Displaying items by tag: Peter Malone's Movie Reviews

BAD BOYS, RIDE OR DIE

US, 2024, 115 minutes, Colour.

Will Smith, Martin Lawrence, Vanessa Hudgens, Alexander Ludwig, Paola Nunez, Eric Dane, Ioan Grffud, Jacob Scipio, Melanie Liburd, Tiffany Haddish, Joe Pantoliano..

Directed by Abdil el Arbi, Bilall Fallah.

Quick review: probably want everybody was expecting. So, it all depends on audience expectations!

Young audiences who enjoyed the original Bad Boys movie in 1995 are now approaching 50 (or have reached it). Audiences enjoyed a sequel in 2003 but there was a 17 year gap before the third Bad Boys movie in 2020. And, here they are again, Martin Lawrence a bit larger than life, playing a grandfather, Will Smith having an adult son, Armando, in prison for murder and drug dealing, who appeared in the third film.

So, that is the setting and the expectations – and, quite a number of the cast of Bad Boys 3 reappear, including Joe Pantoliano who has been in all four films as Captain Howard, who died in the previous film, is still dead but appearing in videos he had made as well as in some near death experiences for Martin Lawrence’s Markus.

In the middle of the film, Will Smith’s Mike has a panic attack and Marcus slaps his face, vigorously. So, reference to the famous Oscars slap by Will Smith on Chris Rock. Clearly, it is now time to look at the slap in perspective, an acknowledgement, some rehabilitation.

So, we get to know the Bad Boys once again, the jovial repartee and banter. Marcus has a heart attack, near death experience which convinces him that he cannot die now. And it happens at the wedding when Mike surprisingly becomes a husband again. But, we get into a whole lot of drug dealing, cartel brutality, the framing of the dead Captain Howard, his police daughter angry with the Bad Boys, their being targeted by her as well as by the cartel leaders, especially the ruthless Joe McGrath, played with sinister relish by Eric Dane.

As expected, there is a lot of action, helicopter action and crash, small plane crashing through an abandoned amusement park building, lots of shootouts, lots of fights, lots of Bad Boys heroism.

And, there is quite some sentiment, nostalgia and memories, friendships, saving lives, and emotions all the next generations.

Audiences can congratulate themselves because as soon as a smarmy character steps onto the scene early in the film, we are sure that he is going to turn out to be the smarmy contact with the cartels. And, as the climax builds up and there is reference to a giant albino alligator at the abandoned amusement pier, we are sure that his villain is going to end up in the alligator jaws. Not a  spoiler because we can work that one out for ourselves!

With its immediate box office success and Will Smith restored to popularity, it looks as though this Bad Boys film was what worldwide audiences were looking for.

1. The popularity of the films and stars for almost 30 years?
2. The Miami settings, the police, the FBI, the Mayor’s office, the cartels, crime, framing, the criminal situation?
3. Audience respond to Mike and Marcus, over 30 years, their friendship, repartee, the decades, getting older, Marcus as husband and grandfather, the extended family, Mike, his relationship with a Mondo, as marrying Christine? Their police work?
4. The early part of the film, getting to know them again, Mike and his wedding, Marcus and the collapse, the near death experience, Captain Howard, believing he could not die? Walking through the traffic? The visions of Captain Howard? Reassurances? Reassuring Mike? Mike and his disbelief? Mike and his own panic attacks, Marcus and the slaps?
5. The Mayor, audience suspicions, too smooth? The relationship with Rita? His later dealings, smooth, his gradually being exposed, turning on Rita? His attempt at escape, the alligator?
6. The cartels, McGrath, the signing over the money in Captain Howard’s account, his being dead, named blackened, his daughter and granddaughter? The daughter and her blaming Mike for her father’s death? The revelation of the videos, his explanations, the clues, the clue about Fletcher, going to his club, the attack and the shootings, the image of his artwork, opening up the videos, Captain Howard and his explanations? His forgiving them?
7. The targeting of Mike and Marcus? Their own investigations, Armando in prison, the attack on him, the fight, the escape, the Mayor’s agreement, the helicopter, the information, the fight, the crash, teaming up with Dorn and Kelly, the equipment, Armando identifying McGrath? His being on the helicopter?
8. The evidence, persuading Rita, her reaction against the Mayor? Howard’s a daughter, the abduction of his granddaughter, a relentless pursuit of the couple?
9. The buildup to the confrontation, the abandoned pier, the giant alligator, the mere trying to escape, the plane crash? Fighting, the shooting? Final confrontation with McGrath?
10. The happy ending, the barbecue, the banter, Reggie and his heroism in saving the family, and his getting to grill chicken?

THE STRANGERS: CHAPTER 1 

US, 2024, 91 minutes, Colour.

