Displaying items by tag: Peter Malone's Movie Reviews

THE OLD OAK

UK, 2023, 113 minutes, Colour.

Dave Turner, Ebla Mari, Claire Rogerson, Jen Morrison, Trevor Fox.

Directed by Ken Loach.

Director,  Ken Loach, has been the foremost UK filmmaker on social issues. His first feature film, Cathy Come Home, appeared in 1967. The Old Oak at a screening at the Cannes Film Festival, 2023, just before Loach turned 87. So, in all probability, this is his last film, 55 years of exploring and promoting justice issues. In fact, he is the film director who was won most awards from Catholic Officers and Ecumenical juries.

He is in the north of England, Durham County. It is 2016. This is the year of the Brexit referendum vote, though it is not mentioned, but the criticism of its policies are very clear. It is also the period with a large number of refugees fleeing the Middle East, especially Syria, and decisions being made by European governments. This is not a film that would get the support of Nigel Farage and his followers.

As with so many of his films, Loach uses locals, many non-actors, for his authentic-looking-and-sounding cast. In the leaders Dave Turner (who did appear in I, Daniel Blake and Sorry, We Missed You, Loach’s previous two films). He is TJ, the owner of the local pub, The Old Oak, with its back room full of photos from the mining strike days, frequented by some of the old locals, rather depressed with his wife and child leaving. However, he helps out with some of the local charities.

And, we see him with a Syrian refugee family arriving in the town, the daughter, Yara (Ebla Mari in her first film), who has learned English and speaks it will, does the translations, a photographer – and, immediately one of the harassing locals takes her camera from her bag, fools around with it, breaks it. Yara later goes to TJ for some help and advice about her broken camera. This begins a strong friendship.

On the one hand, there are the old boys from way back, always at the pub, yarning together, hostile to the newcomers, wanting a meeting to discuss the issues – TJ refusing to let out the room. However, he does allow for local charities into the room, cleaning up, establishing a kitchen, providing meals for locals in need, especially of the refugees. He is helped by the very earnest, Laura.

Because the Cathedral at Durham is contributing to the charity, TJ and Yara visit the Cathedral, her first glimpse of something of the Christian tradition in architecture and worship, listening to a choir practice. (Since 1996, Ken Loach’s constant screenwriter is Paul Laverty, for some time in a seminary and the Scots College in Rome, who has brought a sense of spirit, spirituality and the transcendent to Loach’s films.)

Commentators have noted that there is more sentiment in this film than in many of the previous Loach films, and, indeed, despite all the problems and the antagonisms, a final sequence of everyone coming together, a huge banner and, during the final credits, a continuing protest/affirmation procession through the town.

A tribute to Ken Loach and his 55 year cinema career – and the issues he has espoused.

1. Final work of Ken Loach? Over half a century of social concern, forthright on issues?
2. The north of England, County Durham, the history of the mines, the closure of the mines, the consequences? The people of the village, long lives there? Migrants, hostile attitudes, racist attitudes?
3. The town setting, streets and houses, shops, the vistas of lines of similar houses, interiors, the musical score?
4. The title, the pub, the bar, the customers, the back room, disorder, cleaning it, using it for charity? The symbolism of The Old Oak?
5. 2016, Syrian migrants, all over Europe? The plight in Syria, violence, bombings, deaths of civilians, the migrant treks, the response in other countries of Europe? England?
6. Introduction to the family arriving, TJ and his help, the jeering onlookers, taking Yara’s camera, fooling around, breaking it, her reaction, tears? The Syrian background, language? Going into the house?
7. TJ and his story, his age, running the pub, the regular customers, going to school with Charlie, Charlie and his invalid wife, the chatter in the pub? Maggie as his assistant? His personal story, his wife leaving him, his son not speaking to him? The flashback to his attempted suicide, the arrival of the dog, fond of the dog, the walks, the threat of the big dogs and the boys, the dog racing into the woods, mauled to death, TJ and his grief, burying the dog on the seashore?
8. Yara, the visit to TJ, help with the camera, his taking her into the old room, the range of photos from mining times, solidarity, protests, those who eat together stay together…? Admiration? Yara, her age, story, learning English, speaking well, translating? Her place in her family, the absent father and the photos, the mother, the younger children, the boys at school, the bullying of the boy at school, its being on social media? Their life at home, managing? Other Syrian families in the town?
9. The scene with the children and the relay race, Linda and her collapse, Yara helping her, taking her home, in the kitchen, her mother arriving, severe response, ousting her? Her later coming to apologise, bonding, getting Yara to the hair salon to take the photos, the mothers’ later support, Linda and the flowers at the end?
10. Laura, charity work, friendship with TJ, delivering the parcels, people grateful? The help from the Church in Durham? Laura, discussions with TJ, the decision to redo the room? The resentment of the men in the pub, wanting to use it for a meeting about the migrant issues? TJ refusing because of repair and insurance? The exuberance of the renovation, the electricity, the kitchen, the crowds coming, the meals, the range of people, children? The collapse, the water and the flooding – and the young man revealing that the pub drinkers were responsible, TJ going to confront Charlie? And Charlie with his wife appearing at the end in support of the migrants?
11. The photos, Yara and her skills, the exhibition, the crowd, the musical accompaniment?
12. The visit to Durham Cathedral, Yara and the explanation of the Cathedral, the building, her visit, the choir practice, and TJ sitting in the Cathedral?
13. The Solidarity banner, huge? The promotion?
14. TJ, the collapse of the roof, the flooding, his exasperation, despair, going to the water, Laura rescuing him?
15. The finale, the celebration of the death of the father, the photos, the flowers, the tribute, the crowd?
16. The final credits, the flag and banner, the procession, Ken Loach’s final film and final images of hope?

