Displaying items by tag: Peter Malone's Movie Reviews

THE PARENTING

US, 2025, 94 minutes, Colour.

Nik Dodani, Brandon Flynn, Brian Cox, Edie Falco, Lisa Kudrow, Dean Norris, Vivian Bang, Parker Posey.

Directed by Craig Johnson.

It might seem strange to begin a review of filma  that looks to be focusing on family, The Parenting, with an alert to potential audiences.

Those who take cinema very seriously may be attracted by the significant names of cast members, Brian Cox, Edie Falco, Lisa Kudrow, Parker Posey. But, if they began to watch, they would soon be wondering what they were watching – and why the strong cast actually said yes to be in the film.

Audiences who  enjoy offbeat and broad comedies with touches of horror as well as innuendo, will be entertained with no intellectual demands made on them! In fact, the writer of the film, Ken Sublette, has written almost 300 episodes of sketches for Saturday Night Live, as well as several special episodes.

While there is a linear plot, the main effect of this film is, as with comics sketches, short episodes, some working, some working less well, but one after the other to make the effect.

There is a mysterious parenting prologue to the film, 1983, a family with difficulties, some mysterious supernatural goings-on and the family trapped and their house becoming a haunted house.

40 years on, an estate agent, played by Parker Posey in a tantalising style, rents the house. The first occupants are a young gay couple with intentions of proposing. They invite their parents to join them. And, there later joined by a great friend.

On the one hand, this is a comedy which takes gay characters and relationships seriously (even with quite a number of jokes on them), focuses on the response of the parent generation, but quite a lot of tangles. The couple is played by Nik Dodani and Brandon Flynn. But the interesting casting is that of the parents, the very serious-minded Brian Cox and Edie Falco, the happy-go-lucky parents, Lisa Kudrow and Dean Norris. In fact, the two sets of parents rather dominate rather than the couple.

Then the haunting starts, revelations about Parker Posey and books for raising the dead, the key to raising a ghost being the Wi-Fi password! And, the various parents are asked to caricature stereotypes – and even more demands, testing dignity, a of Brire made of Brian Cox.

Plenty of farce, supernatural and ghost raising themes (and the ghost is certainly not a parent), many audiences enjoying the rollicking tone and others may be questioning why they are watching what might be called politely, “absurd”.

DEATH OF A UNICORN

US, 2025, 107 minutes, Colour.

Paul Rudd, Jenny Ortega, Will Poulter, Tea Leoni, Richard E.Grant, Anthony Carrigan, Jessica Hynes.

Directed by Alex Scharfmann.

Certainly an arresting title. Unicorns take us into the world of imagination, fantasy, even of symbolism. But with death in the title, it is all rather foreboding.

What follows is a rather sombre drama but the audience being kept alert by unexpected events, memories of stories about unicorns, the screenplay making them more and more symbolic as the action goes on.

A lawyer and his young daughter, grieving the death of her mother, are seen travelling on a highway out in a forest wilderness. He is intent on getting the wealthy owner of a mansion, with terminal cancer, to sign documents for the administration of this estate. He lives with his wife, son and heir, with two servants. He is pharmaceutical tycoon with his own laboratory and doctors and assistance.

The father and daughter are played by Paul Rudd and Jenny Ortega. The family is Richard E. Grant as the dying tycoon, Tea Leoni as his wife, Will Poulter standing out as his spoilt son.

But, in this context, there is an accident on the highway, the car hitting a unicorn, the question of a mercy killing to put it out of its misery, loading it into the car, the plan to bury the unicorn secretly at night.

With the accident on the highway, the film is quite unpredictable, tantalising with the behaviour of the characters, the power of the unicorns, speculation on the symbolism, healing powers, hostility to humans…

A word of caution. If this review has stimulated interest, a warning that there are quite some horror and brutality sequences in a number of deaths throughout the film… and an Eat the Rich theme.

Unpredictable journey which turns into symbolic nightmare.

