursued and belief that there should be a disclosure day to the world.

The two leads give very strong performances, often bewildered by what has happened to them, the intensity of Colin Firth’s ability to bilocate and interrogate and threaten, continually on the move and, Spielberg reminds us that he can direct action sequences as well as anyone else. There are plenty of chases, especially cars, but there is a sequence at a railway crossing, the passing train, a car pushed into the path of the train a leap on to carriage rungs… a highlight of the film.

So, while there is a great deal of action, there is also a great deal to think about, whether we the audience believe that there are aliens, that they have visited earth, whatever their intentions, or whether this is all imagined and that there is no evidence. (There are some Catholic themes in the film, especially with a sympathetic nun, who when Genesis 1 is quoted points out that God created us to be masters on earth – no reference to space are other planets!)

The film goes for 2 ½ hours so plenty of entertainment, strong characters, strong interactions, intensity and suspense, action, and, testing our response when Disclosure Day eventually happens.

1. Steven Spielberg, close encounters, ET, War of the Worlds, telepathy and Minority Report? Almost 50 years? Conspiracies about aliens, government cover-ups, Spielberg’s own beliefs? Audience belief in aliens, encounters, government deception? The impact if the world knew about aliens? The importance of Disclosure Day?
2. The plausibility of the situation, the state of the world, the brink of World War III? The government and the Department, Wardex, Daniel, the extraterrestrial device and its power, the files and films, his intentions, expose, contact with Hugo? Daniel and his background, science and maths, cyber skills, time in jail, release, no escape and Scanlon’s over him? His escape?
3. Daniel, personality, past experience with the aliens, his skills, on the run, contact with Hugo, Noah pursuing him, Noah and his squads?
4. The character of Jane, her time in the convent, flashbacks with the nuns, and about the monsignor and their lives, her leaving, her faith, relationship with Daniel, pressing him, for him to reveal what was happening? Her returning to the convent, the nun, protective, the discussions, Catholic rituals, the book of Genesis, humans as lord of the earth, emphasis on earth rather than planets in space? Scanlon, his hold over Jane, entering into her personality, her erratic behaviour with Daniel? Her going back to the convent?
5. Margaret, television personality, the weather, relationship with Jackson? Ambitions, at the studio, the personnel, uses, director, hosts, make up…? Situation at home, her uncertainties, the effect of the past experience and her blocking it out? At home, Jackson’s reactions, late, speeding in the car, held up by the police, her knowledge of the policeman’s life, at the station, the hurry, the strange sounds in her delivery?
6. Noah Scanlon, age and experience, government, the cover up, the personalities of his staff? Tracking Daniel and wanting him back, the files? Tracking Margaret? His skills, undergoing the treatment, able to bilocate, present to Jane, the interviews with her, appearing and disappearing, the threats? His presence to Daniel? Margaret and the effect on him, the reappearance of his wife?
7. Margaret, personality, travelling with Jackson, evading him, her travels, a sense of where she should go? Jackson not believing her? The encounter with Daniel, the house, the car, the crash into the house, their fleeing, pursued, the train episode, on the rails, the leap onto the carriage?
8. Margaret and Daniel, Noah and his tracking them down, Margaret and her abilities to know people from the inside, using it, the rescue by Hugo and the whistleblower team, going back to Kansas City, the television station, a preparation for Disclosure Day?
9. Hugo and his relationship with Scanlon, the past, Hugo wanting disclosure, Scanlon wanting cover, fear of mass hysteria with the disclosure? And the work of engineering with the aliens, the films of the aliens, bodies, skeletons – showing them to Jane and her reaction? The audience sharing this? Issues of the device, its power, Casper holding it in the reaction, its being covered, the three devices?
10. Daniel and Margaret, going back into their past, Margaret and her experiences, as a child, the red birds, the influence, the transformation by the aliens, absorbing their powers?
11. The buildup to the confrontation, the buses, the trucks, the personnel, chases, pursuits, diversions? Shutting down power? The device restoring power?
12. The studio, the fights, the defeat of Scanlon’s troops, their withdrawal, Scanlon remaining to be present for the disclosure?
13. Disclosure Day, the host on the radio, the explanations, the visuals, Daniel uploading all the films? The huge bank of screens, the communication with various networks, the buildup to the whole world tapping into the information, every language, nation, the TV executives and their decisions?
14. Scandal watching, Hugo vindicated, Daniel and Margaret – and the final revelation of the alien, the appearance, head and make-up, kindly, communication – and the possibility of harmony between humans and the aliens?