THANKSGIVING

US, 2023, 107 minutes, Colour.

Patrick Dempsey, Rick Hoffman, Nell Verlaque,, Gina Gershon, Milo Manheim, Addison Rae, Karen Cliche, Ty Olsen, Jenna Warren, Tomaso Sanelli.

Directed by Eli Roth.

The poster look sinister – echoes of Halloween, Friday the 13^th, Scream… And, wise advice at the opening of a review, this is what is called a “slasher” movie, characterised by frequent gory deaths and gruesome climaxes. For fans, a definite yes. For non-fans, a definite no.

Eli Roth is noted for his horror films, a 20 year career, Cabin Fever, Hostel and the more family friendly, The House with Clocks on the Wall. Thanksgiving is certainly one of his best films.

America has had Halloween at the end of October, Thanksgiving is in the third week of November but the horror emphasis here is on the shopping sprees on Black Friday (which has migrated to Australia even with, the Sunday before, pre-Black Friday sales!) One reviewer noted that the Black Friday sequence emphasises the Blackness!

In fact, the screenplay for Thanksgiving is quite clever, more thoughtful than many of the slasher derivatives. While it starts with a dinner and an introduction to key characters, the host, the owner of the store which is opening for Black Friday sales, alarm bells ring loudly as vicious hordes line up at the barriers to the store, the manager trying to calm people, 10 minutes to opening… But, some of the young people at the dinner join with school friends, use their privilege and get into the store, taunting the outsiders from within. The scenes of mayhem when the crowd breaks through, smashes the door, tramples the attendant, brutally grabbing goods, smashing people, injuries and deaths, are extraordinarily alarming in their violence as well as this vision of American consumerism and greed.

Then, one year later…

The characters have been rather better established than in many of the other films, the adult generation of shop owner, wife, the benign sheriff of Plymouth, Massachusetts, where it all takes place. Then there is the younger generation, several loud in their way, others more sympathetic, led by Jessica, the daughter of the owner (Nell Velaque, reminiscent of young Julia Roberts), her boyfriend who is caught up in the mayhem and his rival who is keen on Jessica. When the murders starts, they are two obvious suspects.

This is a murder mystery, a surprise final revelation, though the motivation is strong but does not seem to warrant the violent mayhem.

With the setting of Plymouth and the celebration of Thanksgiving and memories of the Pilgrims, the screenplay is shrewd in introducing a mask, but that of the Mayor of Plymouth, John Carver, and his black robes. For those of us who are disgusted with the violent crowds on Black Friday, we are not so sorry when some of them are the immediate targets for the gory killings. And the killer setting up a video (lots of use of phones and videos here and tracking devices) Thanksgiving table with place names for all the targets, and several heads appearing after the murders.

There are threats, abductions, incarcerations, the sheriff doing his best to solve the situation, Jessica and others trying to help, but some grizzly episodes nonetheless. There is a Thanksgiving day parade, turmoil, more abductions, and a final scene at the mock Thanksgiving meal.

No spoiler to know that Jessica is going to be the heroine. But, the perpetrator is a surprise. And a momentary trick final sequence which, of course, turns out to be a moment of Jessica’s nightmare!

1. The reputation of Eli Roth, horror films? Critical acclaim for Thanksgiving?
2. The American tradition of Thanksgiving, the pilgrims, the meal, the celebration, the tradition, Thanksgiving meals, processions, costumes and floats? The later sales tradition of Black Friday? The impact for an American audience? Outside the US?
3. The town of Plymouth, Massachusetts, the traditions, the Pilgrims, John Carver as the governor?
4. The film as a “slasher” movie, for slasher audiences, not for those who do not appreciate the violence, Gore, deaths, the grizzly climax?
5. The initial dinner, the father owning the store, his new wife, Jessica and the resentment, going to the movies with Bobby, the presence of the mayor, the manager and his wife? Leaving the dinner, going to open the store?
6. The Black Friday sale, the crowds, the barriers, 10 minutes to go, friendship, fanaticism, brutality, swearing and abuse, the leader and his shouting, the security guard, the picture of materialism and consumerism, greed?
7. The group of young students, Jessica and her relationship with Bobby, Ryan and his attentions, Scuba and Yulia, Fletcher and Gabby? Arrogant, going into the store, the reaction of the crowd, their taunting from inside the store?
8. The crash, breaking the barriers, the security guard at the door, the key, his being crushed? The violence? Amanda, her being brutalised, her death? The aftermath, the arrival of the sheriff, his control, the members of the police force?
9. Audience attitudes towards the shoppers, especially the bartender, a year later, in the bar, the attack, the freezer and her face, the bin and her death, her torso on the sign, the visuals of the Thanksgiving dinner, the places and names, her head? The later killing of the security guard trying to escape, his head?
10. The sinister figure, the horror movie tradition, the mask, the irony of the pilgrim governor?
11. The range of killings, the pursuit of the youngsters, Yuliya and her father and his assistant, her death? The abduction of Fletcher and Gabby? Scuba and Jessica, helping, relying on the police, out on their own?
12. The issue of Thanksgiving and the new Black Friday, opening the store, the owner, his clashes with his daughter, praising Kathleen, reconciliation with Jessica, deciding not to open the store? Kathleen, her reactions?
13. Bobby, his return, suspect? The alienation from Jessica, reuniting, talking, working together, yet still a suspect?
14. Jessica, her relationship with Ryan, his smug attitudes, suspect?
15. Fletcher, with Jacob and his association with the gun seller? Scuba and Jessica buying the gun? Fletcher and his getting Jacob to do his assignment, his reading it in class, tricked, the teacher and her writing blog?
16. The role of the sheriff, pleasant personality, in charge, his team, the expert on IT? Pinpointing where the captives were? The sheriff and his plan, the parade, after the parade, the empty building, the police?
17. The parade, the attack, the violence in shooting, the abduction of the family? Kathleen and the cooking?
18. Jessica, Scuba, being tied up, the confrontation, severing the bonds, the escape?
19. Jessica and discussion with the sheriff, his shoes, the clue, the revelation, his motivation, Amanda? Jessica and her shrewdness, the gas in the large figure, firing the weapon, the explosion, her escape? Everything on video?
20. Bobby, Ryan, Jessica – and Jessica’s nightmare?

