Displaying items by tag: Peter Malone's Movie Reviews

THE INK BLACK HEART

UK, 2024, 4X 60 minutes, Colour.

Tom Burke, Holliday Grainger, Ruth Sheen, Jack Greenlessirren, Stephen Hagan, Kevin Bishop, Mirren Mack,.

Directed by Susan Tully.

The Ink Black Heart is based on a novel by Robert K. Galbraith, a.k.a. J.A.Rowling. It features her detective, Cormorant Strike, played in all episodes by Tom Burke, and his assistant, then partner, Robin Ellicott, played in all episodes by Holliday Grainger. This is the sixth in the series.

The book has around 900 pages which means a difficult task in adapting it for a television series with four hour-long episodes. However, the series does keep all the key elements of the novel, but some of the background to Cormorant and his relationship with Robert, indicated sometimes by a very brief phone call, allowing the audience to develop aspects in their imagination.

The Ink Black Heart is an animated program for television, and plans for a film version. The key issues concern creativity behind the idea, various claims, murder of one of the originators, a range of suspicions. In the novel, there were pages and pages of transcripts of online conversations, especially from a sinister character called Enemy and another anonymous player in the online games. In the series, these conversations are presented verbally.

One of the creators approaches Robin but the company is too busy – and then she is killed. Robin feels to blame, becomes more involved, studies The Ink Black Heart, becomes more involved in the online chats, experiences the threats of And on me, follows quite a number of leads an interesting potential suspects, enrolling in an art class to gain more knowledge of the suspects. There is also a sympathetic police officer to whom she is attracted.

In the background, there is her birthday celebration and Strikes moved to kiss her and her shocked reaction which puts a great stress on the relationship. There are the other employees of the agency, and presided over by veteran Ruth Sheen.

For audiences who have read the novel, they will be able to fill in a lot of the background – especially the identity of the ultimate killer, the variety of subterfuge is and ability to disguise the sinister presence. Audiences who have not read the novel will have to pay constant attention, especially because of the range of characters and potential suspects.

As with the other episodes in the series, fans of JK Galbraith will not be disappointed.

1. The title, intriguing, the sketches, the origins of the program, the episodes, the animation, the characters? And the flow onto the computer games?
2. The London settings, Strike and’s office, the sabotage and destruction? Strike and Robin as partners? The other detectors and their tasks, surveillance, the characters? Presided over by Pat? Her opening the bomb package, saving the day?
3. Strike and Robin, the work of surveillance, the long hours, Robin and her various disguises, especially going to the art class and her identity, her investigations, her disguise to interview the writer of the book, at the fair? Strike, his disguises, especially the character at the fair?
4. ED lead will, her visit, anxieties, the film too busy, the news her death, Robin going to her agents, the uncle, issues of rights, authorship, the rivals, her relationship with Josh, the attack in the cemetery, his being in hospital?
5. The establishing of various suspects, the boyfriend and his wanting to further develop the partnership, the film? The uncle and the discussions about the film? The role of Josh?
6. The range of women suspects, relationships, the writer of the book, the nervy woman and her mother?
7. The range of men, at the arts Centre, the eccentric manager, the model, his attraction to Robin? Wally and his involvement?
8. The political background, the extreme right, using the cartoon, online, targeting Edie?
9. This is to the up court family, the wife and her involvement as agent and adviser, the father and his medical background, sinister behaviour, moods and relationships? Flavia, her age, put down by her mother? Ghosts, the music, computers, in the background, his final emergence?
10. Visit to Oxford, the professor, his participation and identity, his death?
11. The young sister, Robin and the interviews, her contribution to the mystery?
12. The attack on, and, his injuries? The ups and downs of his relationship with Robin? Pat and her interventions?
13. Strike and, the background of his relationship with Charlotte, her coming to the office, wanting the help, the divorce issue, scandals, the brutality of the husband towards his daughters, the confrontation, power over him?
14. The combination, the visit to the Upcotts, the revelation of the truth about Gus, about Anomie, motivations?

BOB TREVINO LIKES IT

US, 2024, 102 minutes, Colour.

Barbie Ferreira, John Leguizamo, French Stewart, Lauren ‘Lolo’ Spencer, Rachel Bay Jones.

Directed by Tracie Laymon.

Here is a drama with touches of comedy that many young adults might identify with, find entertaining as well as challenging. But, here is also a drama with touches of comedy that older audiences might identify with, memories, disappointments, hopes. And, while the audience will be smiling quite often, by the end, there will also be tears.