TUNER

Canada/US, 2025, 107 minutes, Colour.

Leo Woodall, Dustin Hoffman, Havana Rose Liu, Tovah Feldshuh, Lior Raz, Jean Reno, Herbie Hancock.

Directed by Daniel Roher.

In fact, there are two piano tuners, first, the young Niki, and second, the older Harry, veteran musician and tutor. Niki is played by Leo Woodall. And, the pleasure of seeing Dustin Hoffman as Harry. His is a cameo role but, in the minds of the filmmakers, his cameo is really a homage to him and his career (and, at the hospital, when asked the details of his life, the birthdate given is Dustin Hoffman’s actual birthdate).

But, Tuner begins with the characters in quite some difficulties. Niki, a young talented musician with perfect pitch, suffers from hyperacusis, finding loud noises intolerable, his having two years of therapy to try to adjust his hearing, having to wear earplugs. But, he is an expert tuner. Harry is his mentor, an old friend of Niki’s father, but his difficulty is age, also he can be very cheeky to everyone, but hospitalised and finding that he has not been keeping up his insurance payments.

Which offers the setting for something of a thriller and, when Niki encounters Ruthie (Hayley Rose Liu), a highly determined musician and composer, working on her piano, and egged on by Harry, the film is also a pleasant romance.

When Niki encounters a group of security guards one night when he is tuning a piano at the house of a wealthy client, it turns out that he has a skill in hearing the sounds as he unlocks safes. Not too unpredictable to work out what is about to happen. Our sympathies are with Niki and with Harry and his wife Maria (Tovah Feldshuh). And sympathies also with the payoffs that the security guards who target the owners of the homes they guard, just stealing enough to not draw attention to what they are up to. But, course, it can’t last. Ambitious criminals hire lower criminals to do their dirty work and a buildup to some dramatic confrontations.

In the meantime, Ruthie is working, often desperately, on her composition, intense in rehearsals, yet falling in love with Niki, it’s all building up. of course, to a dramatic conclusion and, a twist of fate in bringing the safecracking to an unexpected/expected conclusion.

New York setting, sympathetic characters, the real Herbie Hancock turning up at Harry’s funeral, and quite a lot of music, popular and concert performance throughout the film for an enjoyable thriller/romance.

1. The two tuners? Niki, memories of his father, working with Harry, Harry his mentor? The scenes of piano tuning, the skills, the sounds of the piano as a whole?
2. The New York setting, apartments, wealthy homes, diners, the music school, the auditorium? The safes, the safe breaking? The Maestro, his office, his home, the future? Hospital, recovery, Niki’s final play?
3. Niki, his age, the past, musician, hyperacusis, the impact of noise, his two years’ therapy, his wearing of earplugs? His pitch perfect work on the pianos? Demonstrating it? Seeing him at work, thorough? The interaction with clients? The bond with Harry, at home, with Maria, at the bar, Harry urging him on with Ruthie? Harry, the collapse, the visits to the hospital? Trying to support Maria?
4. The encounter with Ruthie, student, composer, her ambitions, energy, skills? The piano tuning, interactions with Niki? At the bar, carrying her books, walking her home? Influence of Harry? The gradual bonding between them, conversations, the music, her composing, practice, open to be employed by the Maestro? Falling in love? The visits to Harry? The intensity of the relationship, the clash, Ruthie and the composition, Niki’s suggestions, the falling out, the actual recital, Maria present, Niki absent, success, the Maestro, the watch, her approaching Niki?
5. Harry, tribute to Dustin Hoffman, personality, the past, musician, tuner, his death, the gathering, actual Herbie Hancock present?
6. Niki, the encounter with the security guards, interactions, his hearing, able to open safes? Their employing him, his moral dilemma, the money for Maria, the collage of opening the safes, the boss and his associates, Benny and the dog? The money, banking it for Maria? The thieves and their taking smaller items, items the owners would not notice missing?
7. The Korean gang, employing the security guards, their getting Niki, his refusal, the violence and pressure, success, the uncle arriving, forcing Niki to swallow the code? The later able to revive the code? The violence? Benny shooting?
8. The staging of the recital, Ruthie’s skill, the musicians, the Maestro, meeting her?
9. Niki, the violence, the hospital, his running to the recital, late? The issue of the watch, discussions with the Maestro, Ruthie working for him, his going to the game, recovering the watch and giving it back?
10. His recovery, the effect on his hearing, having to Ruthie again, his performance, Tenderly, his achievement? The future? And his comment that E flat was out of tune?