Madeleine Petsch, Froy Gutierrez, Ryan Brown, Richard Brake, Ema Horvath.

Directed by Renny Harlin.

Already in 2008, with a sequel in 2018, this story of home invasion, The Strangers, created by Bryan Bertino, had become a small successful franchise about home invasion, terror from masked  intruders – with a touch of slasher.

The story is reprised here, allegedly based on a true story but the writer indicating that he was drawing on episodes from his town while growing up. This time the decision was made to make three films, three chapters, somewhat akin to a miniseries on television but several months in between release.

Even to those who have not seen the original films, the material is fairly familiar, a young couple celebrating five years together, travelling through Oregon to a job appointment, on a side road, a small town with some suspicious if not sinister characters, a diner, a garage manager, their car breaking down, accommodation giving them in an empty house in the woods. Just the setting for home invasion!

The masked intruders are direly sinister, grimacing smiles on their masks, suddenly appearing and disappearing, and increasing menace, the couple escaping out into the woods but being caught, some vicious torments, death…

And the young woman finally seen in hospital recovering… And the audience deciding how much they want to see the next chapters when they are released. For terror fans, always interesting. But for the wider audience, something of a take it or leave it attitude.

1. The stories previously filmed, successful? Remakes? In three parts?
2. A terror story rather than horror?
3. The opening, the businessman, in the wilds, the attack, axe wielding, his death?
4. Maya and Ryan, five years together, driving through Oregon, to Portland, her job? Their chatter? Audience interest in them? Off the main road, the kiss and the near accident? Arriving in Venus, the garage, the diner, Ryan and his superior manner, Maya making peace, Shelley and her giving them the lift, the manager of the garage, the car not starting, Ryan saying it was a scam, Maya’s reaction, the information about the B&B?
5. At the B&B, content, the knocking on the door, and in shadow, the further noises, Ryan taking the bike to the diner to get food, the reaction of the locals? Maya, having the shower, the noises, the woman at the door, sense of presence, seeing a person in a mask, Ryan returning?
6. The buildup of atmosphere, sudden noises and shocks, people in the house, Ryan, the gun, shooting the electrician by mistake, the reaction, the men, the women all with masks, capturing Ryan and injuring him, his telling Maya to go into the woods, her hiding, the pursuance, catching her, tying her up, Ryan stabbed, her being stabbed?
7. My having called the police, the three strangers disappearing in their car?
8. Maya, recovering in hospital? Sufficient audience interest to want to know what happened?

MONSTER

Japan, 2023, 127 minutes, Colour.

Sakura Ando, Soya Kurokawa, Eita Nakayama,.Hinata Hiiragi.

Directed by Kore-eda Hirokazu.

A Japanese film with a title like Monster might seem to indicate another Godzilla confrontation. But, no, the monster of the title is the monster in each one of us and its dire effects on ourselves and on those around us.

In fact, this is a film which can be highly recommended. And, it might bring to the minds of those who value Japanese cinema, Akira Kurosawa’s film Rashomon, with its technique of telling a story from the different points of view of the central characters, some perspective shared, other perspectives very different.

Monster opens with an apartment block on fire, a young boy, Minato, watching with his mother, Minato intrigued by the death of his father and his belief in some kind of reincarnation. As the drama unfolds, we find Minato bullied by a teacher, friendly with another young student, but then the focus on his mother and her complaints to the school staff, their seemingly detached apologies, her threatening lawsuits. Already, plenty of themes, family, school, education…

And then we return to the fire, this time focusing on the school teacher accused of bullying and retracing of some of the events with which we are now familiar, but seen from the teacher’s point of view, a different perspective on the school staff and their handling of the situation, especially the principal’s granddaughter has been killed in a home car accident. And, a different perspective on the bullying.

With a return to the fire again, the screenplay has become quite intriguing, a puzzling over the teacher and his behaviour, allegedly stating that Minato had a pig brain – but this harshness actually spoken by Minato’s little friend’s father about his son, a demanding man who wants to make sure his little son is truly a man. So, this part of the film focuses on the two boys, their friendship, taking refuge in a converted railway car, enjoying each other’s company, and a nice scene between the school principal and Minato, her trying to heal his anxieties.

And, we realise by the end, that this is also a film about friendship, the friendship between the two boys, the emphasis on being masculine, the possibilities of an incipient gay relationship and a dramatic climax in which the teacher and the mother search for the boys in an intense storm and landslide.

We often say that there are many facets to the one story – and Monster persuasively reminds us of this.

The director has made a succession of fine films over the decades, frequently focusing on family relationships, sad relationships – and even the bizarre family in his Shoplifters.