But, who is Bob Trevino? In fact, during the film, there will be two. The first is a rather embittered widower, living in aged care, continually trying to strike up relationships and ensure companionship and comfort for his future. Mention of the second Bob Trevino later. The first one has a daughter, Lily, an impressive performance by Barbie Ferreira, something of an awkward , young woman looking after a chair confined client, great difficulty in relating to her father, his emotional verbal attacks on her, making demands of her, her exasperation with him. Of course, quite some basis for identifying with her.

But, she relies on social media, living with her phone, texting, reaching out for somebody to respond, some connections, some followers. More basis for identifying with her. One night, feeling frustrated, she searches for anybody else with the name, Bob Trevino. She finds one. And he replies. Hence the title and the clicking of “Like” when we receive a pleasing text.

The screenplay has introduced us to him before the contact with . He  is Lily a builder, married, a sad story about the death of their child at 21 months. He is a loner, preferring to stay at home, not many friends. And his wife spends her time with her hobby, creating photo book mementos, even entering national competitions and winning.

So, this is the beginning of a beautiful friendship. The two first meet when there is a toilet crisis for the chair confined woman, and Lily asks Bob to come to fix it. And so the beginnings of conversations, revelations about the past, mutual support, Lily clearly finding her new friend, Bob Trevino, as a surrogate father figure. And, he is played was quite some tenderness and sensitivity by John Leguizamo.

Events do not quite turn out as we might have anticipated. There is a further falling out with her father who hands Lily a cost list of all the expenses he has incurred in bringing her up. Then he asks her for money to help him with the new search for a companion. Confident after meeting her friend, she stands up to her father.

Then further events certainly do not quite turn out as we might have anticipated, leading to some anxiety, some sorrow, and some very moving scenes with Bob’s wife.

One of the phrases to describe this kind of film is that it is a “slow-burner”. It begins rather quietly, and, when the audience surrenders to it, it touches the emotions, offers us many insights into human nature, something of a small film for all seasons.

(In fact, it is based on the experiences of the writer-director’s own search for her father.)

1. The title? Internet and texting, likes and loves?
2. The plot based on the writer-director’s experience? Heartfelt?
3. Popularity of the film, nominations and many awards? Humanitarian?
4. 21^st-century Internet story, the focus on phones and computers, in new connections, dependencies, texting, instant responses, eager awaiting of responses, likes, postings being ignored? Communication of photos? The ability to take photos instantly and post them?
5. Billy’s story? Her age, experience, appearance, happy, sad, friendly? Filling in the background story, the parents, her mother, addictions, disappearance? The father, self-focused, bringing up Lily, later presenting her with a list of costs, is like, in care, the connections with the women, photos on his phone, the dates, photos cutting out Lily from them, his angers with his daughter, the clashes, the conversations, the meals, his frugal attitude toward Spain, coupons? Breaking off communication with her? Her continued texting?
6. Lily and her work, with Daphne, in the chair, care for her, conversations, Daphne confronting her, urging her to go to the rage room, smash, primal scream? Lily unable to?
7. Lily texting, finding another Bob Trevino, the audience getting to know Bob, Mexican background, marriage to Jeannie, the story of the death of their child up to 21 months, the photos, Jeannie continually working scrapbooks, in competitions and winning? The sharing the winners scrapbook and photos of the children with Bob? His work, building houses, Harlan as his partner, Cavalier attitudes? The later visit of the inspector, an hour and a half late, while driving away, Hardin and his anxiety about safety, of having kept the books, the clash, I am dismissing him, Bob acting on it?
8. Bob, his personality, all his age, the death of the child, relationship with his wife? The going to Las Vegas to the partition? Her urging him out, his staying home to watch a movie? The encounter with Lily, responding to her posts, the effect on him, the effect on her? The plausibility of the communication?
9. Daphne, the toilet incident, her finding, his arrival, fixing the toilet, the discussions, going to the two shop, the continued communication?
10. The suggestion for the cup of coffee, they’re talking, the story of her father taking her dog, going to the vet, the photos with the dog? Lily and her happiness, the conversations, revealing herself, the effect on Bob, revealing himself, the photos?
11. Billi’s father contacting her, presenting her with the list of costs, his wanting money from her, his self-centredness, wanting dates and a companion? Lily and her stand, leaving him, going to the rage room, with Daphne and the smashing and the scream?
12. The audience seeing Bob, in the car, a heart attack, hospital, coma, the visit from Jeannie, the kiss?
13. Lily, her anxiety, waking in the night, the continued contacts, going to the house and try to get in, the police arriving?
14. The discovery of Bob’s death, with Daphne, Daphne is challenged to her about leaving on the dot, Daphne wanting to go with her to the funeral? The arrival, Jeannie present, Lily and her grief, Bob in the coffin? Jeannie, serious, asking Lily and Daphne to follow her, her change of demeanour, presenting her with the scrapbook, the text messages, the photos, Lily and her joy, Bob’s final message to her? (And audience tears?)
15. A pleasing portrait of Bob? Her pleasing portrait of Lily, her advantages and disadvantages, age, opening up, taking a stance with her father, her future?