1. The arresting title? The reality of the accident with the unicorn? The consequences? Symbolic interpretation?
2. The situation, the mansion in the woods, the owner and his illness, business and medications, plan for his administration, the unicorns, healing, exploitation, vengeance and destruction?
3. The opening, Elliot and Ridley, the tension between the two, her not wanting to be there, memories of her mother and her death, Elliot focusing on the success of the business, relying on Ridley’s presence? The drive, the unicorn, hitting it, Ridley and her sense of its presence, Elliot putting it out of its misery, loading it into the car, intending to bury it secretly?
4. The mansion on the family, Odell, dying, demanding? Belinda and her support, her manner, aristocratic? Shepard, his age, the heir, casual, in shorts, his attitude? Shaw, the servant, her severe manner, command? Griff, his appearance, servant, at beck and call, his willingness?
5. Each character, the encounters, likes and dislikes? Ridley creating an atmosphere of awkwardness? Discussion about the plan, the almost signing?
6. The unicorns, attack, the healing powers, the shining horn, Ridley and the connection? The effect on Odelll? And the beginnings of thoughts of exploitation? Shepard and his reaction – and the later snorting the powder from the unicorns?
7. The mythology, the tapestries, the stories, Ridley and her art studies, interpretations?
8. The unicorns arriving, to rescue the young, the invasion, the role of the servants, laboratory, the doctor and assistant, the examination of the unicorns, the tests, the science, the attack and the death of the doctor?
9. The unicorns and their presence, the siege, the attacks, chases throughout the house, Odell and his going hunting, Shepard and his slack attitudes, Belinda trying to be nice?
10. The succession of deaths, the vindictiveness of the unicorns, Odell, attack on Belinda, Shaw?
11. The impact on Elliot, relationship with Ridley, Ridley and her fears, interpretations? The possibility for escape? Griff and unlocking the door, to move to the car? Griff and his escape?
12. Shepard, the doctor’s assistant, involving her, her death?
13. The final attack on Elliot, his going into the cosmic experience as Ridley had, the unicorns and their capacity for revival, Elliot’s revival, reunited with Ridley? The venerating performance by the unicorns?
14. Elliott and Ridley, their leaving, change of mind and heart?
15. The film as horror, as action, as “Eat the Rich”, business exploitation, the environment, mythologies as symbolic for experience?

THE KING OF KINGS

South Korea/US, 2025, 100 minutes, Colour.

Voices of: Kenneth Branagh, Oscar Isaac, Uma Thurman, Pierce Brosnan, Mark Hamill, Forest Whitaker, Ben Kingsley, Jim Cummings, Roman Griffin Davis.

Directed by Seong-ho Jang.

Yes, the Gospel story. However, this film is an animation-dramatisation of a story by Charles Dickens, a story he wrote in the 1840s for his family, recited every Christmas by the author and read aloud in succeeding family generations, Dickens forbidding publication. However, in 1934, the family made it available over 60 years after the death of the author.

At the beginning of his story, Dickens wrote: My Dear Children, I am very anxious that you should know something about the History of Jesus Christ. For everybody ought to know about Him. No one ever lived who was so good, so kind, so gentle, and so sorry for all people who did wrong, or were in any way ill or miserable, as He was.

This film was made by a South Korean animator, Seong-go Jang, in Korean studios but uses the voices of some very talented English speakers, British and American.

Dickens told the story to his family and in this film he tells it to his younger son, Walter, quite a spirited boy, absorbed by stories of King Arthur, swords and dragons. And he disrupts his father’s presentation on stage of Scrooge and A Christmas Carol.  s Dickens’ sympathetic wife urges him to tell the Gospel story, the young boy becoming more and more interested, initially wanting kings and dragons, but drawn into the story and following the person of Jesus. And, all the while, accompanied by his mischievous cat.

Which means that this is definitely a film for the younger audiences, but could be a pleasure for the whole family.

The animation style is vivid, the characters, the backgrounds, sometimes gently quiet with Jesus healing, with the apostles, at other times very vivid, especially Jesus walking on the water in the overwhelming storm. A great deal of the time is given to the Last Supper, the agony in the garden, Judas betrayal, uses trial and Caiaphas and Pilate, the crucifixion. Audiences who enjoy animation stories like this style and treatment.

But, a key element of the screenplay is having the young boy enter into all the action, observing close-up, being with Jesus, listening, watching, admiring, dismayed… And, at times, Dickens himself comes with his son into the action, close-up, and all the while with Kenneth Branagh’s narration as Dickens. The device of having Walter within the Gospel story is a great means for younger audiences also entering in, identifying, learning about Jesus and his story with a devout theme-highlighting commentary by Dickens.