THE BALLAD OF LEFTY BROWN

US, 2017, 111 minutes, Colour.

Bill Pullman, Kathy Baker, Peter Fonda, Stephen Alan Seder, Joseph E Anderson, Lewis Pullman, Joe Anderson, Tommy Flanagan, Jim Caviezel, Diego Josef, Michael Spears.

Directed by Jared Moshe.

With a title including the word, ballad, this is a Western with a difference, a celebration of the past, a critique of the past, the song of a legend. However, the legend is a very limited man, Lefty Brown, played so expertly by Bill Pullman, always on the side, shot in action, a limp which led to the nickname Lefty.

Montana, 1889, a film with beautiful landscapes.

The frontier is changing, Peter Fonda playing a candidate for Congress, Jim Caviezel playing the governor, Tommy Flanagan playing the Marshall, all of them riders in the past together.

When the Congressional candidate is killed, he and Lefty apprehended horse thieves, Lefty is blamed by the Congressman’s wife, Laura, Kathy Baker. Lefty then goes on a mission to apprehend the killers only to find that he is being blamed for the death.

So the ballad continues as Lefty rides through Montana, in search of the killers, coming across an eager young shooter with talent, Jeremiah (Diego Josef) and the two bond. The Marshall goes in pursuit of Lefty to save him from breaking the law – but is persuaded by Jeremiah to become part of the search.

One feature of the action here is the arrival of the killer, Frank Baines (Joe Anderson), gunfights, Jeremiah saving Lefty, other horsemen arriving and the link made with the governor.

This builds up to a final confrontation, Lefty confronting the governor, the governor explaining the situation why the Congressman had to die, his opposition to a railroad deal – and Laura overhearing it, wanting vengeance but Lefty taking the treatment of the governor into his own hands to save Laura from the law.

Something of a slow burn, very good cast, the top performance by Bill Pullman – an underrated Western.

1. The tone of the title, the western story, but a legend in ballad?
2. Montana, 1889, the visuals of the mountain landscapes, the open plains, the town? Interiors, homes, bars? The rugged terrain? The musical score?
3. The Western frontier, the 19^th century, the frontier lessening, politics, deals, the railroads? Yet the gunfighters, guns for hire, lynchings, murders?
4. The situation, Lefty and his friendship with Ed, Ed moving to Congress, relationship with Laura, the missing horses, the two going to find them, the ambush and Ed’s death? Lefty surviving, returning, Laura blaming him for not protecting Ed? Yet Ed, and his ruthlessness, hangings?
5. Lefty and his decision to find the killers, his always being a second, illiterate, meaning well? Bill Pullman’s performance? Riding the range, searching for clues, the encounter with Jeremiah, Jeremiah and his age, ambitions, Western traditions, bonding with Lefty?
6. The governor, the Marshall, the past, the riding with Ed and Lefty? The Governor and his smooth manner, supporting Laura? The Marshal, his drinking, riding to protect Lefty, the interactions with Lefty and Jeremiah, Jeremiah and the stories, persuading him to help?
7. Frank Baines, the killer, his gang, for hire, motivations, the attack, the wounding of Jeremiah, the fights, the escapes, Jeremiah shooting Frank?
8. Jeremiah, his wounds, Lefty looking after him? Jeremiah moving into action, saving Lefty?
9. The riders, the recognition of a rider from the Governor? Lefty and the decision to return?
10. The confrontation with the Governor, his confessing the truth, Laura overhearing, the deals with the railroads, Ed’s opposition, the Governor hiring the killers?
11. Laura, her antipathy towards Lefty, wanting him to die? Discovering the truth, wanting to take the law into our own hands concerning the Governor?
12. Lefty, Justice for the governor, rituals of hanging, Lefty not wanting Laura to be involved, executing justice – going on his way, expecting to finish in prison?

CHRISTMESS

Australia, 2023, 99 minutes, Colour.

Steve Le Marquand, Darren Gilshenan, Hannah Joy, Aaron Glennane, Nicole Pastor.

Directed by Heath Davis.

The Christmas spirit manifests itself in many different ways. Most Christmas movies are cheerful shows, generally entertaining for the whole family. This film is a bit different as can be seen by the title, and audiences wondering what the mess will be that this Christmas will bring.

In fact, this is a seriously themed film, with some funny moments, and with a lot of heart, looking at drug and alcohol addiction and rehab. Given this theme, it is inevitable that there will be some mess at Christmas.

This is a very Australian film, characters and tone, situations, the work of writer-director, Heath Davis (this reviewer praising his fee previous films, Broke, Locusts, Book week). It was all filmed at Campbelltown, just south of Sydney He has worked before with Steve Le Marquand and has invited him to portray Chris Flint, middle-aged, a television star, even with a Silver Logie, who has been self-indulgent for decades, drugs and alcohol, down and out, alienated his daughter whom he hasn’t seen for 20 years, and we meet him just as he has dried out and has to go to a halfway house.

In fact, most of the action takes place in the halfway house. Initially Chris meets Joy, in rehab, a singer with hopes for publicising her songs (Hannah Joy). Then he meets Nick, a very genial Darren Gilshenan, who works in a shelter but cares for and supports Chris and Joy in their quest for complete rehabilitation, the audience going along with Chris and Nick to a very moving AA meeting. There are enjoyable moments at meals, watching TV, a photograph with Chris and his Santa clothes, and a rehearsal of how Chris might go to Noelle’s house and tried to reconcile.