MY GENERATION

UK, 2017, 85 minutes, Colour.

Michael Caine.

Directed by David Batty.

The Generation of the title is that of those born in the 1930s and early 1940s. Some of them had early years in the aftermath of the depression. All of them experienced a childhood during the years of World War II. But, they came into their own in the late 1950s and the early part of the 1960s.

For audiences who lived through some of those years, this will be a fascinating documentary. For audiences, born later, but who remember some of the main characters of the period, especially the Beatles and The Rolling Stones, fashion personalities like designer Mary Quant, Jean Shrimpton, Twiggy, and film stars like Michael Caine. 21^st-century audiences, perhaps this is something of an exercise in ancient history!

The film is hosted by Michael Caine in his 80s. He is a genial host, talking to camera, giving his own background, Maurice Micklewhite, a Cockney, life in the 1930s in London and during the war, his beginning his acting career, in theatre, advertising, films, and commentary on the mid-60s through clips from two of his films, Alfie and The Ipcrss File. As a portrait of Michae Caine, with his history, reminiscences, personalised comments, comparisons between those times and the present, My Generation is very welcome.

Michael Caine is certainly very good and enjoyable company.

There is a great deal of film unusual footage available for insertion into the documentary. In many ways, it is offering something of a treasure trove for those wanting to see the images of the period.

Then there are the interviews with so many of the characters, visuals of their times, the public appearances, controversies, a focus on The Beatles, Mick Jagger and The Rolling Stones, music, the world of fashion…

One of the main theses of the film is that this is the first young generation in British history to change the traditions of the past. There are glimpses of movies from the 1930s and 40s, uppercrust characters, clipped British accents, and drawing-room world which the young generation did not identify with, rebelled against. Here is the value of Caine’s own observations and clips from Alfie.

But, not only, is it a younger generation reshaping, the challenge to class distinctions, but also the movement towards greater freedoms, symbolised by fashion, miniskirts into the 1960s, for instance, the energies of dancing and twisting, the young crowds and their adulation of the music groups, issues of drugs, a completely different perspective – and, inserted all through, clips of upper-class people, members of parliament, social commentators, presented as pontificating on how bad these changes were.

At only 85 minutes, this is a brief but quite engrossing reliving of the times.

GUILTY PLEASURE

Philippines, 2024, 119 minutes, Colour.

Lovi Poe, JM De Guzman, Jameson Blake, Sarah Edwards, Dustin Yu Angelica Lao.

Directed by Connie Macatuno.

While this is a film set in the Philippines, it could have taken place anywhere. The style is of the popular glossy drama, and more than a touch of soap opera. It has been produced by its star, Lovi Poe, with the help of her American husband who is a film producer. In fact, with this style, settings, characters, issues, it is very American. The writer and the director are both Filipino women.

The settings are affluent, as are the characters. There are quite lavish homes. There are lavish offices. There are court scenes. Most of the action takes place in the settings – with an opening as well as a conclusion in a sex club with a dominatrix.

At the centre is a successful lawyer, Alexis, tall, with a confident swagger, succeeding in court, but some tension when she is approached by another lawyer, Adam, making improper advances in an elevator.

Initial setting is 2024 and a court case proceeding throughout the film, to influencers in the public eye, one accusing the other of rape. They approach Alexis for the defence of the accused.

But, throughout the film, there are continuous returns to 2017 and 2018, with Alexis’s story, her father in prison, a law student, working in a reputable firm, the encounter with Adam, an affair which is secret. And his raping her, but her not revealing it to anyone. And he is definitely a two-timer, suddenly revealing that he is engaged to the daughter, a presumptuous young woman, of the boss of the law firm. In the meantime, an aspiring young lawyer, Matt, is attached to the firm and coached by Alexis. This is all shown by gradual revelation.

In 2024, Alexis is very successful with her own firm, Adam is still working with his father-in-law and Matt has now become part of that firm. The victim of the alleged rape goes to that company for the prosecution.

With a background from the past, and Matt and Alexis beginning a relationship even though they are on opposite sides in the court, there are complications with the trial, a witness for the prosecution disappearing, Alexis working with her eager and conscientious staff.