St Ignatius Loyola founder of the Jesuits, would probably endorse this film. In his Spiritual Exercises, he urges those making retreats, or at any time with gospel contemplations, to enter into the scene, to be there, to experience the Gospels. And, a great challenge to those on retreat is to ask them where they are in the scene, at a distance observing, or very close to Jesus. This film dramatises what this closeness could be like.

The voice cast is very strong, not only Kenneth Branagh, but Uma Thurman as his wife, Mark Hamill is an extraordinarily rambunctious and King Herod pantomime-like , Ben Kingsley is a thundering villainous high priest, Caiaphas, Pierce Brosnan is a disdainful Pontius Pilate – and Oscar Isaac is Jesus.

In 2000, the animated film, The Miracle Maker, with Ralph Fiennes as the voice of Jesus, was very successful in portraying the Gospel stories. Now, The King of Kings is a very welcome addition.

1. How successful as a Gospel film? This, the range of the Gospel episodes?
2. Charles Dickens’ story, for his family, here for his son, the urging of his wife?
3. The style of animation, from South Korea, the quality of the voice cast?
4. The opening, A Christmas Carol, the story of Scrooge, Dickens in the theatre, interrupted by his son, Walter, King Arthur, dragons and sword, stubborn in reacting to his father, the cat, all the disruption, the pages scattered and torn? The audience watching, Walter and the cat? Dickens and his response?
5. Dickens, his patient wife, urging Dickens to tell the story of the Gospels? Dickens own appreciation of the Gospel story, his admiration for Jesus, the tone of his narrative in telling the story?
6. The visuals, journey to Bethlehem, the appearance of the angels, shepherds and magi, Herod and his overreaction, the indications of persecution of the innocent children, the flight into Egypt, Jesus growing up, the return to Galilee, the finding in the temple, Jesus emerging as an adult.
7. The device of having Walter go into the action, with his cat, gradually understanding, becoming involved, emotions, observing and then becoming very close to Jesus?
8. The familiar gospel sequences of Jesus’ public life, the elaborate temptations in the desert, the choosing of the apostles, Peter and the fishing, the healing of the crippled man, the casting out of the Demon, Jesus’ encounters, Mary and the request about Lazarus, the raising of Lazarus, the anointing of Jesus, the complaints of Judas, the entry into Jerusalem, building up the picture of Jesus? Especially the dramatisation of Jesus walking on the water, Peter and his walking, drowning, appeal to Jesus?
9. The Last Supper, Agony in the Garden, Judas and his deal with kindness, the reaction of the scribes and Pharisees, planning to kill Jesus, this, the emphasis on healing the servant’s ear with Peter and the sword, the trial and Caiaphas thundering, rousing the crowd, the choice between Barabbas and Jesus, Pontius Pilate washing his hands, scourging, crowning with thorns, the way to Calvary, the crucifixion, the thieves and the good thief, Jesus’ death? The importance of the resurrection?
10. Dickens entering into the scenes with his son? The effect of the story on Walter, sharing it with the other children?
11. The telling of the Gospel stories with an appeal to the children’s audience and to families?

NOVOCAINE

US, 2025, 110 minutes, Colour.

Jack Quaid, Amber Midthunder, Ray Nicholson, Jacob Batalon, Betty Gabriel, Matt Walsh, Conrad Kemp, Evan Hengst, Lou Beatty Jr.

Directed by Dan Berk, Robert Olsen.

Most definitely not what we might have been expecting, not even during the first 20 minutes or so of romantic comedy – and audiences, perhaps, wondering about sitting through 90 more minutes of this.

And then, it changes, 90° or more and it keeps changing in plot, twists and angles, then more and more angles.

If this sounds intriguing, and you are tempted to see Novocaine, read no more because there are many indications of spoilers – and more spoilers.

Actually, after the romance, it was something of a relief when three Santa Clauses turn when at the San Diego bank Nate, our hero to be, is assistant manager. They are robbers, a very brutal heist, grim deaths and the police.