And, it’s Christmas, with Chris able to get a job at the local mall as a Santa, but he can’t bring enough acting skills to the role and it is all upended when his daughter and her son arrive for a photo opportunity.

There is talk about Christmas, the Gospel basis, the singing of the carols, and the hopes of good cheer amongst everyone. However, the people living in the street of the halfway house resent the newcomers lowering house values and prices and refuse to help Chris with the Christmas turkey which he is trying to prepare when, after some are some negotiations with his daughter, Nick a great help, she decides she will come to Christmas lunch. And, symbolically, her name is Noelle.

Just as we might have thought that this will be absolutely heart-warming, a Christmas gift movie tied with a bow, there is the reality of the temptation to relapse, the pressures of addiction over the years, the blows to self-confidence, the difficulties of relationships…

So, Christmas in a realistic setting, a mixture of joy and sadness, quite a quietly devastating moment of sadness when Nick explains to Chris why he has committed himself to supporting those in rehab.

But, hopeful, if rehabilitation can be once achieved, why not, even with deep struggle and pressure, again?

1. The title? The tone? Christmas spirit?
2. The location, Campbelltown New South Wales, suburban, the streets, homes, centres, shopping malls? The musical score? Christmas songs? Joy’s songs and the lyrics?
3. Chris’s story, initial impression, with the doctor, ending his time in rehab, keeping sober, going to the halfway house, ringing his agent, stranded, arriving late, meeting Joy and her reactions, Nick is the carer? Explanation of his background, TV actor, Silver Logie, drugs, drink, no mention of his wife, not seeing his daughter for 20 years?
4. The halfway house, the neighbours and their hostility, especially refusing to help with the Christmas dinner, the brownies’ dealer and his throwing out the turkey (and the final revenge by putting the dead tree in his bin)? The regime, Nick and his work at the shelter, his abilities with rehab, the rules in the house, no lying?
5. Nick, genial personality, relationship with Joy and Chris, his rules, work at the shelter, issues of the meals, watching TV, Joy singing, Chris and his moods? The issue of the cooking, the barbecue, Chris bringing the gas? The sausages and the vegan sausage?
6. Looking for a job, the notice about the Santa, Nick driving him, the costume, trying it on, the photo with Joy and Nick and its later reappearances? The welcome, the woman photographing the children, his looking bored, smoking, reprimands? Noelle and her arrival with her son, her reaction, his pursuing them, fired?
7. The AA meeting, the members and their stories, moving to listen to?
8. The discussions about Noelle, the rehearsal seen about going to the door, the three going, the bad reaction, Nick going to the door, getting some kind of agreement? Christmas Eve, joy and her singing, seeing her girlfriend and her breaking down, Chris enjoying the evening, talking with Noelle, her thinking about coming to the lunch?
9. The neighbour with the brownie, Chris out of it, the up and not working, the rejection by the neighbours, the ham, the hamburgers, Noelle not coming, waiting, Chris and his exasperation, taking the drugs hidden in the Bible, with his daughter’s photo, drinking the vodka, finding it in the car, blaming Nick with his bruised face?
10. The rules, Chris having to leave, the initial lie about his family and his stating that he did that before arriving, but breaking rules with the drink and the drugs, the truth about Nick and the assault and his taking the vodka from the drunken woman?
11. Nick, the true story of why he was a helper, trunk, the death of the child?
12. Chris packing, leaving, the bond with Joy, helping her with her songs, the farewell to Nick, going into rehab – and some hope for the future?

A SAVAGE CHRISTMAS

Australia, 2023, 92 minutes, Colour.

Thea Raveneau, Max Jahufer, Helen Thomson, David Roberts, Ryan Morgan, Darren Gilshenan, Gary Sweet, Rachel Griffiths.

Directed by Madalyn Dyer.

The title is correct. First of all, because the family name is Savage. Secondly, the interactions between members of the family are often quite savage.

This is a Christmas story, the familiar tale of a family gathering to celebrate together. But, as with those so many stories of families gathering together for a meal and interaction, some of the behaviour and attitudes can be quite upsetting.

We are immediately introduced to Davina and Kane (Thea Raveneau and Max Juhafeer, Max being one of the script writers) walking up the drive of Davina’s parents’ property. We are instantly alerted. The couple look to be transgender. And they are. And, we realise that this will be significant for the Christmas discussions, especially as we learn that Davina has not been home for three years and her family has not yet met Kane, her partner, a vet.

When we meet the parents, played by Helen Thomson and David Roberts, we are immediately put on the critical alert. They seem something like caricatures of wealthy people, self-absorbed, making a fuss hoping that Christmas will go well. We have glimpsed their oldest son, Jamie (Ryan Morgan), being physically threatened to pay back a loan. We have seen their daughter, LeIa (Rekha Ryan), on the phone, being abandoned by her husband and children. And, here they all are for Christmas.

While we are curious about Jamie and Leo, it is being relationship between Davina and her parents that is all important. On their Christmas tree, there are photos of their children when they were young, Davina a top footballer, David, in his school days, destined to be a champion, the pride of his father who was also a football champion. Jamie did police work but now wants to be a songwriter, rapper. Leo is upset, trying to show a brave face in pretence.

When Jamie wants to get money from his parents’ safe, he discovers a number of letters, indicating that David and Leia were adopted, Leia not knowing this till now. Added to the party is the over-cheerful uncle Dick (Darren Gilshennan) who also reveals some family secrets. And, if this was not enough, the bully threatening Jamie turns up for the dinner, and played by Gary Sweet.