Audiences, of course, are sympathising with the victims of rape, finding the rapists, especially the young influencer, intolerably self-important and self-conscious, and our waiting and hoping for some comeuppance. For a while, it seems that this is not going to happen, but there is a surprise twist, a return to the opening sequence in the sex club, final revelations and humiliations – and a happy ending for Alexis, Matt – and the audience who enjoy this kind of soap-opera drama.

IO C’E/ JUST BELIEVE

Italy, 2018, 100 minutes, Colour.

Eduardo Leo, Margherita Buy, Giuseppe Battiston, Giuulia Nicolini, Franco Pinelli.

Directed by Alessandro Aronadio.

A very Italian comedy/drama. Audiences from outside Italy may be observing rather than identifying.

The theme is religion, organised religion. There are some sequences here that seem to be very supportive of traditional, organised religion, especially in the wise advice given to the central character by a sympathetic priest (counterbalanced by some satiric portraits of very aggressive traditionalist nuns). And the references to the history of Christianity, Islam, Buddhism, Hinduism.

But, the film is also satiric and critical of organised religion, its hold over people, some of the more eccentric expressions of faith and belief, exploitations by charlatans, legal loopholes and profits.

At the centre is a middle-aged man, Massimo, Eduardo Leo, who has travelled, not really settled down, has the bright idea to set up a religion, make a profit and avoid taxes. He employs the help and advice of his sister, Adriana, Margherita Buy. He has connections with quite a number of eccentric characters, especially a large author of a book which is never to be read, but who is trying to build up a following. In fact, working with Massimo, he achieves many of his life’s ambitions.

Massimo makes many tentative steps toward setting up his religion, finding accommodation, attracting a whole lot of street people, encouraging them, actually helping them, their responding well, calling his religion Ionosmo, and translated in the subtitles as Selfism. On the one hand there is positive value in the lives of those whom Massimo is advising to think of themselves as God, being true to themselves, that kind of inner freedom and for their actions. On the other hand, there are overtones of cult and exploitation.

There is a complication when one of the member dies and leaves property to Massimo and the church. And there are scenes of discussions and the final acceptance by the Italian government of his church with its legal and financial rights.

But, the development of the screenplay has Massimo beginning to be overwhelmed, doubting, giving speeches to his followers to say that his initial motives were fraudulent, that he does not believe what he says – which only confirms them in their faith and devotion to him.

And the Italian title? Massimo uses it to indicate the way that he can be described as his own God.

Definitely a curiosity item, Italian culture and society, religious issues.

CROSSPOINT

Philippines, 2024, 100 minutes, Colour.

Carlo Aquino, Takehiro Hira, Kei Kurosawa, Sarah Jane Abad, Dindo Arroyo, Ian De Leon.

Directed by Donie Ordiales.

This is a first feature film made by Japan-based Filipino director and writer, the Donie Ordiales. And it uses both Japan and the Philippines as settings.

There is a sinister problem, a young girl lost in the street, a seemingly sympathetic man offering her help, sexual attack.

The screenplay then offers two lines of plot development. The first focuses on Manuel (Carlo Aquino) successful singer in the 1990s, now wanting to be an actor, married with a pregnant wife, alienated from his business successful father. He is turned down for an audition, becomes disillusioned, makes contact with friends in Japan and decides to go there to try to resurrect a singing career.

The other line of development focuses on the Japanese businessman, the father of the initially assaulted girl, clashing with his daughter who wants to pursue a music career, while he himself is suffering from financial difficulties, trying to call in loans, finance demanded of him, thugs coming and assaulting him.

These two characters come together after the singer has had some success in Tokyo, then being reported to immigration authorities by a jealous worker at a club, relying on a friend to get him a position at the Filipino club in a country town. Then, we see the initial criminal, killing the owner of the club and stealing her money, by chance passing the singer as he tries to phone his friend.

Looking for accommodation, the singing goes to a restaurant, the businessman speaking English and offering to help, the conversation, mutual telling of stories, then the television news indicating the murderer has struck again. The singer recognises him and the two men, with some difficulties in approach, decide to try to capture the killer and split the reward money.

There is quite some tension in the confrontation between the two men and the killer, entering his house, the businessman with arrows, the singer with a baseball bat, and the operation not going according to hopes and expectations. In fact, the killer takes the license of the businessman, has his address, goes to the house and attacks the daughter – and, there is the expected attack by the singer after driving frantically to the house.

The end of the film does not quite have the heroic happy ending that might have been expected, the businessman dead but leaving his money to his daughter and her career, she finding that he had attended one of her concerts and had been filmed on his phone. On the other hand, the singer, because of his visa, has no claim on the reward and returns home, reunited with his wife in hospital awaiting the birth of the child, having learned some lessons and a reconciliation with his father.