1. The title? Misleading – audience memories of Godzilla? Monster here and its symbolic meaning?
2. The Japanese island, the views, mainland, the sea, the skyline, the burning building? Homes, school? The hiding place, the reconditioned carriage? The countryside, foliage, waters? The musical score?
3. The complexity of the plot, in three acts, the different perspectives on the same story and characters – and memories of Kurosawa’s Rashomon.
4. The first act, the opening with the fire, mother and son watching, the conversations, moments of suspicion about the cause of the fire? Minato, his age, the dead father, his preoccupation about reincarnation, speculations about animals and creatures in return, the teacher’s comment about having a pig brain instead of human? A troubled boy? At home with his mother, the scenes of her at the drycleaning business? Minato seeing the teacher who had told him of the pig brain? The mother, going to the school, demanding a meeting with the principal, the impact of the various meetings with the staff, the principal mourning the death of a grandchild, stern, immobile, the accused teacher and his apology, courtesy and bowing, the other teachers? The mother and her dissatisfaction, legal action? The boy in the car, his getting out, her concern, his not coming home, finding the bike, the search in the drain, hearing Minato asking who was the monster? The boys at school, the teacher, the scuffle, injury to his ear? His friendship with Yuri?
5. The second act, the return to the fire, the point of view of the teacher, new to the school, his age? The comment about his relationship with the escort? The audience seeing his relationship? His apartment? Seeing him at the school, the scuffle with Minato, the situation, the pranks, Yuri as victim? The different perspective on the staff, suspicions about the principal and her husband take their place in prison for the accident? The school’s reputation? The staff meetings, the planning of the meeting with the mother, planning the apology, the stonewalling?
6. The third act, the focus on Yuri, his age, size, the scenes with his father, his father wanting him to be a man, the tough father and his brutality? His being the origin of the comment about pig brain, accusing his son? The boys at school, small, picked on, the pranks, Minato defending him at school, the true nature of the scuffle with the teacher? Minato lying? His friendship outside school, Yuri showing him the courage, the carriage done up, pretending to drive it, their enjoyment together? The surfacing of the relationship, the age, changes of puberty, sexual attraction, Yuri, the expectations of being a man? The storm, the amount of water, the mother combining with the teacher, their search?
7. The principal, the encounter with Minato, her sympathy, the musical instruments, her past, blowing out the worries? Helping the boy to understand himself better?
8. The audience putting the different perspectives together, the focus on the night, his preoccupations, father and reincarnation, relationship with his mother, with a teacher at school, with Yuri, to acknowledge the sexual attraction? Yuri, his father, allegedly curing his son, Yuri saying he hadn’t, the companionship and the courage? The truth about the incident at school, the teacher, the staff?
9. Going back to the title, the nature of a monster, imagery of the pig brain, the macho demands of the father, each of the characters with the touch of monster?

THE GARFIELD MOVIE

US, 2024, 101 minutes, Colour.

Voices of: Chris Pratt, Samuel L.Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillen, Snoop Dogg.

Directed by Mark Dindal.

Garfield the cat.

Once upon a time, the 1970s, Jim Davis created the cartoon, soon on television, computer games, Garfield. Then upon a time, 20 years ago, two feature films with Bill Murray as the voice of Garfield. Now upon a time, 2024, a big budget animated feature with a strong voice cast led by Chris Pratt as Garfield.

Garfield has been described as “greedy, but with a heart of gold”. On the evidence of this film, “gluttonous” (and the fastest gluttony we have ever seen on screen) would be more appropriate. And, as regards the heart of gold, this is not immediately evident, Garfield being very smug and self-satisfied – though, a bit of a spoiler, he is finally redeemed, glimpses of his potential heart of gold.

The story does go back to Garfield when little, abandoned by his street-cat father, Vic (Samuel L.Jackson), and the hungry little creature plaintive at the Italian restaurant window where his about-to-be strong friend, Jon (Nicholas Hoult) is having a lonely meal, opens the window, in comes Garfield and the pizza immediately and instantly munched! The beginning of a beautiful friendship.

Jon and his engaging little dog, Odie, have long been popular in the cartoons. Jon, is the most tolerant of owners, and Odie the most generous of friends, setting up Garfield with heaps (understatement) of food, comfortable armchair, watching Catflix, not a care in the world.

Where could this story possibly go – actually, into quite a lot of action and plot, the story Vic and his entanglement with a British vanity ring cat, Jinx (Hannah Waddingham), a plot to steal a milk truck, a tough police chief called Marge Malone (Cecily Strong), a bull in love (Ving Rhames) and Jinx’s thugs. In fact, plenty of action, the truck getaway, police pursuit, and everyone on a train hurtling towards a bridge.