Then the rest of the film is an action show (lots) and violence (Jason Statham could pick up a tip or 3).  And, perhaps, there will be some embarrassment for members of the audience realise that they are enjoying it all. There are chases and deaths, fights and torture, and just when it seems to end, it continues, more ends and continuations, a succession of possible endings…

What makes it believable (while on screen anyway) is the premise that the hero, Nathan Caine, played with some charm by Jack Quaid (son of Dennis Quaid and Meg Ryan, who was able to show his villainous side in the arresting thriller, Companion) suffers from a lifelong condition which means that he can feel no pain – hence the schoolboy nickname from bullies for him, Novocaine.

But, while Nate is a meek bank assistant with a kind heart for customers in need, he is also a loner, then challenged by love to turn into a kind of battered (but no pain felt) superhero, rescuer, naive but ingenious, ready to risk everything for his attractive fellow-worker, Jessie (Amber Midthunder). And he has an enjoyable friend, Roscoe, Jacob Batalon, his online computer games partner. And some twists here as well with Jesse and Roscoe.

And the smilingly sneering, psychopathic villain is Ray Nicholson, son of Jack, showing some influences from Jack’s performance in The Shining.)

For some audiences, the graphic violence is too much. But, this reviewer along with others, despite the violence and the zany unexpected aspects of the scenario were enjoyable, even if that it is a bit embarrassing to admit.

1. The title and expectations, to feel no pain, the nickname for Nate?
2. The tone of the film, the romantic comedy opening, the change with the bank robbery and deaths, and abduction, Nate and his pursuit, the confrontations, the kitchen, deaths? The police suspecting him? The tattoo parlour, the house, booby-trapped, confrontations? The revelation about Jessie? The continued twists?
3. The visual violence, gratuitous, in the context of comedy? Differing audience sensitivities?
4. Nate, his story, illness, feeling no pain, secluded childhood, bullying, the nickname, time alone, reading his many books, not dating, working in the bank, his sympathetic attitudes towards customers? The speech of the manager and his support? The attraction to Jessie?
5. Jessie, working the bank, her eyeing Nate, his focus on her, the awkwardness of the spilled coffee, no pain, her apology, the invitation to lunch, his explanations of himself, unable to chew, the time and blend of relief? Going home, the further invitation, playing computer games with Roscoe, decision to go out, at the bar, his old friend and the nickname, flirting with Jessie, his reaction, her setting up the friend with the hot drink, at home, the sexual encounter, the effect on him?
6. The change of tone with the bank robbery, Santa Claus, psychopathic leader, the killing of the manager, taking Jessie, Nate giving the code, the police, the machine guns of the deaths, Nate helping the injured officer with his belt, taking the car, in pursuit?
7. The change in Nate’s action, not feeling the pain, his being shot, the various injuries, going to his old friend and the removal of the bullet, gluing the wound, and giving him the money?
8. The pursuit of the brother, the dead ends, the kitchen, the frying pans, the staff identify him to the police? The officers, their personalities, the lax assistant? The theories, criminal possibilities for Nate, or innocent?
9. The pursuit, the crashes, the kitchen, frying pans, the death?
10. The photo of the tattoo, his ringing Roscoe to get the information, the tattooist, the interchange, the fight, the torture, the information?
11. Going to the house, the scenes with the brothers and Simon, his psychopathic leadership, Ben not arriving, the revelation about Jessie, her past, her pan a place in the plot?
12. The booby-trapped house, various injuries to Nate, hanging upside down, phoning Roscoe, Roscoe arriving, the patter between them, Andre arriving, the confrontations, his death?
13. The police arriving, Roscoe,and his escape, giving the information, the police going to the garage? the police, the death of the partner, the leader wounded,
14. Simon, the relationship with Jessie, her wanting to back out? The effect of the relationship with Nate? His arrival, the fighting, the shooting? The police, shooting Simon, Nate to the hospital in the ambulance, the irony of Simon, surviving, driving? And the battle within the ambulance?
15. The finale, Jessie, the confrontation with Simon?
16. One year later, Jessie in prison, Nate playing games with Roscoe and their friendship, his visiting Jessie in prison? The future?
17. The combined effect of romantic comedy, farcical comedy, crime and psychopathic criminals, and the graphic presentation of torture? The combination of gratuitous and enjoyable?