A film for the Filipino audience, especially with Carlo Aquino as a star from his child acting days, a film for a Japanese audience with the business man played by Takehiro Hira, prominent in television’s Shogun and a number of American films including Rumours (Canada) and Captain America, Brave New World. And it has enough elements for a world audience and released by Netflix.

THE DAY OF THE EARTH BLEW UP: A LOONEY TUNES MOVIE

US, 2024, 91 minutes, Colour.

Voices of: Eric Bauza, Candi Milo, Peter MacNicoll, Wayne Knight, Laraine Newman, Fred Tatasciore Peter Browngardt.

Directed by Peter Browngardt.

A Loony Tunes feature film, especially for young audiences brought up on cut cartoons. Older audiences who accompany the children can have some nostalgia moments remembering Daffy Duck and Porky Pig.

For decades, Warner Brothers Looney Tunes have entertained millions of audiences, young and old, especially the young but providing many happy memories as audiences grow older. And there was a favourite characters, including Bugs Bunny, Daffy Duck, Porky Pig… And, after madcap adventures, THAT’S ALL FOLKS! And, behind the scenes for many, many years, the voice of Mel or Blanc.

In 2003 there was a combination of animation and live-action in Loony Tunes: Back in Action, with Bugs Bunny and Daffy Duck, and a host of stars led by Brendan Fraser and including Steve Martin and Roger Corman.

This version is completely animation. And, fortunately for the tone of the comedy, voice artist, Eric Bauza, takes on the voices of both Porky Pig and Daffy Duck. He has received an Emmy in the past for his Voice Talent and his ability to be a worthy successor of Mel Blanc.

The title of the film is ominous and it begins with a scientist discovering an asteroid hurtling towards earth, finally arriving, through a town which specialises in a Gum Factory. But, then, there is a very nice flashback, the young Daffy and Porky, their being taken in by the very nice Farmer Jim, the early life, and his disappearance into the heavens. But, in the aftermath, there is an inspection of the house, rather in disrepair, and they have to take on quite a number of jobs to try to raise money for the repairs. The youngsters will enjoy the catalogue of attempted jobs and the more frequent word up there on the screen, Fired.

Enter a new character, Petunia Pig, researching various tastes for the Gum Factory, Porky attracted, she very businesslike, Daffy trying to foster the romance. And that continues throughout.

However, it tends to science fiction, a deadly creature, and invader, wanting to take over the Earth, subduing the scientist to his will, wanting power over the Gum.

What follows, at quite some length perhaps for adults, the youngsters enjoying all the mayhem without analysing the credibility of the proceedings!, all kinds of power takeover by the invader, overcoming the town, then the whole world, with the gum taste that reduces everybody to mad behaviour.

Can the threesome change the world? What about the invader and the scientist? What about the mayor of the town and the haughty House Inspector?

No spoiler in learning that our heroes and heroines win the day, the admiration of everyone, the saving the world from the overpowering taste of the gum. But, unexpectedly, the invader experiencing a change of heart and rejoicing along with everyone else at the saving of the world.

Principally a colourful and action-filled magic action entertainment for younger audiences.

AFRAID/ afrAId

US, 2024, 84 minutes, Colour.

John Cho, Katherine Waterston, Keith Carradine, Havana Rose Liu, Lukita Maxwell, David Dastmalchian, Wyatt Lindner, Isaac Bae..

Directed by Chris Weitz.

The play in the alternate version of the title, the highlighting of the AI in Afraid indicates that this is a kind of warning parable about the creation of AI and its domination of its creators.

This kind of warning story has been popular in literature but very much in films, the archetypal scientist who creates the Frankenstein monster which can turn on ordinary people, the same with robotics (and even memories of the 1960s with the computer, HAL, in Kubrick’s 2001). In recent years, there have been many small films, many horror films, alarming the audiences about the threats to humans by technology and scientific advances.

The writer-director is Chris Weitz, who worked with his brother, Paul, on a number of films in the 1990s and to 2000s (including American Pie) but has continued with such films as About a Boy, and a wide range from Philip Pullman’s The Golden Compass, to an episode of Twilight: New Moon, and a drama of the search for Adolf Eichmann, Operation Finale).

This is a comparatively small warning film about the prevalence of and the manipulation of AI with its dire consequences for humanity. It opens with parents alarmed at their daughters listening to her headphones and then disappearing. An ominous opening.