The emotional key to the story is Garfield’s resentment towards his father leaving, his discovering more of the truth about Vic, reconciliation and happiness – and plenty of food with Jon discovering that he had paid thousands of dollars for drones with food to repel the enemy on the train!

(Which means that this reviewer enjoyed a lot more of Garfield than anticipated!)

IN RESTLESS DREAMS: THE MUSIC OF PAUL SIMON

US, 2023, 209 minutes, Colour.

Directed by Alex Gibney.

With the title quote from Sounds of Silence, and Paul Simon immediately named, and with directors, Alex Gibney (more than two decades of outstanding documentaries), we know where we stand and what we want to see and hear. Actually, that may be true of older generations (this reviewer included and overhearing on entering the cinema someone noting that he was the only one under 50!). But, this is an opportunity for younger audiences to get to know and appreciate Paul Simon and his music.

And, we get our money’s worth, music, lyrics, career and life, and the film runs 3 ½ hours.

Alex Gibney opens his film in 2021, the year that Paul Simon turned 80, visiting him at his home and studio in Texas where he lives with his wife of over 30 years, Edie Brickel, support and collaborator. Simon explains that he had a dream in 2019 which had influenced him to work on a poetic ensemble of songs, Seven Psalms – the film returning throughout the history of Simon’s career to the studio, to the presence of trumpeter Wynton Marsalis, friend and collaborator, the creation of the lyrics, the ways of creating the music, specific sounds, a choir, so that by the end of the film, this work is complete.

And, of course, throughout, we are returning to the chronological development of Paul Simon’s life and career, from Queens, New York, Jewish background (though, interestingly, no religious influence specifically on his lyrics all music), a friendship from school days, aged 10, with Art  Garfunkel, the early singing together, his early songs, not entirely successful, his going to England and singing in clubs in London, and in his first failed album, Sounds of Silence.

In fact, the first half of the documentary covers the period from 1963 to 1970. And, one of the values of Paul Simon being in show business, there is an abundance of photos to draw on, an abundance of television appearances and interviews, interestingly incorporated throughout the film. And, those popular songs of the time, Feelin’ Groovy, I am a Rock, Scarborough Fair (and a glimpse of Simon accompanying a screeching Miss Piggy on the Muppet Show), and some detailed explanations and visuals of creating the score for Mike Nichols The Graduate, and some detail about Here’s to you, Mrs Robinson.

Then, the break with Art Garfunkel, Garfunkel not being interviewed for this film but the director able to use a great deal of radio and television footage. The reasons, personal, professional, the later reuniting, successful concerts in Central Park.

The film also explores Simon’s solo career, Bridge over Troubled Waters, El Condor Passa, as well as many appearances on television shows, especially Saturday Night Live (with George Harrison, with John Lennon…). And this into the 1980s, although the 1980s were difficult, the failure of his semi-autobiographical film with his son, One Trick Pony, a failed album, in the background to his marrying Carrie Fisher, the collapse of the marriage, Carrie Fisher’s explanations.

The second part of the 1980s was highly significant, a visit to Jamaica, discovering reggae, but also a visit to South Africa, working with black musicians, the creation of the Grammy-winning album, Graceland, and the subsequent criticism of his working with the Africans, arguing that he was not critical enough of the apartheid regime. However, his work was honoured, massive concert in Zimbabwe with prominent exiles, Lady and Hugh.

Listening to Paul Simon’s lyrics, watching them written on the screen, we realise how poetic he was, popular, existential, probing, deeply humane, the touch of the mystical, which is communicated very movingly in the creation of Seven Psalms.

Simon was greatly honoured throughout his career, music awards, humanitarian awards. He is considered one of the greatest of popular American songwriters. And the great value of this film is Simon’s own appearance throughout, vigorous in his 80s, an experience of deafness in one ear, seeing and listening to him in constant close-up, seeing him in action, relating to people, creating in 2021 and the following years. Not exactly warts-and-all, but some warts and limitations. But, seeing him creative, peaceful, agreeable, means a happy ending for him and for us.

TURTLES ALL THE WAY DOWN

US, 2024, 111 minutes, Colour.

Isabela Merced, Cree, Judy Reyes, Felix Mallard, Miles Ekkhardt, J.Smith-Cameron, Pooirna Jagannathan.

Directed by Hannah Marks.

Older reviewers need to hold back! This is a film version of a is to Adult (very young) by prolific author, John Green, versions of his novels include The Fall to stars, Paper Town, Looking in Alaska, Let it Snow.. Green, along with his brother, has been a long term Vlogger, using You Tube for video blogs, more than 1 million followers. Presumably, the older reviewers are not part of this region of followers.