The rest of the action is a combination of the violent and the farcical, and much of the action transferring to hospital after the set-to. And Rachel Griffiths as an overworked nurse. But, and this does not always happen of course, there is the possibility for some truth-telling, some admission of feelings, some possibilities for reconciliation. (But continuing the farcical tone where the father’s prized football medal is enough guarantee for repaying Jamie’s loan – except that the mother’s pet Chihuahua has swallowed the medal, everybody participating in an anxious vigil.

Underneath the satiric and sometimes farcical presentation, the film is urging audiences to think more deeply about identity and relationships.

1. The title? Expectations, savage tone? Christmas spirit?
2. A Christmas film, family reunion, Christmas dinner – this Savage family, savage interactions?
3. The location, the property, the drive, the house, the grounds, the interiors? The hospital? Musical score?
4. The opening, the property, the drive, Davina and Kane arriving, walking? The into cutting of Peter and his demands on Jimmy? James and Brenda, owning the property, wealth, the new, the initial impression for the audience, the arrival of Jimmy Jr, the arrival of layer, her previous phone call and her husband not coming, the arrival of Dick, Santa Claus, the Christmas snow? Impressions of the family?
5. The transgender theme? Divina, the change, background is David, champion football player, her father support and dreams, adopted, coming out, career, the television chef show, the relationship with Kane, Kane Tran is, vet? The relationship? Acceptance, clashes, the Christmas tree with the photos of the children? Presence at the dinner, interactions, Kane and the Sri Lankan dish, Brenda getting the dog to eat it?
6. The revelations, Jimmy needing $20,000, layer opening the safe, no money, finding the letters, the discovery of the adoption, the effect on layer? Jimmy, police work, becoming a rap singer, bursting into song? The revelation that Dick was his father, the effect on Brenda, on James?
7. The arrival of Peter, his demands, the gun, the threats, at the table?
8. James, his reputation as a footballer, Divina as David, playing the football match?
9. The interactions, comic, satiric, the violence, the chandeliers and Brenda, Divina overpowering Peter? Dick and his being hurt? Calling the ambulance?
10. The hospital, the cameo by Rachel Griffiths is the nurse, worn out, saying Brenda had gone, meaning upstairs? Brenda and her recovery, Peter in the next bed, his sons present, dig in the further bed? Interchanges?
11. The issue of the medal, Peter wanting it, the presence of the dog, Brenda’s pet, taking all the tablets, swallowing the medal, finally getting the medal?
12. The final part of the film, all the resolutions, bonding, admitting the truth, a future?

ASIA

Israel, 2020, 85 minutes, Colour.

Alena Yiv, Shira Haas, Tamir Mula.

Directed by Ruthy Pribar.

Asia is a multi-award-winning film, at Sundance, many awards in Israel, Oscar nominee for Best Foreign Language Oscar.

The running time is only 85 minutes, time to establish two central characters, the initial focus on Asia, mother at 17, fleeing Russia and the father of the child, settling in Jerusalem, working efficiently as a nurse, in a relationship with one of the doctors, but going to bars, drinking, pickups. There is also the focus on her daughter, teenager, mixing with teenagers, drinking, dancing, flirting, meeting at a skateboarding arena.

There is distance between mother and daughter. However, the film focuses on the growing illness of the daughter, her mother’s increasing care and concern, sensitive sequences between the two because of the health and disabilities, a small subplot where they are concerned about the daughter’s sexual experiences, the mother persuading a trainee nurse at the hospital to have a relationship with her daughter, the daughter’s reaction, the nurse’s embarrassment at the experience.

In many ways, this is a rather grim film, especially with the prospects of the daughter, but hopeful with the transformation of the mother.

The film has feminine sensibility, especially with the writer-director, and the two leading ladies, filmmaker Alena Yiv, and rising star, Shira Haas (so effective in the miniseries, Unorthodox).

1. A Jerusalem story, vistas of the city, homes, skateboard arenas, hospitals, clubs and bars? The musical score?
2. Multi-award-winning in Israel, Oscar nominee?
3. The title, the focus on Asia, her story, from Russia, pregnant at 17, leaving Russia, settling in Jerusalem, working as a nurse, interactions with the patients, with the staff, her affair with the doctor, going to bars, drinking, pickups?
4. Asia and her daughter, Vika, age, at the clubs, her friends, drinking, dancing, the skateboarders, flirtations? Her relationship with her mother, distant? Living together, tensions?
5. Vika and her illness, sudden, for a teenager, debilitating, going out, her friends? Care from her mother, the growing bonds, talking, care? The sexuality issue, her mother’s concern, her friendship with the nurse, his being in training, ambitions for qualifications, her setting him up with her daughter, the awkwardness of the situation, Vika’s response, his embarrassment?
6. The brief running time, the establishing of the mother-daughter relationship and its improvement, the characters, issues of health dying? Insights into mother-daughter experiences?

GENIE

UK/US, 2023, 93 minutes, Colour.

Melissa McCarthy, Paapa Esiedu, Denee Benton, Jordyn McIntosh, Alan Cumming, Mark Maron, Tate Ellington, Luis Guzman.

Directed by Sam Boyd.

Let’s imagine. We have three wishes for a Christmas film. Would you wish for a family theme? Of course. Would you wish for some magic and fantasy? Again, of course. But who would you wish for to play a genie? Maybe not, of course, Melissa McCarthy. But, then, why not? And here she is (perhaps something of a distant relative to Robin Williams in his Aladdin mode).

But, stop a moment! If you are in a sophisticated frame of mind, wary of sentiment, certainly not wanting anything very “very nice”, and if you demand down-to-earth realism, don’t come near Genie.