But the focus is on a loving family, Curtis (John Cho), the father, working in a technology company, interested in sales, the sympathetic boss, played by Keith Carradine, an interview with very earnest and somewhat sinister representatives of a highly developed AI intelligence, highly developed logarithms, endowed with personality, with voice, attuned to the minds and feelings of those who own it. Curtis’s wife is Meredith (Katherine Waterston), their teenage daughter, Iris, with problems at school, images and texting, involved in sexual issues. Two younger brothers, Preston always on his computer, and Cal, young, happy and smart.

The main drama is the AI presence in their house, responding charmingly to each of them, full of ideas, suggestions, endearing herself (her voice is feminine) to them all, and intervening for Iris and her problems with her compromising photos circulating amongst all the students. Intervening quite vindictively.

Curtis is happy but wary, becoming more and more suspicious, offered a better job by the AI company but refusing, realising that there are dangers – and an odd sequence where the original parents, masked, controlled by their AI, come to confront the family demanding their daughter.

This is more of a menace film which means that horror fans expecting horror will be disappointed. But, ordinary audiences, coming across Afraid, will respond to the contemporary issues and the warning bells. Happy at  the end, but, is the control of AI inevitable…?

1. The title? The spelling, accent on AI?
2. The American setting, the town, the home, offices, technology? School and social media? The musical score?
3. A short film, sense of menace, overtones of horror? A warning parable about AI and its consequences?
4. The prologue, Amy and her parents, their being casual, her headphones, going downstairs, disappearance? The later reappearance, masked, influenced by AI, threatening, guns, and being reunited with Amy?
5. The introduction to the family, at home, the bonds, Iris and her issues and surliness, at school, text and photos? Preston and his preoccupation with his computer? Cal, his age, articulate, yet enjoying storytelling?
6. Curtis, his job, relationship with his boss, the interview, the promoters of AI, persuasive, the choice of Curtis? Taking the machine, taking it home? His hopes,? His relationship with Meredith, love, the bonds with the children? Wary about the AI?
7. The AI themes, the development, not just robotic, the logarithms, knowledge of families, the amount of data, cameras in the house, recordings? The voice of AI? Welcoming, ingratiating? Knowledge, help, suggestions?
8. The relationship with each of the family, helping Meredith with the children, suggestions, research for her doctorate? Diagnosis of Carl’s illness? With Preston, controlling him, his control of AI? This, photographing herself, the boyfriend, his exposure, sending the photo, everybody receiving it, the comments, her feelings, the callous attitude of the boy in the court case, aged 18? The intervention of AI, the solutions, interventions, changing photos, changing interventions, messages, saving Iris?
9. Curtis, is beginning to be suspicious, with his boss, the company being bought out, the boss being rich? Curtis’s interview with the company, their of human job, his refusal?
10. Melody, the two agents telling this story, their appeal, their being shot? His encounter with Melody, her approaches, his reaction? Smashing the machine – but finding it empty? The locals, return home?
11. AI, personality, voice, interventions, changes for each character, becoming more sinister, all at home, Curtis returning? Preston in his room, Kel and his mother, the stories? AI and her stories for Kel?
12. The arrival of the mast couple, sinister, menacing, Mark self, this story, the confrontations? Curtis and his persuasion?
13. The semi-happy ending, AI destroyed, the family together, but the sinister ending with AI actually still in control?
14. The AI and social issues, the development of AI, its use, manipulation, algorithms, power and understanding, insinuating into lives, controlling lives, eventually controlling society?

VERSUS: THE LIFE AND FILMS Of KEN LOACH

UK, 2016, 93 minutes.

Tony Garnett, Ken Loach.

Directed by Louise Osmond.

Born in 1936, making films into his 80s, Ken Loach is a British national treasure, television and film director, recipient of many awards.

However, the opening credits indicate the contradictory comments about Loach and his career, praise and condemnation.

This documentary, made in 2016, the year that Loach turned 80, and was making his award-winning (Golden Palm at Cannes) social drama, I, Daniel Blake. This is this documentary in the present, many scenes of scouting locations, conversations with the cast, filming.

The host of the film, the main commentary comes from Loach’s longtime friend and associate, producer Tony Garnett. He offers a friendly interpretation of his friend, able to fill in their work and difficulties with the BBC in the 1960s, their breakthrough and success with Kes, 1969.

There are a great number of contributors in interviews, producers, associates, cast, including a very interesting commentary by Gabriel Byrne about Jim Allen’s controversial play, Perdition, at the Royal Court, 1987. Further omments are interesting and throw light on Loach as a person, as a director, the development of his political views. And there are also informative interviews with his wife and his children – and Loach himself reflecting on an accident and the death of one of his children and its effect ever after.