GLENROTHAN

UK, 2025, 97 minutes, Colour.

Alan Cumming, Brian Cox, Shirley Henderson, Alexandra Shipp, Alexandra Wilkie.

Directed by Brian Cox.

Have you ever been to Scotland? Have you wanted to go to Scotland? In the meantime, the scenery in Glenrothan, beautiful all throughout this film, will have to be some compensation!

The setting is a country home and a distillery, run by a family for 200 years. The present manager is Sandy, the welcome presence of actor Brian Cox (who is also directed the film). Cox has portrayed some harsh characters on the big screen and the small screen, Hannibal Lecter in Manhunter, Logan Roy in Succession. But, this film gives him an opportunity to be more benign. He is getting old, unwell, and very conscious that his younger brother left Scotland for America 40 years earlier and has never been back. He wants a reconciliation.

The plotline can be considered fairly predictable, going back over the past, harsh experiences, alienation, but a longing for reconciliation. (Interestingly, a number of reviewers, expecting a tough Brian Cox have been rather dismissive of the plot, some calling it “cosy” at best.) But, most audiences watching Glenrothan and will have hopes for that reconciliation.

The younger brother, Donal, is played by noted Scottish actor, Alan Cumming, who also has the opportunity to sing. There are flashbacks which explain Donal’s leaving, their harsh and demanding father, severe on his son. But, in Chicago, Donal has married, has a daughter and granddaughter, runs a blues jazz club where he is happy – but then, disaster, it burns down.

With a letter from his brother, Donal finally decides to go back, encountering old acquaintances, meeting Jess (a rather fiery Shirley Henderson) who is now managing the distillery, but she was the girl he left behind.

We know that there are programs for family reconciliations, for going back into the past, retreats called. Life’s Healing Journey. And, this is what happens here, an acknowledgement of wrongs, on all sides, the surfacing of intense feelings, continued experiences of uncertainty, and the challenges of age, illness, and the inheritance of the distillery.

Alexandra Shipp plays Donal’s daughter and Alexandra Wilkie is striking as his cheerful young granddaughter.

Yes, a familiar plot, an appeal to our deeper emotions and hopes. And, after some dramatic moments, some joy and relaxation as we are immersed in the Scottish landscapes.

1. The title, Scotland, the mansion, the distillery, the family, family problems, reconciliation?
2. The Scottish scenery, the beauty, inserting scenery sequences throughout the film? The musical score, the songs?
3. Sandy, Brian Cox’s screen presence, directing the film? Age, health, running the distillery? Reliance on Jess? His status, the family and 200 years with the distillery? The past, the influence of his father, the death of his mother, her graveside? His relationship with Donal, age difference, together, differences, observing his father’s treatment of Donal? Donal leaving, absent for 40 years, not returning?
4. Donal, 40 years in Chicago, from his 20s to his 60s, marriage, his wife leaving him, the relationship with his daughter, love for the granddaughter, the bar, the music, Amy singing? A life in America? Not remembering his father? Not wanting to return? No bond with Sandy?
5. The bar burning down, the insurance not paid up, the letter from his brother? The decision to go to Scotland? The fact that his daughter and granddaughter often went and knew Sandy will? The flight, the experience, arrival, the town, sense of alienation, sense of being at home?
6. The interactions between the two brothers, the memories, the flashbacks to their father, the treatment of Donal? His skills with whiskey, his father downplaying them? The relationship with Jess, together, riding together, his leaving, failing to communicate with her?
7. Donal, in the house, the memories, the tour of the distillery, some of the old characters from the past, George and his reaction? Interactions with Jess, the buildup to the flashbacks of his leaving, her marriage, daughter, her place with the distillery? The treatment of Donal? His finding the motorbike restored?
8. Donal, having time, to walk, to think, remember, his mother’s grave, in the woods?
9. The situation, finance, Sandy resigning, the sale of the distillery? The speeches, the announcement?
10. Donal, change of heart, not selling the distillery, Jess being in charge?
11. The financial situation, Chicago, the treasured whiskies, their value, the auction, the high price? Financial difficulties solved?
12. Life’s healing journey, the two brothers, the healing of the past, the reconciliation, the future?

DELICIOUS

Germany, 2025, 102 minutes, Colour.