On the other hand, if you are in a happy mood, no objections to sentiment, niceness, improbabilities instead of realism, why not meet Melissa McCarthy as Flora McAllister, a genie in a box for 2000 years, suddenly released in New York City, the 2020s, adapting extraordinarily instantly, accent and contemporary vocab, some momentary flashbacks to her being condemned and boxed by an evil sorcerer, and her happy mentioning that she had met Jesus in his time, Cana, loaves and fishes, and now told that he was the son of God when she thought he was kidding!

There is a lot of this kind of dialogue, plenty of sentiment, plenty of goodwill, plenty of niceness – and, surprisingly written by Richard Curtis, a remake of his 1991 film, Bernard and the Genie, after a good number of of Blackadder comedies and well before Four Weddings, Knotting Hill and, is Christmas show, have a popular, Love, Actually. (Probably lots more Blackadder here then Love, Actually.)

So, a family story, very familiar, father caught up in work, put upon by his smarmy boss, played by Alan Cumming (who actually played Bernard in the original). Bernard is forced to miss his daughter’s eighth birthday, his wife dismayed, deciding to go to her mother’s, as always seems to happen. Bernard is played by British actor, Paapa Essiedu, looks and sounds very much like Chiwitel Ejiofor. He finds a box, rubs it and hey presto (or something equivalent, here is flora the genie.

If you enjoy Melissa McCarthy on screen, you will very much like her here, much the same, lots of wisecracks, extraordinarily American after 2000 years in the box, providing plenty of wishes for Bernard, allowing a lot of backtracking on wishes, going off with Bernard on a shopping spree, extravagantly wishing, a kind of consumerist Christmas – though Bernard explains to Flora that Christmas has become too commercialised and that is where he starts to explain to her about Jesus and Christmas and she does her reminiscing about him.

You don’t have to be Einstein or Shakespeare to know where this is all going. The point is just to enjoy the fantasy, hope that Bernard will be reconciled with his wife and daughter – and enjoy some comic situations along the way, the wish that the Mona Lisa be in the apartment in exchange for a football jersey souvenir (Bernard not realising that the real one will switch from the Louvre to his apartment with consequent police investigations!), And Flora going to the movies, swept up by the action of a mission impossible film and getting the most enormous crush on Tom Cruise!

Yes, it is very light, perhaps a bit silly, but, apart from the vociferously condemning serious-minded bloggers, a bit of enjoyment for the Christmas season – and all through the year!

1. The title, expectations, Genie stories, precedent genies like Robin Williams?
2. Writing by Richard Curtis, his original film, his long tradition in writing British comedy?
3. The New York settings, the city, views, apartments, the streets, the markets, shops, movies? The musical score?
4. Bernard, a nice man, his employment, his boss holding him up, the smarmy boss and his money, forcing Bernard to work, his being late, the present for his daughter, missing her eighth birthday, the reaction of his wife, the decision to move to her mother’s? The familiar situation?
5. Bernard, the box, rubbing it, Flora McAllister appearing, in the box for 2000 years, Melissa McCarthy and her comic style, repartee, very American, jokes about her appearance, changes of clothes, discovering pizza, the shopping, big car, going to the movies, the crush on Tom Cruise? Her explanation of the wishes, unlimited, not just three, able to reverse? Her appearing and disappearing?
6. The family story, Bernard and his discovering his limitations, love for his wife, outings with his daughter, the gift of the huge dolls house, the meals together? The comic sequence of his own family all turning up and being given three wishes, even the wish that one of them go to Hell, and reversed, still charred?
7. Lenny, at the desk, his theory of parallel worlds, friendly with Bernard, his family, chatting up Flora, and the comic ending with him leaving, doing his own work, and Flora in the kitchen!
8. The buildup to the climax, Bernard dismayed that his wife still wanted time, reappraising his wishes?
9. The wish for Flora to be free? And his wish that he could start again, the jokey wish that his boss donate millions from his personal account for British and his dismay? The boss trying to hold him up, Bernard telling him off, resigning, going home, the delight of his wife and daughter?
10. The 2020s Christmas fantasy?

QUEEN MARIE

Romania, 2019, 115 minutes, Colour.

Roxana Lupu, Daniel Plier, Richard Elfyn, Patrick Drury, Ronald Chenery, Adrian Titieni, Anghel Damian, Karen Westwood, Nicholas Boulton.

Directed by Alexis Cahill.

For some distribution, the “of Romania” is attached to Queen Marie.

This is a Romanian story, World War I, the aftermath, 1919 and the Versailles conference and its decisions about the unification of Romania. This is a film very much for Romanian citizens to look at their past, for people in Europe. In many ways, it is a curiosity item for audiences outside Europe, events of 100 years earlier.

Marie is a strong character, a granddaughter of Queen Victoria, giving up her home and family to go to Romania, marrying the king, having five children, something of a brittle relationship, culminating in the war experience, a treaty with the Germans which was not ratified by the King but held against Romania by the Versailles conference.

There is enough about Marie’s personality, strength of character, relationship with the King, attracted to a Prince, clash and hostility with her oldest son, intervening in his life to dismiss his mistress if he was to be king, favouring her younger son but his turning against her at the end because of his education in England and wanting to stay there.

However, the focus of the film is very much on Romania itself and the Queen’s commitment, the difficulties of the Prime Minister being ignored at Versailles, her decision to go, mixed reactions from the cabinet, the King permitting, her son spurning her. She goes by train to Paris, applauded by the people in Romania, welcomed in Paris, press conferences and questions, an emphasis on what was criticised as a holiday, the comfortable hotels, the meals, a visit to England to meet King George and Queen Mary, her son.

However, the film shows her strength of character, forcing a meeting with the French Clemenceau who is eventually being charmed, the rude behaviour of Lloyd George and her challenging him, it is Wilson, Woodrow Wilson’s wife, organising a meal and the very strong opinions and domination of Woodrow Wilson, yet her challenging him.