This film has been very well received by its target audience, praise for the film keeping close to the novel, focus on characters and their issues. The depiction of the characters, their language, behaviour, is very much that of senior teenagers at school, and here the focus on girls..

For those who are wondering about the title, googling offers an answer: The saying holds that the world is supported by an infinite stack of increasingly larger turtles. Turtles all the way down" is an expression of the problem of infinite regress. The saying alludes to the mythological idea of a World Turtle that supports a flat Earth on its back. It suggests that this turtle rests on the back of an even larger turtle, which itself is part of a column of increasingly larger turtles that continues indefinitely.

This comes up because the central character, Aza, is OCD (channelling the author’s past experiences), beset by self-consciousness about bacteria, infections, what is happening to her inner self, able to communicate with others but always preoccupied, helped by her mother, visiting a therapist, getting some encouragement when she attends a lecture in Chicago by an author she has been following and the two have an encouraging conversation.

But, ordinarily, Aza is at home and at school, always with her best friend, Daisy – a lively screen presence by actress, Cree. There is something of a plot when a local millionaire disappears and a reward is offered, Daisy eager to get the money, urging Aza to investigate because she has known and likes the son of the man who has disappeared.

Sounds like a murder mystery but it is merely an occasion to get to know Aza and Daisy better, for her to get to know the son, Davis (Australian actor Felix Mallard) who in a generous gesture uses the family plane to whisk Aza to that lecture in Chicago as a gift.

So, for the target audiences, no need of a review, just shared texts and blogs between themselves. For parent and grandparent generations, for older reviewers, an invitation to sit back – and show empathy and learn.

1. The title and its meaning? As discussed by the professor, as understood by Aza?
2. The popularity of John Green’s Young Adult fiction, wide range of readers, the various film versions and their impact?
3. The target audience, the younger Young Adult readership? Teenagers? At school? Young adults reflecting on their own team experiences? Older audiences having to adapt to the Young Adult mentality and concerns?
4. The story of Aza, her relationship with her mother, absent father, her voice-over and commentary? The introduction of the OCD themes? The author and his own experiences? Her understanding herself, the infections, her fears, bacteria, her liking herself to the layers of the Russian dolls? Her preoccupations, her fears and the manifestations?
5. Her mother, and soon, care, interactions?
6. Our friendship with Daisy, best friends, for a long time, the contrasting personalities? Audience response to Daisy, her vitality, extroversion, her talk, concerns, her support of His? Her relationships, eyes of the boys? The comedy and the realities of her buying the car? At school, the issue of the missing billionaire, the story, her wanting clues, to earn the reward money?
7. Persuading Aza to go onto the property? Looking for clues? The discovery of the coat? Aza and her knowing Davis from the past, meeting him, the presence of his younger brother, Noah, friendship, the bonding? Her revelation about her condition?
8. Davis, sympathetic, the missing father, the accusations? Is attitude towards his father, his younger brother? The bonding with Aza? Understanding her? The gift of the flight to Chicago, the lecture, Aza responding, her admiration for the lecture, her sitting on the garden seat, Davis encouraging her to talk, shared ideas?
9. Aza, the need for therapy, the sessions with the therapist and her explanations of herself?
10. The break with Daisy, Daisy hurt, but the coming together, bonding again?
11. The future, the discovery of the missing man, the impact from his family, then moving? Leaving Aza, with her mother, with Daisy, some sense of accomplishment, to overcome her OCD, her future?

MOTHER OF THE BRIDE

US, 2024, 88 minutes, Colour.

Brooke Shields, Miranda Cosgrove, Benjamin Bratt, Rachael Harris, Sean Teale, Chad Michael Murray, Michael McDonald, Wilson Cruz, Tasneem Roc.

Directed by Mark Waters.

After so many Father of the bride films, it seems only right to have, even belatedly, to have a Mother of the Bride. And the narrative attraction is always the wedding.

This is a brief, rather slight story, with some moments in London, some moments in San Francisco, but most of the film very attractively in Thailand, in Phuket. (And, the credits list shows that most of the crew for the making of this film were from Thailand.)

Audiences who enjoyed Julia Roberts and George Clooney in A Ticket to Paradise may find the plotline here rather familiar. The romance in the exotic setting, the preparations for the wedding, and tensions between the two central characters with reconciliation.

Brooke Shields served as Executive Producer of the film and it is very much hers, reminding audiences of her long career as a child star, films and television, author. And there is a range of predictable enough characters, the pushy best friend, the pleasant gay couple, the bossy marriage organiser as well as the central couple and their wedding preparations.

Nothing particularly startling, more of an easy, undemanding watch.