Carla Diaz, Valerie Pacher, Fahri Yardim, Naila Schuberth, Casper Hoffman, Julien De Saint Jean.

Directed by Nele Mueller Stofen.

A German family holidays on the Riviera. Which might seem an attractive proposition to the audience. But, one of the issues it is whether the audience likes each member of the family.

An accident, the family taking on the victim, her becoming a maid.

Cinema lovers might be reminded of such films as Pasolini’s Teorema, the Korean Oscar-winning Parasite, the theme of attack on wealthy families, the eat the rich syndrome. Each member of the family reacts differently to the maid, revelations about their characters.

Needless to say, the interactions between maod and the members of the family become ever more complex, and, ultimately, a rather pessimistic perspective with the outcome.

1. An evocative title? Final ironies? Food, meals, preparations, meat, cannibals, eat the rich?
2. German film, characters, attitudes? On holidays in the Riviera? Germans abroad? Wealthy Germans, lifestyle? The French characters? Teodora from Andalusia?
3. The story of the stranger, entering into the family life, the effect on each of the characters? Pasolini’s Teorema? Bong Joon Ho’s Parasite?
4. Plot as plausible, credible, the behaviour of the family, her companions, the infiltration, the seduction, the vengeance?
5. The screenplay’s attitude towards the wealthy family, critique? The attitude towards the workers at the hotel, critique? The overall “Enter the Void” perspective, pessimism?
6. The opening, the protests in the Paris streets, social issues, the wealthy, the workers? The family trying to bypass the protest? Going to the mansion, esters family owning it? Settling in, their expectations, comfort, luxury?
7. The introduction to the hotel, the workers, the group, camaraderie, the presence of Teodora, a Spanish background, meal at the hotel, the crash, Teodora and her wound, his still looking after her, not going to the hospital, protection of the family? The aftermath, the discussions, the bargaining, Teodora offering to be the maid?
8. The portrait of each member of the family, Esther, her wealth, on the phone, business, the relationship with John, yet brutal? Her expectations from her wealth? John, his work, the visitors for the meal, criticisms of his work and verification of the science? Phillip, Ege, spoilt? Alba, age, grounded?
9. The household scenes, Teodora becoming indispensable, the attitude of the guests and their looking down on the maid?
10. Teodora and Esther, the stealing of the phone, the blaming of Alba? the phone, rebuking her daughter? The gradual friendship with Teodora, infiltration of affection, the dancing, meeting the group, Lucien and seductive, her fear of going into the water, yet persuaded here? Promoting Teodora? At the discovery of the blood, the meat, the cannibals, her horror?
11. Teodora with John, conversation, pleasant, the discussion about the bike, the bike riding? His confidence collapsing, the tension with Esther?
12. Phillip, spoilt, the scenes on the yacht, the video and the photographs, the bike riding, the infatuation with Teodora, having the meal, discovering the ring?
13. Alba, her age, the card triggered, the table, relationship with each of the family, seeing Teodora steal the phone, telling her mother, not believed? The tensions with her brother? Teodora becoming her friend, the dependence?
14. The revelation of the group, bloodthirsty, cannibals, on their bikes, to attack the family – and Eat the Rich?

AGATHA CHRISTIE’S SEVEN DIALS

UK, 2026, 150 minutes, Colour.

Mia McKenna-Bruce, Edward Bluemel, Martin Freeman, Helena Bonham Carter, Hughie O'Donnell, Alex Macqueen, Dorothy Atkinson, Mark Lewis Jones, Tim Preston, Ella-Rae Smith, Iain Glen, Nyashas Hatendi, Navhaan Rizwan, Corey Mylchreest.

Directed by Chris Sweeney.

2026, another British three-part series based on an Agatha Christie novel. In fact, the 1929 novel was a sequel to her book, The Secret of Chimneys.

With three parts, the series has the opportunity to create an atmosphere, 1925, still memories of World War I and sadness with those lost. And, once again, an Agatha Christie style British location. And, an occasion which starts happily, even jokingly, leads to a death and an investigation, and the person solving the mystery the young Lady Eileen Brent, nicknamed Bundle.

There are all the Agatha Christie ingredients from her 1920s imagination. And, a strong cast led by Mia McKenna Bruce and such veterans as Helena Bonham Carter and Martin Freeman.

There is always room for another Agatha Christie mystery.