Marie returns home, her son publicly spurning her, the king seeming  not to support her, her withdrawing with her daughters to a country estate – and the king finally coming, declaring his love for her his way, a reconciliation, then revealing the news that she had been successful.

There is contemporary film footage at the opening of the film, the Austro-Hungarian Empire and the war, and footage at the end with the coronation of Ferdinand and Marie as king and queen of a unified Romania.

1. Audience knowledge of World War I, the place of Romania, German occupation, treaties, Versailles conference? Decisions?
2. Impact for a Romanian audience, European audience, outside Europe?
3. The introduction, the contemporary footage, the outbreak of war, the Austro-Hungarian empire, the place of Romania? The contemporary footage at the end, the decisions for Romania, the coronation of Ferdinand and Marie?
4. The settings, costumes and decor for the period? Locations, palaces and mansions, interiors? The Paris settings, the streets, the buildings, the hotels, lavish accommodation? The musical score?
5. The portrait of Queen Marie, Queen Victoria’s granddaughter, the marriage to Ferdinand, politics, the influence of Queen Victoria’s descendants in Europe? The Kaiser and the war? George V and Queen Mary? The marriage to Ferdinand, brittle, the five children? Their care and nannies? Marie and her age, experience, manner of the Queen, with the servants, with her husband, the attachment to the visiting Prince, the hostility of Carlos, the daughters at home, marriages, Nick in England and his wanting to stay, spurning Romania?
6. The war situation, the Versailles Conference, the emerging of the League of Nations, Lloyd George representing the UK, Woodrow Wilson and the US, Clemeneau and France? The picture of the meetings, the speech of the Romanian Prime Minister, people walking out, distracted and talking over him? His fears presentation of his point of view? The reactions in Romania? The Queen suggesting she should go, the king and his support, Carlos and his fears antipathy, the military antipathy, the various meetings, the decision that she should go? The crowds greeting her and the entourage, the train to France, the welcome in France?
7. Marie and diplomacy, the danger of her spontaneity, her response to the international press, their questions, the tourism aspects, clothes, her wanting more serious questions? The hotel, the accommodation, the gift of the dresses and the reaction of the daughters? The discussion with the Prime Minister? Her various contacts in Paris, their trying to help?
8. The meeting with Clemenceau, not available, her challenging him, his response, charm, the influence, coming to meet her on her departure?
9. Lloyd George, the dinner, her speaking up strongly, his turning away from her, her continual challenge? The later meeting, her setting the place for the meeting, speaking strongly to him? Her visit to England, the meeting with Queen Mary, the discussions with King George, the influence?
10. The tip about Edith Wilson, Maria going to meet her, Mrs Wilson’s support, the photos, going to the dinner, Wilson and his preoccupations, tough negotiations, hard decisions, Marie challenging him?
11. The ultimate success of her interventions?
12. Her personal relationship with the king, his staying at home, the phone calls, her urging him to intervene with Carlos and his mistress? Carlos and his hostility, his mocking her on her return? The encounter with Nick in England, his not wanting to return to Romania? Education for her daughter in England?
13. The return, her being hurt, withdrawing, her daughters, her ruminating, her sadness? The king’s arrival, his declaration of love, then the news about her success?
14. An interesting film for those not familiar with these aspects of World War I and the consequences?

DINNER IN AMERICA

US, 2020, 106 minutes, Colour.

Kyle Gallner, Emily Skeggs, Leah Thompson, Nick Chinlund, Sean Rogers, Mary Lynn Rajskub, Pat Healy, Griffin Gluck.

Directed by Adam Reihmeier.

This is a small budget independent film, winner of quite a number of awards at small festivals.

The title is evocative, two key scenes in the film of the family dinners, arguments, bickering, smoothing things out, contrasting with praying grace but the telling of lies. And there are some dinners in diners.

The focus of the film is on Simon, unlikeable, obnoxious in behaviour flirting with a girl, going home to her house, dinner with her parents, misbehaviour with the wife, being ousted. He also makes contact with a young girl, Patty, who has limited mental abilities. Once again, he ingratiates himself, going to her family’s house for dinner, posing as a son of African missionaries, but also provocative, wanting to stay while he hides from drug dealers.

Most of the film shows the relationship between Patty and Simon, she at home, trying to be defiant, follower of a band and writing cards to the band leader (who turns out to be Simon who is shocked by the discovery), working in a pet shop being treated badly by the owner, not paid, mocked by the sports jocks and their girlfriends.

In fact, Simon and Patty Bond, Simon showing a bit more humanity, defending Patty against the jocks but being bashed (and, to his and Patty’s – and the audiences – bringing on their violent comeuppance).

There are further revelations about Simon, his affluent family, misfit, ousted, intruding on the house. Then there is relationship with the members of his band and money problems. And, the development of the relationship with Patty and defending her, and confronting the owner of the shop for her payment.

The film is well acted, the characters credible, even if not likeable.

