Displaying items by tag: Peter Malone's Movie Reviews

TWO TO ONE

Germany, 2024, 115 minutes, Colour.

Sandra Huller, Max Reimelt, Ronald Zehrfeld, Ursula Werner.

Directed by Natja Brunckhorst.

After the fall of the Berlin Wall, a communist family discovers a bunker full of money soon to be worthless. With the help of their neighbors, they embark on a race against time to enter the capitalist world in style.

Two to One is entertaining but taking audiences back into the history of East Germany, the Berlin Wall coming down, 1990 and the ambiguous status of East Germany before unification.

Audiences will remember Goodbye, Lenin, which has an episode about East German buried cash and some exploitation during unification. This film amplifies that story, a local community in a building discovering mountains of dumped cash, skills in exploiting it, the authorities eventually clamping down.

But, the screenplay highlights the oppression of East Germans, their hard work and industry exploited by the authorities, the population lied to. The film raises all kinds of serious reflections on East Germany but throughout the film, there is humour in the characters and their relationships.

One of the recommendations for seeing this film is the presence of celebrated German actress, Sandra Hullers, who came to international prominence with Toni Erdmann and an Oscar nomination for her role in Anatomy of a Fall and noted for her performance as the wife of the head of Auschwitz, Zone of Interest.

IT ALL BEGAN WHEN I MET YOU

Japan, 2013, 106 minutes, Colour.

Directed by Katsuhide Motoki

Christmas in Tokyo. The screenplay was inspired by the UK success, Love, Actually. The setting is the hundredth anniversary of Tokyo Station, the film a celebration of the centenary. The station features, exteriors, the vast interiors, the eagles in the dome… And the range of people passing through, a meeting place.

This is a very enjoyable film, but seems very Western in comparison with most Japanese films. The stories are universal – but it is surprising to see such celebrations of Christmas in Tokyo, the carols, the songs, the pageants, the cards, Santa Claus, Christmas cakes. However, there is always the Japanese good manners, bowing, decorum.

The film has a range of characters and interconnecting stories. One story focuses on long range relationships, an dress designer and her boyfriend out on building sites, contact by phone, some disillusionment, the boyfriend very serious and his ultimate proposal rather surprising! The other relationship is an aspiring actress, who helps out an orphanage each year for the Christmas pageant, encountering a rather hard businessman, attraction, misunderstandings, resolution.

On the sad side there is a young orphan who does not know her parents were, is sometimes taunted by the other children, is cared for by the woman in charge, is fascinated by Santa Claus, receives a gift but is upset because the message to her is written in Japanese whereas Santa came from Nordic countries!

Also sad is a train driver with a terminal illness, farewelled from the company, loving relationship with his wife, wanting to grow old with his young son, helping him with his project about his early years and going to school to hear the son speak it. Tension, emotions, and gradually telling his son about his imminent death.

A mixture of happiness and sadness with the owner of a cake shop, 49 years after having been abandoned by her boyfriend, never marrying, skilled at her work, giving advice to the young assistant who is at University. Then, at Christmas, the brother of the boyfriend comes to tell her about his brother’s happy marriage, that he was to blame for not letting him come but bringing the train ticket that he discovered in his brother’s wallet.

Stories for everyone.

1. A film for the celebration of the hundredth anniversary of Tokyo station? The role of the station, the location photography, themes and characters for the film?
2. The Tokyo setting, homes, the orphanage, AI headquarters, the pastry shop, train through the countryside? The musical score, songs?
3. The inspiration from Love, Actually? The Christmas setting, the characters?
4. The screenplay, the introduction of the characters, their stories, the interconnections?
5. The actress, part-time, her of the work, at the orphanage, the annual play, the rehearsals, the decision to leave, return home, going to the restaurant, imagining dining there with the boyfriend, the encounter with the company manager, his credit card, the bar, her embarrassment, his misinterpretation, the later encounters, his stern manner, with his staff, exacting, wanting the DVDs, his secretary and praising her choice, learning that they were actually chosen by the actress? The apologies, the lavish lunch for the children rehearsing, the actress and her gratitude, the revelation that she was acting in the restaurant, his disillusionment? The play and its success? His loneliness, getting information, going to the bus station, reunited, and going to see Casablanca?
6. The dress designer, the preparation for the models of the show, the demands of her boss, her skill in design, ideas? The boyfriend, his work in the countryside, serious, the details of the work, the relationship at a distance, the phone calls, the wake-up calls, his seriousness, dinner with his boss and wife, with the senior manager? The young woman and her suspicions, her disappointments? The encounter at the station, the show, sending him the ticket, the empty chair, the fact that he was there and her not seeing him, his message, going to the station, the darkness and the eagles, the discussion, on the train, the kiss, his serious character and this not expected?
7. The train driver, his work, the farewell, his disappointment, going home, relationship with his wife, proud of his son, the discussions about his project and his early life, the parents and their answers? Going to their son’s presentation of his project and applauding? His terminal illness, the discussions with his wife, his anger with his son playing the game on his phone, the outings, eventually telling his son, the son weeping? Pondering the videos?
8. The pastry shop owner, her assistant at the University and questioning the owner about her life, her age, this popularity of the cakes, the sick man and his buying one each year, the discussions, the owner, 49 years, abandoned to the station? The assistant, the owner urging her to contact the boyfriend at the University? The arrival of the stranger, the brother of the man, story of his death, happy family, yet his train ticket in his wallet? The flashbacks? The owner and her ticket, happy Christmas?
9. The orphan girl, teased by the other children, the kindly manager, the play, the rehearsals, her absent mother, Santa Claus, the discussions about not seeing him, the gift, her running away, the card written in Japanese rather than in Santa Claus language?
10. Western tone of the film, the influence of Love, Actually? The Japanese celebrating Christmas? But the characteristic Japanese courtesy and bows? Food? Universal stories?