1. Adaptation of Agatha Christie’s 1929 novel? Sequel to The Secret of Chimneys, the return of the central characters?
2. The television version, the 1925 setting, the stately mansion, grounds and interiors, costumes and decor, vehicles, trains? The musical score?
3. The adaptation of the novel, different emphases, the presence of Lady Caterham? Her role, the end?
4. The opening, Spain, the spectacular scenery, the empty bull ring, the lone character, the atmosphere, menace, the bull, the goring? The inventor and his wife, the rendezvous, the spy, the gun, her shooting the wife, the inventor shooting her? The puzzle, 1920, no explanations – and the audience having to wait until the very last minutes for the explanation?
5. 1925, Lady Caterham, her status, poverty, the house, memories of her dead husband, the story about her son killed in World War I, hosting the Cootes, husband-and-wife, disdain for them, the presence of the foreign office, the young representatives? Bundle, her nickname, Lady Eileen, the encounter with Gary Wade, the promise of the proposal? His friends, the masks, the clocks to wake him up?
6. The next morning, Bundle finding the body, his letter to his sister, the mention of Seven Dials, the continued reference to Seven Dials, the poor neighbourhood, being rebuilt, the club, Bill taking Bundle their, the presence of Andrew, the former servant?
7. Bundle, the intrepid heroine of this kind of Agatha Christie story, her age, background, curious, forceful? The to and fro with her mother? Interrogating the maid, the poison? The interrogation of Bill and Ronnie, the contact with Jimmy Thesiger?
8. The presence of Superintendent Battle, the interactions with Bundle, his following her, the phone call to Scotland Yard? The continued encounters, her defying him, his trying to protect her?
9. Bundle and her questioning of Ronnie, discovering him murdered?

• Audience suspicions, for the murder of Gary, for the murder of Ronnie? And the motivations? George Lomax, politics, national security?
• The hosting of the party, George Lomax and persuading Bundle, Sir Oswald and Lady Cootes, the inventor, audience having seen him already, the demonstration of the invention? The range of guests? Suspicions? Lomax and his embarrassing proposal?
• The poisoning of the inventor, the stealing of his life’s work? Battle and the police, the closing of the grounds? Bundle, at the window, the ivy, the issue of the gun thrown from the window, the one set of footprints?
• The situation, the guards at the door, Jimmy and his being shot in the arm, Sir Oswald and the finding of the gun, Battle getting him to demonstrate throwing it? The presence of Lorraine, upset, her relationship with Gary? Her disappearance?
• The pursuit, the car, the drive to the station, getting the train, confronting Lorraine, confronting Jimmy, to stop the train, Bundle, the gun, Jimmy explaining the situation, the plot with Lorraine, the setup and his shooting his arm, throwing the gun…?
• The contact for the information, Bundle going to find the contact, discovering her mother, her mother’s behaviour, resentments about her dead son, class status, poverty, relationship with her daughter? Bundle pulling the gun on her mother? Battle arriving?
• The aftermath, Bundle getting used to it, Andrew arriving with the gun, the club, the masked members, Battle and the revelation, the final revelation about Bundles father and his mission? The invitation to her to join the group?
• The Agatha Christie characters, ingredients, atmosphere – and screenplay writers adding to the plot complications, especially the suspects, Sir Oswald and his wife and misdirection, the solution?

LOVE SONGS FOR TOUGH GUYS/  Cette musique ne joue pour personne  

France/Belgium, 2021, 107 minutes, Colour.

François Damiens, Ramzy Bedia, Joey Starr, Bouli Lanners, Valeria Bruni Tedeschi, Raphaelle Doyle, Vincent Macaigne.

Directed by Samuel Bencherrit.

An unexpected experience. A strange blend of ordinary lives with music, poetry and theatre. A some veteran character actors in the cast.

The film is set in a port town, the French atmosphere, quite a wide range of characters, men and women, relationships, strained relationships, moments of violence, moments of reconciliation.