BANGER

France, 2025, 90 minutes, Colour.

Vincent Cassel, Laura Felpin, Mister V, Alexis Manenti, Nina Zem.

Directed by So-Me.

This is a 90 minute French blend of comedy and police investigation undercover. The emphasis is on techno music which may be inspiring to the generation that enjoys it, as evident in the dance sequences in the clubs, but may be too much for those who are not into these beats, music and noise.

The initial focus is on Luis, a veteran who calls himself Scorpex, but on hard times, some gigs, and filling in as a prelude to a delayed younger professional, dragged off the stage, but denying that he is in decline. He also has clashes with his composer daughter.

And, as a surprise, he is played by Vincent Cassel who has immersed himself in such a variety of roles over more than 30 years – and letting himself go here with the music, the rhythms, rather enjoying himself.

He is picked by an undercover agent to infiltrate the scene, identify the Mister Big of drugs. Reluctantly, he does, meeting a variety of criminals, working on composition, clashing with the self-important fashion designer, ultimately succeeding, despite himself.

1. The title, the music, the clubs and audience?
2. The setting, the clubs, the studios, police officers, fashion shows…?
3. The techno music, the DJs, performances, clubs and dancing, creating melodies…?
4. The plot, the focus on Luis, his name of Scorpex, his age, experience, vanity, performance, writing the music? Relationship with his daughter, tense? His clash with Vestax, leading to the other criminals? Meeting Tabitha? His filling in, being carried of the stage, his determination?
5. Vestax, the new generation, artificial, not a composer, the links with criminals?
6. Rose and her associate, plan, confronting Luis in the shop, paying the money for his record, abducting him, the plan, to infiltrate?
7. The complexities of the plot, composing the lines, Molotov and his expectations, vest accent his enthusiasm, the range of scenes composing melodies, the bizarre sequence of the club, playing pool, naked?
8. Luis, with a camera, with the music, intruding into the meeting, the photograph, the drugs? The wrong villain? His having to return, continue with the music, the singer from Holland and her rapping, walking out, Tabitha and her rap, demands? Using his daughter’s melodies?
9. The final confrontation, the catwalk, Tabitha and her performance, his daughter as a model, Rose and the set-ups, as an assistant? The revelation that the villain loved fashion shows, identified, the confrontation, injuries to Luis, the successful investigation, and the reconciliation with his daughter?

A MINECRAFT MOVIE

US, 2025, 101 minutes, Colour.

Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers, Danielle Brooks, Jennifer Coolidge, Rachel House, Jemaine Clement, Jared Hess.

Directed by Jared Hess.

It seems that there are nearly 170 million monthly active players of Minecraft. And, Minecraft is the bestselling video game of all time, over 300 million copies sold. Now that means a potential audience, worldwide!

In fact, on its opening day in the US, including $10 million in previews, the box office was  $157 million

Which means, in terms of potential audiences, a review is probably not necessary. However, there are the other hundreds of millions who are not familiar with Minecraft and will be wondering what it is all about. It is a video game, players having the opportunity to explore different worlds, or, of course, set up competitions and rivalries, chases, the good defeating the bad.

The film defines itself as “A” Mine craft movie, so there are all kinds of possibilities for more. This one starts in the real world, introducing the character, Steve, a young boy forbidden to go into mines, then an adult bored with his desk job, going into the mine, and finding a blue-glowing cube with extraordinary powers. But what enlivens all this is that Steve is played by Jack Black, extrovert and exuberance personified, with that overwhelming  manic energy he has shown over so many years. And he has the opportunity to do some of his Tenacious D singing.

And, then what happens with the cube, opening up a whole world of magic and mystery…

While the action opens in the real world, especially with the gaming champion of 1989, Garrett, he played by Jason Momoa, towering but then playing against type, at times, something of a loser and even some sook moments! There are two youngsters, the very intelligent Henry, Sebastian Hansen, and his protective sister, Natalie, Emma Myers, along with Dawn, Danielle Brooks (the exuberant singer in the musical version of, The Color Purple).