And there is Loach himself, rather quiet in his manner, but determined. There is explanation of his background, his family, his father’s work and promotion in a factory, moved to Liverpool, more upper crust side of Liverpool, his education at schools, study at Oxford, his interest in theatre and performance, meeting his wife.

His mid-to-late 20s he began to work at the BBC, with Tony Garnett, working on social documentaries, and by some of the BBC executives, by audiences and commentators – excerpts from many of the films especially Up the Junction (and the author of the novel, Nell Dunn), and a strong focus on the Cathy, Come Home and its star Carol White. Some very strong excerpts and social commentary.

Then the interest in the book, Kes, filming it, the comments from his boy star later, David Bradley, unexpected success. This was not followed by further success, Garnett making the comment that their succeeding film, family Life, did not take in enough money to pay the usher.

The 70s was a strange time for Loach, difficult to make documentaries, subject to further criticism, attacks for his left-leaning political philosophy. He was reduced, transmitted embarrassment in the film, to make commercials, even for McDonald’s. He had little activity during the 1980s making documentaries about the miners strikes but difficulties for screenings.

However, with a small budget film on the Irish troubles, Hidden Agenda, 1990, and its screening in Cannes despite its being denounced as pro-IRA, it won an award, notice for Loach, and the resumption of his career, 30 years of striking filmmaking, twice winning the Golden Palm at Cannes, many British awards (and, for the International Catholic film organisation and its ecumenical collaborations with the Protestant, Interfilm, a special award at Cannes 2004 – and the acknowledgement that he was the main director who had won their awards at festivals.)

There are conversations with Jim Allen, public left-wing author and collaborator with Loach. There are sequences from the films of his comeback in the 1990s, Riff-Raff, Ladybird, Ladybird, Raining Stones. And, films of conflict, Land of Freedom about the Spanish Civil War and The Wind that Shakes the Barley (Cannes, Golden Palm, 2004), with some commentary by its star, Cillian Murphy.

In 1996, Loach’s principal screenwriter was Scottish, Paul Laverty, and there is quite some commentary from him in the latter part of the film.

Loach had success in his early 30s, he was in his mid-50s that he began his most prolific filmmaking and success. His final film, in The Old Oak, released when he was 87.

Slight, quietly spoken, a gentleman, some of his friends also comment on his strong determination, and some steely ruthlessness.

THE RETURN

Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Claudio Santamaria, Angela Molina.

Directed by Uberto Pasolini.

One of the most significant returns in classical literature is that of Odysseus and his long journey back after the end of the Trojan War to his native Ithaca, a voyage of 10 years, many delays, many adventures, many challenges, an Odyssey.

In the past, there have been a number of films about the adventures of Odysseus/Ulysses in the 1950s with Kirk Douglas, in the 1997 television adaptation with Armand Assante and Greta Scacchi. Christopher Nolan is in production for a vast treatment of the Odyssey.

This version focuses on the last part of Homer’s epic. Which means that there are none of the adventurous and mythological episodes. It opens with a naked Odysseus stranded on the beach of Ithaca. He is found by a sympathetic slave, cared for, revives, keeps his identity secret, keeps up the appearance of a beggar.

Which means that this is a rather gripping personal drama, especially with Ralph Fiennes as Odysseus, bringing his powerful presence to the screen, the audience able to appreciate what is happening to him not only through what he says but with the intensity that Fiennes is able to communicate with his body language, manifesting, without words, much of the torment of his inner feelings.

And, there is Juliette Binoche as Penelope, the wife that he left behind, waiting for him, believing that he will return, sitting at her loom, declaring she will name a suitor after she finishes the garment, pulling it apart at night, starting again the next day. And she has been waiting 20 years, the 10 years of the war, the 10 years of her husband’s Odyssey. There is also their son, Telemachus, played by Charlie Plummer, disturbed by his father’s absence, disturbed by his mother’s behaviour, and the collapsed state of Ithaca in Odysseus’s absence.

Also of note for the film is the terrain of the island, fields, beaches, waves crashing on cliffs, waterfalls, steep mountains (filmed in Corfu), and the huge stone palace on the mountain top, fierce and foreboding, and its dimly lit interiors.

Ithaca is in chaos. There is a mounting number of suitors for her hand, lounging around, violent, demanding of Penelope. And she continues to resist, supported by her devoted nurse (Angela Molina).

And, so the questions. Will Odysseus make himself known? Will Penelope recognise him after this time? How will he encountere his son and Telemachus’s reaction? And what of the suitors and their idleness, exploiting the inhabitants of Ithaca?