1. Title? The subtlety of the French? The directness of the British title?
2. The setting, the port town, the docks, homes, supermarket, theatre…?
3. The musical score, atmosphere, classics, popular songs, the songs for the play?
4. The screenplay, the humour, the seriousness, parody, violence, serious issues, stand over tactics, killings? And the contrast with the central characters, on the docks, their lives? And the influence of poetry, imagination, song, theatre?
5. Jeff at the centre of the action, at home, his relationship with his daughter, her surliness, at school, fellow students, romance, the birthday party? His neglected wife, 25 years? His infatuation with the woman at the checkout? At the group, the members reading their problems, the affirmation of the teacher, Jeff and his poem, the issue of the word Amaryllis, getting Neptune to deliver the poems, the woman not understanding them, Jeff and his desperation, discussions with the teacher, explaining the Alex and Ryan, the threat to the teacher if he failed? His continuing to compose, standing on the rocks, the plastic bag, the sea, the composition? The issue of the accountant and his wife, sending Jackie to get the money back?
6. Suzanne, her husband, Jackie arriving to get the money back, her calling her husband, the interchange, wanting the money, her ambitions for the play, Simone de Bauvoir on the television and her theories about women? The relationship with such? The clash with her husband, slapping, his death, hiding his body, Jackie returning, the continued contact, his reading the lines with her, the situation at the theatre, the actors performing South, their deaths, the actor rating, curtain close, his death? The invitation to Jackie? The rehearsals, the scene with each blowing the feather, Jackie’s response, the performance, success, the applause, Jeff and his applause?
7. Neptune, adopted by Jeff, his place in the household, doing Jeff’s bidding, the discussion about poems, his composition, going to meet the woman at the checkout, their discussion, the poem, her response? Approaching her, realising the truth? His anger with Neptune, the gangsters and the shootout, Neptune wounded? Jeff’s wife tending to him?
8. The wife, neglected, her not noticing, with her daughter, watching the television, 25 years, finding the poem in the rubbish, thinking it was for her, going to the hairdressers, helping with Neptune in the wound, Jeff’s realisation, asking her to close her eyes, to imagine and describe, her going over the marriage and their life, the reconciliation?
9. Poussin and Jesus, together, the discussions about art, the defined woman, the bag over her head, her denouncing as feminine? His reading, the dramatisation of the story of Eric Lamb, alone, going to the restaurant, the Indians and reincarnation, identifying him as their son, his finally accepting it and finding a place? Are the tough behaviour at the poetic? The place in the gang with Jeff?
10. The success of the play, Jeff present, but is going to the gang, the shootout, his confrontation with the wounded gangster? His sense of satisfaction?
11. The return to the sea, the strange experience for the audience, on the docks, life there, the violence, yet the opening to poetry, theatre and music?

GONE FOR GOOD 

France, 2021, 5 x 50 minutes, Colour.

Finnegan Oldfield, Nicolas Duvauchelle, Guillaume Gouix, Garrance Marillierr, Nailia Harzoune, Tomas Lemarquis, Gregoire Colin.

Directed by Juan Carlos Medina.

Gone For Good is one of the many adaptations of Harlan Coben novels for the television screen. He has acted as producer on all of them – and his daughter has contributed to the screenplays of many of them.

And there is quite a range of countries which have produced these series including the UK, Poland, Spain – and this one from France, An attractive setting in the Riviera, flashbacks to Paris, flashbacks to Italy.

As always, there is a complex plot, moving around in time, from place to place, gradual revelations of characters, misinterpreted behaviour, misinterpreted identities.

An enjoyable contribution to the Harlan Coben canon.