1. The title, expectations? Focus on the mother rather than the father?
2. The situation, Emily, in London, her talents, company and sponsorships, remains with RJ, the lavish proposal and setting, Emmy going back to inform her mother?
3. The portrait of Lana, Dr, on the phone, demanding, reassuring the staff, determined? Welcoming Emmy home? The comedy and drama of their interactions, the protective mother, the background of the long dead father, Lauren and her control, Emmy counterbalancing her mother? The information about the wedding in Thailand, all the organisation?
4. The attraction of the ties settings? Full cat?
5. The situation, R and her control, bossy, calling Lana Mumma Winslow, the timetable, the schedule, overriding objections, the location, the costumes and dress, the dancing rehearsals, putting Lana’s toast speech…?
6. The revelation that RJ was Will Jackson son? The meeting up of all the old friends and memories of studies at Stanford? Tensions? Janice and her interventions? The gay couple? The gradual revelation of the story of the past, will walking out, Lana changing her phone number, their marriages, children, 30 years of no communication?
7. Lucas, his presence on holiday, Dr, the contact with recruiting Lana? His romantic interest, stepping back?
8. The ups and downs of the moods, tension between Lana and Will, gradual mellowing, playing of the attraction to Lucas, the dense and Mona Lisa, the drive, stranded, the boat? The crisis and the behaviour at the wedding? The issue of Katrina, her arrival, with the ring, the proposal?
9. Emmy, doubts, discussions with RJ, his love for her, standing up for herself, confronting her mother, the ceremony itself, the pastor, the response, the aftermath, the tensions, the throwing of the bouquet?
10. Everybody watching Katrina’s arrival, the resolution of the situation?
11. The final credits and everybody happily dancing?

MERCY

US, 2023, 85 minutes, Colour.

Leah Gibson, Jonathan Rhys Meyers, Jon Voight, Sebastien Roberts, Anthony Konechny, Patrick Roccas, Anthony Bolognese.

Directed by Tony Dean Smith.

Mercy is a brief action thriller, set in the American city. However, there is an introduction to the central character, a doctor serving overseas, the situation with the soldier struck with bombs, her husband, his excluding the bomb to save her. They have a son.

That the action takes place at the Mercy Hospital, sympathetic doctor, Michelle talented surgeon, pleasant domestic situation with her son’s birthday and the gift of a ball.

In the meantime, the FBI have arrested the presumed he had to a criminal gang, Irish background, who dominate in the city, led by the patriarch, played by Jon Voight, and his psychopathic son, played by Jonathan Rhys Meyers. The criminals ambush the FBI, the son shoots his brother who survives and is rushed to hospital.

Most of the action, familiar enough but always with some tension, is the patriarch and the members of the gang arriving at the hospital, the patriarch wanting a peaceful restitution of his son, the psychopathic son intent on covering his shooting his brother, and with some psychopathic henchmen.

The focus on is on Michelle, Leah Gibson, highly decorated military, martial arts expert, tactics, guns. While she is able to shield the wounded man with the help of a rookie FBI agent, she hides her son in a locker but, he is discovered and becomes the porn for an exchange.

It all builds up to 10 situations, the kindly doctor bomb strapped to him, to intervene with the FBI outside the besieged hospital, hostages, his setting of the explosion to save others. And, within the hospital, the fears, accreditation between father and son, building up to a confrontation between the psychopath and Michele, saved by a swift move by the son.

Brief, popular action.

1. American gangster thriller? The Irish background?
2. The title, the hospital? Themes of mercy and not forgiving?
3. The introduction, Michelle, overseas service, doctor, patience and trauma, her husband, the bomb, is detonating it to save her? At home, surgeons skills? Relationship with her son?
4. Quinn gang, the arrest of Ryan, interrogation, his silence, intended as the heir to Patty? The threats? The FBI? Transporting him, surveillance by the gang, Sean and his intervention, the pursuit, the ambush, the shootout, Sean and his shooting Ryan? The shooting of the agents? Taking the victims to the Mercy Hospital?
5. Dr Terrance, the hospital, friendship with Michelle? Will be on his birthday, the gift of the ball, the plans for the football match? The arrival of the victims? Michelle going to help? Bobby waiting, the encounter with Patty, the friendly talk? The setup for the ambush in the hospital, the siege, and Michelle hiding Bobby in the cupboard?
6. Patty, patriarchal status, favouring Ryan, his criticisms of Sean? The golf game, his associate, the hospital, the interrogations, wanting to find his son? Sean and the gang, the wild young man, his shooting the hospital clerk, and his severing his ear?
7. The contrast with the techniques? Patty, wanting his son, wanting no violence? Sean, covering himself for shooting his brother, his henchmen, the reactions to the shootings?
8. The rookie FBI agent, moving Ryan, Michelle and the treatment, her quick thinking, the attacks, her martial arts schools, and shooting, drawing on her military experience?
9. Confrontation between Paddy and Sean, the truth is told, the anger? The physical conflict, and he wounded, surviving and taken away in the ambulance?
10. The hostages, the threats, finding the clown and his group, joining the others? The security man, initially asking for parking fees, his being knocked out, Michelle want him to disconnect the surveillance? Her skills, hiding Ryan, attending him? The buildup to the confrontations, the deaths?
11. Finding Bobby, his being held as hostages, for the exchange? The final confrontation between Sean and Michelle, his holding Bobby, will be kicking him, Michelle shooting Sean?
12. Popular action material?