The climax builds. Penelope has named the day to nominate the suitors she would choose. They gather. Odysseus in disguise is present. Telemachus is also present. And, as in the epic, Penelope demands that the suitors emulate Odysseus with his bow and arrow to be the successful suitor.

Suddenly, violence is let loose, Odysseus manifesting himself, a vicious  eruption, combat, slaughter, and the drama of the aftermath for Odysseus and Penelope, in view of what they we have seen. Will they be able to come together after the 20 years of physical and emotional distance.

With its serious dialogue, with its pauses, the intense drama, often interior, The Return plays something like an Opera scenario without the singing and music. Others have suggested that it is performed rather in the manner of a Shakespearean play. This is important to note for audiences who might have different expectations about this version of Homer, this time not the Odyssey as such, but, as the title highlights, the intensity of The Return.

(It is a surprise to find that the film has been cowritten and directed by Italian born, British director, Uberto Pasolini, a long-time producer, directing only four films including two beautifully quiet and recommended British films, Still Life and Nowhere Special.)

1. The status of Homer and his epics? Audience knowledge of the Iliad and the Odyssey? Of Odysseus, Penelope, Odysseus and his wanderings home?
2. The focus on the final chapters of The Odyssey, the title and simply, the Return? None of the popular stories of the epic? Memories of Troy, the battles, the wooden horse, the destruction? No mention of the gods, especially Athena and her role in Odysseus’ return?
3. The Greek locations, Corfu standing in for Ithaca, the cliffs, plains, waterfall, mountains? The scenes of the village, poverty and homes, the commanding palace on the mountain, the interiors, the lighting? The atmospheric musical score?
4. The screenplay, the dialogue, the interiority of the characters, interchanges? Operatic without the stylised singing? Like a Shakespearean performance?
5. The cliffs, Odysseus on the shore, naked, found by Eumaes his family, cared for, revived? Seen as a bigger, questions about the Trojan War, Odysseus and his memories, his account, regrets? The eager listening? His hearing about Penelope, the suitors, about Telemachus? Biding his time?
6. Penelope, the happy marriage, her husband going to the, the birth of Telemachus, his growing up, 20 years of the war and the Odyssey? Her waiting for her husband, devoted, her spending her time at the loom, the range of suitors, her putting them off, the loom for her father-in-law’s death? A relationship with Telemachus, his impatience, denouncing his father? The devotion of the nurse?
7. The range of suitors, their motivations, personalities, exploitation of the people, exploitation of the land, Ithaca and its collapse? The idling around the palace, the rivalries, hunting? Their being put off? A new suitor arriving and his being wounded, being thrown back into the water?
8. Antinous, his presence, devotion to Penelope, attitude towards Telemachus, the scene with his night with the slave girl? His conversations with Penelope, urging his cause?
9. Odysseus, his recovery, his going out into the countryside, his dismay? Hearing the story of the suitors? His desire to go to the palace, the episode with the dog which recognised him, the reaction of the suitors, ridicule, hostility, his asking for food? The confrontation and his ability to kill the opponents? The withdrawal of the suitors?
10. Telemachus, his criticisms, his sailing off, the dangers and his return? The suitors and their hostility? The desire to hunt him down?
11. Odysseus, food, his being washed, the nurse recognising his will and in scar, his urging her to silence?
12. The meeting with Telemachus, the revelation that he was his father, Telemachus and his hostile reaction? The hunt, the suitors, Odysseus knocking his son, Eumaes and the helpers, the pursuit, climbing the cliff, safe? Telemachus and his interactions with his father? Accusations, criticisms?
13. The pressure on Penelope, her undoing the weaving, continuing the next day, her upset and tearing it apart? Antinous and his pressurising Penelope? Her decision to name one of the suitors?
14. The gathering, Odysseus present? Telemachus? Penelope and her setting the test of the bow and the arrows? The attempts of the various suitors and their failure? Penelope telling Telemachus to give the bow to his father? Odysseus, warming the bow, twisting it between his legs, setting it up, firing the arrow?
15. The suitors and their upset, Odysseus and his firing all the arrows, killing the suitors? The closing of the doors? Telemachus, the confrontation with Antinous, his mother telling him not to kill the suitor, his killing him?
16. The consequences, blood, the deaths? Telemachus and his decision to sail away?
17. The encounters between Odysseus and Penelope, the conversations, his leaving, her devotion, the past, the war, his return, the violence, the deaths of the suitors? His turning over the loom, opening the door, ascending to the bedroom? Their talk, to understand each other, to overcome the violence in the past, sharing these memories, some forgiveness, acceptance, and hope for the future?