1. Expectations from the title? The number of dinners seen in the film? Family dinners and interactions? Dinners in diners?
2. Independent film, small budget, the cast?
3. Themes, misfits, family pressure, bullying, mental abilities, relationships?
4. The focus on Simon, unlikeable for most of the film, seen eating, flirting, going home with the girl, dinner with the family, his manners and style, wanting somewhere to stay, the wife and the kissing, ousted? Wandering, hiding?
5. Patty, her parents, district background, scenes at home, Kevin as adopted and the later revelation about this and effect on him? Her work at the shop, treatment by the owner, not paying her? Abusive behaviour? At the bus stop, on the bus, the two boys and their bullying her, the two boys kissing and their girlfriends in the bus, mocking her? Physical and mental bullying? Her going home, her room, music, the band, writing letters and cards to the leader of the band?
6. Kevin, teenager, surly at the dinner table, discovering he was adopted, the drugs with Simon, their friendship, change of attitudes?
7. Simon, the band, talking with the fellow musicians, their urging for a deal, the stoned member siding with Simon? Their music? Punk? Simon and his hairdo and people’s comments?
8. Simon, the encounters with Patty, the attraction, going home, the meal, his telling lies, his parents as missionaries in Tanzania, blurting out Kevin’s adoption, Patty’s embarrassment having told him? The effect on the parents? His asking to stay, with Patty?
9. The time together, the bonding, her story, his going to their home, getting her to sing her creative songs, the discovery that she was writing the cards, mixing the music, the family coming home, the hostility of the various members, Simon and his reactions, the husband and the children, aggressive behaviour, being ousted?
10. The night with Patty, sexual, emotional, the effect?
11. The boys and their mockery, going to their sports event, Simon taunting them, their bashing him? The revenge, getting Patty to lure them, bashing and stripping them, setting fire to their clothes, the reaction of the coach and the other players?
12. The confrontation with the owner of the pet shop, the new employee, demanding the payment?
13. Simon, his identity as Johnny, his role in the band, going to the venue, the clash with the producer, money issues? Onstage, performance, Pat’s response?
14. Likeable and unlikeable characters, misfits, family and society pressures, behaviour, unsympathetic, sympathetic?

CAT PERSON

US, 2023, 118 minutes, Colour.

Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis.

Directed by Susanna Fogel.

It would seem that in 2017, a short story in the New Yorker, by Kristen Roupenian, was an immediate runaway success. It has now been turned into a film – although, commentators note that the final 30-40 minutes of the film are an addition to the original short story.

The unwary viewer, not familiar with the short story, probably expects a horror film in the vein of Cat People or memories of Batman’s foe, Catwoman. But, this is not the case. A cat person is someone who likes/has cats whether they will admit it or not!

But, this is a story for the younger generation, very much in the contemporary social media world, dating and, especially self-revelation, communication by text.

In reflecting on this film, this reviewer came across an IMD blog which more succinctly expressed the key elements and response to the film:

Exploration of why romance fails

feczo25 November 2023

Romance, both sides seek it, but often there are very different ideas about what that means.

The movie explores pitfalls of idealisation of the other person, placing looks above genuine connection and feelings as well as double standards and jumping to conclusions without trying to deeply understand another person.

It is also accurately portrayed how people read more into text messages than the sender intends both positively and other times negatively perceiving a neutral or opposite intent, or just making it wildly colourful.

Although the characters are somewhat stereotypical and extreme the situations are not far from everyday life, so they are relatable.

"Cat Person" is about the thorny complications of male-female "courtship" rituals, riddled with misunderstandings, unspoken misgivings, and ignored red flags.

Very well put, only to add that the performances are strong, Emilia Jones (British, star of the Oscar-winning CODA) as Margot, Geraldine Viswanathan (Australian) as Margot’s protective friend, Taylor, and Nicholas Braun (American) as the sometimes bewildered, often clumsy, movie fan, Robert.

1. The title, expectations of horror and titles like Cat People, Catwoman…? Rather, a person who has cats, admits this or not?
2. The background of the popular New Yorker short story? The final part of the film adding to the story?
3. The American city, college, dormitories and rooms, cinemas, concession stand? Bars and meetings? Restaurants? The streets? Musical score?
4. The range of songs throughout the film, classic songs, contemporary, and the effect of the lyrics on situations and characters?
5. A film about dating, communication, getting to know partners or not, presuppositions and presumptions? Communication, personalised, in personalised with texting? Instant texting, affirmations, later regrets?
6. Margo’s story, aged 20, some family background, the visit to the family, singing with her mother? Sophomore, sharing rooms, friendship with Taylor? Other members of the college? Boys and meetings? At the cinema, showing classic movies, the customers?
7. The encounter with Robert, coming to the cinema, her comment on what he is buying, his taking it is an insult? His return, phone numbers? Time passing and not meeting, all the texting, the relationship set up by the texting? The effect on each of them?
8. Taylor, best friend, her on-line concerns, feminism, definite in her opinions, protective of Margot? Speculation about people online, their identities, men with feminist views?
9. The discussions with the former boyfriend, his explanations about experimentation being asexual?
10. The relationship between Robert and Margot, the suggestion of the date, texting about The Empire Strikes Back, her reactions, his interpretation that she liked films with subtitles, tangled messages, her agreeing, going to her cinema, watching the film, her being flirtatious, leaning on him with the popcorn, his absorption in the film, Han Solo and layer and a kiss? Her dissatisfaction with the outing, the going for a drink, the interactions, understandings and misunderstandings?
11. Margo, her imagination, the information that men are afraid that women will laugh at them, women that that man will kill them? Her nightmares, the dog and the corpse, Roberts various occupations, attacking her in the car…?
12. The awkwardness, the episode of the kiss, her comments about how badly he kissed, revelation that he was 34, is isolated life? The going to his home, the long sex scene, her alter ego watching and commenting, the effect of the experience, on Margot at her dissatisfaction? On Robert?
13. The aftermath, Margot wanting out, the discussions with Taylor, Taylor and her texting, the next episode of texting, Robert and his moods, desperation?
14. The clash with Taylor, arguing, ousting, Taylor and her dependencies?
15. Margo, moods, riding the bike, going to Robert’s house, the arguments, the misunderstandings, the violence, the attack, the mace in her eyes, the physical fight, to the basement, the fire, the escape, Robert leaving, urging Margot, her hesitation, later escaping?
16. Taylor, searching for Margot, the cab driver, the burning house, the explanation of identities?
17. The police, the basement, finding the bodies, hospital, recovery?
18. Robert, nurse, leaving the hospital, disappearing? Margo, the experience was Robert – and her future?