There is also the Overworld, bright and sunny, with all kinds of combination cube characters, intriguing, friendly, especially a dog called Dennis. But, there is the Netherworld,, ruled over by the evil Malgosha (voiced by Rachel House) with her minions and an army of pig-like soldiers. Steve enters the Overworld with zest, but is imprisoned by Malgoshat. He sends Dennis to get help – and that means the motley group finding the cube, banding together, found by Dennis and beginning their adventures both new worlds

Lots of adventures, spectacular action and stunts, dangers galore, heroism, using wits, discovering Steve. Plenty to keep the younger audience excited – and remembering the ways they have played Minecraft.

If non-playing parents and grandparents accompany the youngsters to the movie, something of this background will help them to adapt – and even to enjoy. They will have the extra bonus of seeing Jennifer Coolidge the school principal, doing her now-familiar and popular comic thing – even during the final credits.

Future researchers on the history of video games, cultural symbols of the early 21^st century, will be intrigued.

IN THE LOST LANDS

US, 2025, 100 minutes, Colour.

Milla Jovovich, Dave Bautista, Arly Jover, Amara Okereke, Fraser James, Simon Loof.

Directed by Paul W.S.Anderson.

The immediate attraction point: based on a short story by G.R.R.Martin, celebrated author of Game of Thrones. This is a short story, featuring a witch, Gray Alys, her being commissioned by a queen to fulfil a plan to take over opposed-apocalyptic community, but intending to write more stories with this character – but this has not eventuated.

The Dir is Paul W.S.Anderson, British Dir who moved into action films, six Resident Evil features, for Death Race films. And, with the resident evil films and others, featuring his wife, Mila job of each. And she is the star here. And she is teamed with Dave Bautista, star of many action films. The supporting British cast as well as Polish, as the film was made in Poland.

The film opens with the attempted hanging of the witch, a fierce female Inquisitor presiding, and guards dressed in rather media evil uniforms. Then, enter Boyce, Dave Bautista, with cowboy hat and gun, intimations of the spaghetti Western. When the witch and Boyce team up, they travel through a pokes apocalyptic industrial site, memories of mad Max films, as well as travelling in films like The Book of Eli.

The audience has to be attentive to follow the twists of the plot, all of the witch, the later revelation of the Queen and her plot, her killing of the overlord of the community, a liaison with the courtier, her pregnancy and ambitions – and Boyce as the father.

A lot of action adventures along the way, the budget spent on the grim look of the post-apocalyptic world, special effects, creatures attacking, the survival of the travelling duo, yet suspicions, bonding, and final twists, especially with Boyce emerging as a shape shifter on a mission to destroy the witch. However, she is more shrewd, is trying to get to the Valley of Skulls, Boyce leading her, even saving her from a desperate train ride on a train going over a destroyed bridge.

A lot of the explanations are left until the end, who is plotting with whom, the repercussions, Boyce and resurrection, the control of the witch… And, perhaps, many audiences hoping that Martin will write another story and Anderson will film it.

WALLACE & GROMIT: VENGEANCE MOST FOWL

Voices of: Ben Whitehead, Peter Kay, Lauren Patel, Reece Shearsmith, Diane Morgan, Adjoa Andoh,Lenny Henry.

Directed by Merlin Crossingham, Nick Park.

Older audiences may remember with joy, 1989, and the first appearance of Wallace and Gromit on our screens, Great Day Out. The villain back in those days was the Penguin, Feathers McGraw. This Wallace and Gromit outing is the sixth – and they won an Oscar in 2005 for Wallace and Gromit: Curse of the Were Rabbit.

Audiences have got to know and admire Aardman Studios and their particular style of animation as well as the characteristic voices. Wallace is the traditional British bachelor, self-sufficient, eager with his inventions, but happy to have his dog, not his pet, his friend Gromit sharing the house. But, by this stage, Gromit is feeling somewhat left out, Wallace caught up in his inventions.

However, they do have a moment of glory, capturing Feathers McGraw who has stolen a diamond from the Museum and is now imprisoned, in a zoo. Vengeance is uppermost in Feathers mind.

But, the creativity of this story is that Wallace invents a robot, love of AI, a robot called Norbot, at the service of everyone, all of initiatives, the most rapid achievement of jobs beyond expectations. Gromit is not so impressed, especially the noise that Norbot takes in recharging, Gromit taking the charger outside – and its being linked with Feathers in his prison.