ATLAS

US, 2024, 118 minutes, Colour.

Jennifer Lopez, Simu Liu, Sterling K.Brown, Gregory James Cohan, Abraham Popoola, Mark Strong.

Directed by Brad Peyton.

In 2001, Steven Spielberg directed the film, AI. While the reality of Artificial Intelligence was known, it was comparatively early days for the movies to explore the repercussions of AI, of robots, of collaboration between humans and artificial intelligence, conflicts.

This theme has continued very strongly through the following tickets.

In one sense, this is familiar material here. However, with computer-generated effects continually improving, this exploration has its spectacular moments, machines, robots, space travel, battles and conflicts.

However, this is a Jennifer Lopez film. She acts as Executive Producer as well as starring. While there are some supporting roles, especially from reputable actors like Sterling K.Brown and Mark Strong, the main focus is on Jennifer Lopez as a technology analyst, Atlas, is called on to confront a rebel robot threatening humanity through his knowledge, technological skills and the creation of a robot army.

While there is an introduction to the theme, especially the pursuit of a vicious robot, his being trapped and destroyed, yet his head surviving connected to machinery, challenging humans to confront his maker, Harlan (Simi Liu). There is a history between Atlas and Harlan, her mother having created him and the daughter feeling his being favoured over her and her resentment and action leading to potential disaster.

As an adult, Atlas is rather humourless, single-minded, agreeing to go on a mission to the planet where she has discovered Harlan is based.

The latter part of the film, Atlas is contained within the giant transformers -like robot was a very pleasant speaking voice (Gregory James Cohan) and a pleasant manner which she doesn’t respond to well. However, there has to be some kind of bonding for the success of the mission as well as for Atlas becoming more human herself. The interplay between Atlas and the transformer robot, whose name is Smith, bring some welcome lightness of touch to the serious proceedings.

So, a mission, a confrontation with Harlan, mission accomplished – and the world is saved until the next AI human-threatening movie.

1. The popularity of this kind of futuristic science-fiction? Advanced technology, space exploration? The development of AI, I created characters, skills and technology, overcoming humans, creating an army of robot warriors?
2. The photography, technology, space travel, the combat sequences, the transformer like armoured robots, the locations of different planets? The musical score?
3. The mood set with cascade, robot, confrontations, fight, destruction, Atlas confronting him, his body missing, but his head linked to the controls? His later reappearance, the multiple Cascas?
4. The credibility of the situation, the future, the scientists, creating the AI robots, the powers, codes, beyond human capabilities, the revolution, need for the pursuit of the Arch robot, the tactics, the expedition and disaster, at the centre survival, communication with Smith? Atlas and her background with Harlan?
5. The introduction to Gen Boothe, his plans, the discussion with Banks, the difference of opinion, especially towards Atlas? The decision for the expedition, the preparation of the Rangers? The issue of Atlas, her background, her mother is the scientist, her growing up with Harlan, her antagonism? Her role as an analyst rather than a warrior?
6. The introduction to the Transformer -like robots, the sequence with Zoe getting the cup of coffee? Importance of these robots?
7. The expedition, the flight, the attack, the disaster and destruction? Banks disappearing? Atlas, single-minded, humourless, being protected by Smith, Smith and his voice, programmed you human, the directions, wanted them to synchronise, her refusal, the searching of the remains, planning strategies, her being wounded, Smith’s methods of treating the leg? Language, humour, sarcasm – and Smith adapting?
8. There are ultimately bonding, working together, Atlas and her wariness, antagonism towards Harlan? The revelation of the background, her feeling neglected by her mother, her mother favouring Harlan, the antagonism?
9. Harlan, eventually appearing, his control, his abilities, his capture of banks, getting information after torture? Atlas captured, the collaboration with Smith, getting free, Banks and his help? The confrontation with Harlan and his robots, destruction?
10. Atlas, returning, mission accomplished, booths visiting her, her new robot protector – and the pleasant review acquaintance with Smith?
11. The popularity of this kind of futuristic AI scenario in the movies of the 2020s?

THE BEAST/ LA BETE

France, 2023, 146 minutes, Colour.