1. The popularity of Harlan Coben novels? The variety of television series? Set in different countries? France?
2. The five episodes? The titles for each of the characters?
3. The French settings, the Riviera, location scenery, the towns, workplaces, homes and mansions and dealerships, the social work? The surrounding countryside, the sea? The episodes in Paris, more sinister? Episodes in Italy? The musical score?
4. The opening situation, 2010, Guillaume, watching, Fred, the shooter, Sonia and her sister? The pursuit of Fred, the cliff, into the sea? Setting the mystery?
5. The variety of times, the indications, the effect of moving backwards and forwards? Development of the characters, the plots, the twists?
6. Guillaume, his age, memories of 10 years earlier, relationship with his brother, the strong presence of his father, the influence of his mother? The past relationship with Sonja? The present interaction with Ines? The mystery about his brother, his parents? His wanting to investigate? His friendship with Da Costa, the conversations, their social work, Da Costa as the boss? The arrival of Judith, her working with the two, the flashbacks to her arrival, clashes, working together, the bond between them, the love, the commitment, the disappearance and the effect on Guillaume? His attempts at tracking her down, meeting Judith’s mother, the evidence, Judith’s death, the revelation of a different person? The buildup to the confrontation, the search for Judith, finding her, the truth? The dangers, the drug dealer and the shooter, the car dealer in the town and his involvement, the reuniting with his brother, his brother’s child? The final truth and resolution?
7. Nora, her arrival, strong character, interactions with Guillaume, the job, their working together, over the years? Her love for Guillaume, her disappearance, the mystery, the flashbacks to her real identity, the marriage, the treatment by her husband, taking refuge, the encounter with Fred and Judith, their child, the opportunity to leave, taking Judith’s identity, going to the Riviera and the subsequent history? Her disappearance, the contact from Fred, the drug dealers, the pursuit, the dangers, Guillaume finding her, the drama of her captivity, freeing her, the ending, with Guillaume, and with Fred’s young daughter?
8. Da Costa, the social work, the flashbacks to his past, the neo-Nazis, the strong sequences of his initiation, training, activities, his relationships? The challenge to, his change, social work? The discussions with Guillaume, wanting to help him, the discussions about love and having a family
9. Fred, the situation, his disappearance, the drug connections, the flashback to Sonia, the University, hiring her to be a mule, the friendship with Judith, the various trips, the bond with the driver, at home, her death? Fred escaping, the life with Judith, the child? Background of the pressure from his father, tennis ability, the matches, his father’s behaviour, rebelling against him? The contact with Nora, the issue of the drugs, the dealers, the violence? Finally meeting up with Guillaume, the response, disillusionment, his death?
10. The importance of the parents, the expectations of the past, the tennis and the pressures on Fred? The mother and her role? And grief? Guillaume observing, idolising his brother? The truth about his father, the truth about Fred?
11. A satisfactory version of Harlan Coben, characters, situations, plot twists?

THE CHRISTOPHERS

UK, 2025, 100 minutes, Colour.

Ian McKellen, Michaela Coel, James Corden, Jessica Gunning.

Directed by Steven Soderbergh.

Tantalising title. In fact, The Christophers is a series of unfinished paintings now in storage in the studios of a London artist. But, they will become central to a drama which involves the alienated son and daughter of the artist who want to capitalise on their sale once the father, who is ill, dies.

The setting is North London, ordinary streets, blocks of flats, interiors, studios, art galleries. All rather low-key, visually. And the artist, Justin Sklar, cantankerous, not the ideal devoted painter, no major ideals either but enjoying his reputation, longtime guest on a television show to encourage (or destroy) young talent, and getting income in old age from his celebrity by sitting at home and doing verbal greeting messages for paying clients on his computer.

Justin Sklar is a perfect role for Ian McKellen in his mid-80s. McKellen is a forceful screen presence from his villainous Magneto with the X-Men to his benign Gandalf. McKellen imposes his personality, has expressive clarity of diction, an extraordinary delivery of lines. As they sometimes say, his performance is worth the price of the ticket.

But, he meets something of his match in an artist, Lori, who has built up a career with restoration of paintings. She is played by Michaela Coel who performed as a not dissimilar character in Mother Mary. In fact, she had been at art school with the artist daughter and they meet her to plan a strategy for her to complete the paintings so they will fetch millions when the artist dies. The son and daughter are played by James Corden and Jessica Gunning.

If it were that simple, the film would be over very quickly. But, Lori is a rather complex character, seemingly noble in her confrontations with Justin, sometimes deceptive, sometimes in league with him, meeting his manipulations with her own manipulations.

Which means that this film is very dialogue-focused, a two hander, somewhat claustrophobic in the action in the interiors of the flats. And, some gradual revelations of interactions between the two in the past, especially on the television show. And, while there is sympathy for Lori, and of the characters, she is not without blemish.

The film was directed by American Steven Soderbergh who has had an extraordinary career for almost 40 years and a wide range of films (for instance, Sex, Lies and Videotape, Erin Brockovich, Oceans 11, contagion) as well as his being the director of photography, using the name Peter Andrews, on all of them.

And, for fans of Ian McKellen’s performances (not just Gandalf devotees) a satisfying theatrical/cinematic experience.