Dastardly results.

Feathers is able to create a whole legion of Norbots, all malevolent, doing the jobs, robbing the customers, creating uproar, and the police, racial backgrounds of Macintosh and Mukherjee, stubborn Scot and eager Indian deciding that Wallace is the criminal. There is also some parody with the media, a reporter called Onya Doorstep, and a television commentator, Anton Deck (based on televisions Ant and Dec).

Poor Wallace in jail. Gromit doing his best to remedy the situation, Norbot rescuing him from a tree, falling and Norbot recovering his benevolently programmed self.

All set for a confrontation, Feathers McGraw trying to make his getaway with the rogue robots, but, of course, Wallace innocent and he and Gromit able to live another day (with Wallace resolving to cut down on his inventions).

And thanks to Nick Park for many decades of entertainment from Aardman, especially with Wallace and Gromit.

BIRD

UK, 2024, 119 minutes, Colour.

Nykiya Adams, Franz Rogowski, Barry Keoghan, Jason Buda, Jasmine Jobson, Frankie Box, James Nelson-Joyce.

Directed by Andrea Arnold.

A British slice of life. This time in south-east England, Kent, the area where director, Andrea Arnold, grew up. In fact, Andrea Arnold’s first film is, in the 2000 is, work British slices of life. However, she also directed a version of Emily Brunty’s Weathering Heights and also went to the United States American and to direct episodes of television series, like Big Little Lies.

However, here she is at home again. This part of Kent is not an area for easy living, especially for the young teens, trying to make their way, and dealing with parents who are only 14 years older than they are. They have to be tough, have to manage, had to learn by their own mistakes but especially what they see in their parents.

This is the story of Bailey, 12 years old, West Indian ancestry, local English ancestry, a bravura and strong performance from Niliya Adams, we first see her with her phone, photographing birds, this would and grace of birds, and we are alerted that this will be a theme, both realistic and symbolic, as the film progresses. Then she is picked up by her father, and together, on the scooter, they speed and swoop through the town, landing at home where her father, Bug, Barry Keegan in another quite different performance, and announces that he will be getting married to his girlfriend at the weekend. Bailey is not impressed.

Also at home is her half brother, Hunter, Jason Buda, 14, involved with a local gang who terrorise locals with their camera, photographing stuff that they can blackmail their victims with. And Hunter wants to

 run away to Scotland with his 14-year-old girlfriend, Moon. One of the symbolic bird sequences has Bailey trying to deliver Hunter’s letter to Moon the bird swoops, snatches the letter in its beak and delivers it. Touches of “magic realism” throughout the film.

But we discover that the Burden of the title is actually Laura, played by François rib Gorski, encountering Bailey, strange clothes, but on a quest to find his birth mother.

Which turns the narrative into a search, a quest, Bailey taking on Bird, a joyful excursion to the seaside with the half brother and sisters who live with her birth mother, discovering Birds father and some explanation if not joy.

There is some happiness in this family’s life, Bogeyman Bailey bringing Hunter home from his forlorn search for Moon, the wedding celebration is an exuberant dancing, and a visit from Bird, the audience seeing him from Bailey’s viewpoint, covered in feathers, protecting bird, a flyaway bird.

Bailey is only 12. And all her life is before her. We might wonder how Andrea Arnold saw Bailey’s future.