Lea Seydoux, George Mackay.

Directed by Bertrand Bonillo.

Quite a number of reviewers and bloggers who admire this strange and unusual film state that it is “not for everyone”. And, as this reviewer watched the film, a greater realisation that this time he was part of “everyone”.

On the one hand, writer-director, Bertrand Bonillo, has been very ambitious in the his intended themes as well as in their execution. And, while so many have been intrigued, this reviewer felt rather detached while watching, not drawn into the themes, interesting as they are, and not attracted by the characters and the situations in which they find themselves.

The film opens, in fact, quite arrestingly, the central actress, Lea Syedoux, standing on a plain film set, table with a knife, and the voice-over of the director coaching her for her performance. Then, we are in 1910, an evening in a French salon-gallery, echoes of the Gilded Age, elegant costumes and decor, behaviour, some bizarre male paintings, conversation, and introduction to the musician, Gabrielle (lea Syedoux), happily married, but being shadowed throughout the evening by Louis (in a role originally for French actor Gaspard Ulliel, killed in an accident but now taken by British actor George Mackay, speaking in both French and English).

And then we are in 2044, memories of a disaster in 2025, now a world of AI, taking over the workplace, and a taken-for-granted program whereby humans submit themselves to a process, even just the shutting of an eye, quietly eliminating anything passionate in their nature and they will become calmly and contentedly subservient. Louis is there for an interview. Gabrielle is a strong personality, reluctant to let go any passion.

There is talk of previous lives, their influence, then needing to be remembered, examined, purged. Which means that the other time era in The Beast is 2014, in the US, Gabrielle intending to succeed in a modelling career, house sitting at the time of an earthquake. But the focus now is on Louis, obsessed, photographing himself, an egocentric voice-over, lamenting his inability to relate to women, Savage repercussions on his psyche, an encounter with Gabrielle, a kind of surrender and shocking consequences.

So, another exploration of the consequences of AI and its power for dehumanising. The 2044 era highlights this futuristic science fiction. The 2014 episode is jolting. The 1910 era, which does constitute a major part of the film we have seen many times before.

1. The title, the unseen beast, the beast within? AI and its beastly qualities?
2. Blend of drama, historical drama, contemporary drama, futuristic scenarios, the rule of AI, control of human life?
3. The intentions of the writer-director, the future and AI, the present, the influences on past, previous lives, the influence of the past and the present? Continuity? Differences? The future situation, AI in control, doing the work, the unemployed, the effect of brainwashing, purging the memories, purging emotionality, human behaviour but robotic?
4. The time eras, the opening with the actress being directed, playing, the green screen background, the table with the knife, the voice of the director, the response of the actress, her performance, dramatising, the beast, the knife? The later reference repetition of this scene?
5. The 1910 sequences, elegant society, socials, costumes and decor, formalities, the gathering, the conversation, the art exhibition of the artist, the naked man, the comments? The repetition of these sequences throughout the film?
6. The introduction to Gabrielle, musician, her husband, the relationship, devotion? The encounter with Louis, his age, in comparison with Gabrielle, his following her, the conversations, memories of Rome and Madame Butterfly, or Naples, or their never having met? The range of the conversation, the attraction? The development of the relationship in later sequences, going to Madame Butterfly, leaving early, the discussion about the dolls, Gabrielle’s impassive face as the model for the dolls, the symbolic dolls and human creation? The factory, the floating, the images of Paris being flooded, Gabrielle and Louis together, her husband and his business, the spark, the fire, the attempts to escape, the locked exits, the couple drowning?
7. The 2014 sequences, Gabrielle in the US, modelling and sessions, her minding the house?
8. Louis, more prominent in this sequence, his image of himself, photographing himself, his explanations of himself, self-importance, relationship with others, his lack of relationships with girls, a virgin, upset? The earthquake and the consequences for Gabrielle, the owner phoning and broken vases? Her going into the street, wanting companionship, talking with Louis, his resistance, the man in the street, the sexual encounter, her imagining Louis, ousting the other man? The buildup of the relationship? The pool, Louis talking Gabrielle, the shooting?
9. 2044, the modern mansion, the pool? Gabrielle and her work, touching the monoliths for temperature? Her interview, wanting something more? The situation, AI and control, the anonymous voice and interview, the process of eliminating the memories and their influence? The passion? The interview sequences, Gabrielle and going to America, the Civil War, 1910, 2014? The process of elimination not working? Her strong feelings? The encounter with Louis, ordinary, going to the interview, the later meeting, in love, passion, the possibilities, Louis manifesting that he had gone through the process, working for the State, loss of passion? Gabrielle in collapse and usually distress, her being the exception, the prospect of her future?