1. Expectations for a film by Steven Soderberg, directing, photographing, almost 4 decades of films?
2. The London setting, the streets, the flat, the interiors, the studio, Lori and her home? Galleries? The musical score?
3. The art world, the role of the artist, talent, personality, moral, detachment, ambition? Paintings, the variety of styles, exhibitions, public taste, value, options?
4. The introduction with Lori, as artist, her studies, friendship with Sallie, her work as a restorer, revelation about her forgeries? Her personal independence? Employers, contacts? Meeting with Sallie and Barnaby, the situation, their father, his reputation, health, dying? The series of The Christophers, incomplete, hidden away? The proposition for Lori to complete them, to auction them, the millions? The revelation that they had already sold them? The personalities, the relationship with their father?
5. Julian Sklar, an Ian Kellan character, manner of speaking, appearance, clothing, behaviour, reclusive, health, his art, his theories about art, personal involvement or not, art quality? His relationship with his children, spurning them? The introduction to Lori, as an assistant, the bells and the wrong door, the interiors, the steps, his paintings, his manner with Lori, the questions, his assumptions?
6. The growing relationship between Julian and Lori, employer-employed, other conversations, her not want to be an artist, a fan, her pretence and deceiving Julian? The jobs, his remarks, quips? Her reserve? Her search for the paintings, finding them?
7. The issue of the Christophers, her eventually telling Julian the truth, his reactions, change of heart, the issues, the background of his relationship, the mysterious Christopher, his disappearance, the range of portraits, looking at the detail?
8. Julian and the decision to burn the paintings, Lori collecting them, going outside, not burning them, bringing them in? The range of discussions, forging, completing, her contract, her comments on Sallie and studies, Sallie’s painting and their mocking it?
9. The decision to work together, the choices of the paintings, savaging them, the paint, throwing it, Julian enjoying the experience, Lori’s encouragement? The finished range of paintings?
10. Lori, the discussions with Sallie and Barnaby, money issues, their coming to the house, the interaction with their father, pretending about the Christophers, continuing the clash, dissatisfaction with Lori?
11. The consequences, Lori going to see Christopher, finding him, the discussions, the paintings as his, his presence at the exhibition?
12. The exhibition, the paintings, the public, the commentary?
13. Julian, the nurse coming to visit, in contact with Lori, giving her the bag, the message from Julian?
14. The theatrical aspects of the film, dialogue, staging, characters, interactions, themes?

TESIS

Spain, 1996, 125 minutes, Colour.

Ana Torrent, Fele Martinez, Eduardo Noriega, Xabier Elloriaga, Miguel Picazo.

Directed by Alejandro Amenebar.

For almost 30 years, writer-director, Alejandro Amenebar, has made quite a number of striking films, beginning with this film. Other films include Open Your Eyes, The Sea Inside, The Others, Agora, and the imagined Cervantes’ story, Cautivo.

The star of this film is Ana Torent, who became famous as a child actor in The Spirit of the Beehive, now playing a woman who is researching violence in films which leads her to a fascination and the viewing of snuff films. She is helped by her Professpr who dies. Then guided by his successor, but also friendly with a man who has made a huge collection, then suspicious, the death of a woman, further threats and the making of exploitation films.

While there are many grim aspects of the screenplay as might be expected, the film is interestingly written, well-acted, and takes the audience into a world of pornographic violence to which they are not accustomed. So, the film is psychologically and emotionally challenging as well as raising moral issues.

1. The title and the world of academia, students, research, professors?
2. The university setting, rooms, libraries, audiovisual research? Homes, ordinary, sinister? The musical score?
3. Angela, personality, the background of her family relationships, visit home, her interest, audiovisuals? Working with Professor Figueroa? The episode on the train, the suicide, her wanting to see the body?
4. Her interest in violence, on-screen violence, the guidance of the Professor, the suddenness of his death?
5. Her working with Chemo, his knowledge, interest in violence, his collection of videos, violence and pornography? Sharing with Angela? The new professor and his influence?
6. The research, the snuff movie, identification of the victim, Vanessa, the information about her, the violence of the death, the location for the death? The garage?
7. The character of Bosco, at the University, suspicions, personality, interaction with Angela, wanting to interview him, the visit, the seduction, her resistance, the nightmare reenacting the violence and sexuality?
8. Bosco visiting the family, the threat to her sister, Angela’s reaction?
9. Chemo, his collaboration with Angela, his interests, the death of the professor, suspicions on Chemo? Angela wary?
10. The further investigation, fascination with the violence, the sexuality, the buildup to a climax, Bosco, considered a psychopath, confrontation with Chemo, his going to hospital?
11. The buildup to the confrontation with Angela, Bosco, the revelations about Castro, his taking Angela, wanting to torture, make the film? His death?
12. The aftermath, a kind of sinister catharsis for Angela, and for the audience interested in snuff movies, audiovisual violence, pornographic violence?