1. The title? The character, Bird? Bailey and her photographing birds? The range of birds, real and symbolic throughout the film? The real/symbolic bird and carrying Hunters message?
2. The Kent setting, the town, houses, narrow streets, the coast, the surrounding countryside? The travel to the sea, the water, the sand, the day of the Sea? The musical score, the wide range of songs, their insertion into the action, the lyrics?
3. The slice of social realism? Families living in Kent, their backgrounds, early relationships, pregnancies and births, homes, work, scams? The Dir is interested in these characters, their backgrounds, sympathy?
4. The central focus on Bailey, her age, strength of character, her hair and later getting it cut, riding on the scooter, riding with Bug, Bug as her father, living with him, with Hunter? Her mother, the other relationship, her children? The influence of these situations on Bailey and her approach to life?
5. Bug, father at 14, his partner and her new partner and family, Bailey and Hunter living with him, his role as a father? His fiancee, the announcement, the planning for the wedding? The scooter ride, the total and the phosphorescence, planning to sell it to finance the wedding? At home, his dancing, gyrations? The buildup to the wedding? His care for Bailey, her presence, her absences?
6. The appearance of Bird, sudden, his manner, look, closing? The meetings with Bailey, her wariness, bonding with him, his stories, searching his mother, appearing and reappearing? Travelling with Bailey, the day at the beach? With the other children, meeting her mother, getting information, the travel to the house, the man unwilling to speak, coming down to them, the explanation of Birds background? Finding some answers, his disappointment? His appearance of the wedding, the touches of magic realism, Bailey seeing him as a bird with feathers, protective? The final meeting, the departure, realistic, and the feathers?
7. Hunter, his gang, the videos, trapping victims, hoodlums? His relationship with Moon, wanting to run away, getting Bailey to deliver the message, Bailey at the door, the vigilant bird, taking in delivering the message? Hunter leaving home, telling Bailey, going to the railway station, her telling Bug, the going to the station, bringing him home?
8. Bailey visiting her mother, taking the children to the beach, the joy of the family? Her mother’s boyfriend, his violence, outbursts, confrontation with Bailey?
9. The background of characters, their life and style, issues of relationships, commitments, values, survival?

TIME CUT

US, 2024, 92 minutes, Colour.

Madison Bailey, Antonia Gentry, Griffin Gluck, Samuel Braun, Megan Best.

Directed by Hannah MacPherson.                               

The first years of the 2020s saw a proliferation of horror films, many of them slasher stories. This is one of those. However, it is one of the better examples of the genre and has a wider appeal.

On the one hand it could be described as a serial killer film. And it is. On the other hand, it could be described as a time travel film. And it is.

For the 2003 timeline, there is a focus on young students, friendships, secrets, proud parents, socials, and the serial killer.

For the 2024 timeline, things are much more sober, the parents have a younger daughter but are still grieving the death of their daughter 20 years earlier, almost ignoring the present daughter. However, the contrivance is that she is taken back to 2003, encounters her sister, tries to intervene to stop of the killings, has communication with the teacher from school, and becomes very friendly with a rather nerdish student interested in time travel.

The screenplay is often quite ingenious as it moves from time to time, especially the role of time travel in the identity, motivations and unmasking of the actual killer. And, yearning for the past, the heroine decides to stay in 2003 with her surviving sister, with affirming parents, rather than her cold life of 2024.

1. The combination of serial killer thriller and time travel? Credibly combined?
2. The title, incorporating each of the themes?
3. The popularity of the film, well-received? A young adult audience?
4. The town of Sweetly, Minnesota, 2003, vibrant and lively, the look, style, language, technology? The contrast with 2024, downtown neglected, the preoccupations of the inhabitants? The musical score?
5. Summer and her story, her parents, at class, friendship with Emma, the class celebration, the history of the two deaths, the Masked Slasher, Summer, morose, attacked, the escape, her death?
6. 2024, Lucy, with her family, the parents morose, not affirming their daughter, her skills at school, intelligence, science, NASA? At school, the professor? The people discussing the mystery, not solved? The Memorial at the shrine?
7. The discovery of the time machine, Lucy using it, arriving 2003, two days before Summer’s death? Her consulting the teacher? The encounter with Quinn?
8. Quinn, victim of bullying, interest in science, reclusive? The clash with Ethan? Lucy, helping, the explanation, his help with the refuelling of the Time Machine? The ingenuity of restarting the machine?
9. Lucy, going to visit her family, the difference in their personalities, their encouragement of Summer, Summer not so much interested in her studies, Lucy offering to help her?
10. The mall, the murders, the death of the guard?
11. The effect on Summer, Lucy finding Quinn’s letter, his love for Summer? Summer declaring her love for Emmy? The setup for her death, Lucy saving her?
12. The revelation about Quinn, his motivation, his time travel, Lucy returning, encountering the future Quinn, confrontation and his death?
13. Lucy, not finding a place in 2024, deciding to stay in 2003, with Summer, with a happy family, and the apprenticeship with NASA?
14. The successful combination of slasher themes and time travel as well as family issues?