THE ACCOUNTANT 2

US, 2025, 133 minutes, Colour.

Ben Affleck, Jon Bernthal, Cynthia Addaii-Robinson, J.K.Simmons, Alison Robertson, Daniela Pineda, Robert Morgan, Grant Harvey.

Directed by Gavin O'Connor.

The Accountant was one of the best thrillers of 2016. It is surprising that there has not been a sequel sooner. This version was written by the original writer, Bill Dubuque, and there is the same director, Gavin O’Connor.  There are a lot of resemblances between the two films in characterisation, in plot, plot development. But, this sequel matches the original.

Here is a very entertaining thriller that keeps the audience continually alert, needing to pay attention to the wide-ranging plot developments. With such a simple title, The Accountant, not much is revealed – but the screenplay offers quite an amount of revelation. This review perhaps errs on the side of cautiousness in not revealing any of the key aspects of the plot.

Actually, the previous paragraph was the opening of the review for the original film. It takes us back to origins in the first film but is important for the central character, Christian Wolf, Ben Affleck. And noting the key theme of the original:

One of the major themes of this film is autism. It opens at an Institute in the 1980s and a little boy, who has the makings of a genius, manifests the narrow autistic focus as well as the potential for being deeply disturbed by failure in what he wanted to accomplish and physical and psychological effects. His military father decides that he needs to face the world rather than an institution, even though the boy has made friends with a little girl there.

And the same comment on Ben Affleck’s character and performance. 

Ben Affleck is the accountant. This is one of his better performances, his being able to capitalise on what some critics have referred to as his woodenness in performance – he brings it to bear on the focused autistic characteristics, the genius of maths, the intensity of finishing work undertaken, being taught how to recognise emotional situations while not being able to identify with them.

That was the language of 2016. The language of 2025 refers to neurological divergence.

Two characters from the original film are highlighted, J.K.Simmons as a Treasury official and Cynthia Adaii Robinson, supporting in the original, but here taking a central role, investigating a murder, being introduced to a far wider conspiracy.

Part of the drama, with some comedy touches, is question Will getting in touch with his younger brother, long alienate it and who has disappeared, Braxton. John Benthal is obviously enjoying herself in the role, trying to deal with his brother’s new divergence. Ultimately, travelling through Latin America, to the rescue, guns blazing, they make a formidable team.

This is quite a long film, and the complex plot of a network of paid assassins, issues of the Latin American cartels, and mysterious central character, the ruthless assassin who has quite an extraordinary back history of amnesia.

The audience has to keep paying attention, the interactions of the characters, the deadly twists of the plot.  After watching the film, most audiences would probably say yes to The Accountant 3.

1. The popularity of the first film, audiences enjoying a sequel? Tone, the title, expectations?
2. The American settings, homes, cities, investigation officers? The Latin American settings, the prison camp, the countryside? The musical score?
3. Christian Wolf, the accountant, the explanations in the first film, his back story, autism, his manner, communication, focus, intelligence, skills? Braxton, his brother, the different style? Bonds, clashes, now working together?
4. The opening, El Salvador, the raid, Ray King, his role in past films, initiating the search for Anais, his being killed, the message on his arm? Marybeth Medina reading it, her quest?
5. Marybeth Medina, personality, strong, skills, investigation?
6. Burke, the background, the trafficking, the episode in El Salvador, the family, the death of the father, the taking of the boy, the impact on Anais and her memory loss, the accident, been trained as a killer, her skills and work?
7. Burke, control, Cobb as his thug, his business, cover, his being unmasked?
8. Medina going to Christian, his getting the information, the contact with Braxton, Braxton’s life and style?
9. Justine, the centre, the network, the autistic youngsters, their skills in investigation, information?
10. Anais and her story, in El Salvador, memory loss, assassin, her skills, the transform personality?
11. The contract on Medina, Baly and his targeting, Anais and the attack, the confrontation with Medina, Anais wounded, seeing the photo, memory returning, realisation?
12. The boy, taken, in the camp, autistic?
13. The prison camp, the brothers and the decision for action, arriving, the children, the bus, the countryside, the siege?
14. Justine and the network, with the children, preparing to receive Alberto?
15. Satisfactory conclusion, the role of Medina and her character, strong? The brothers and their bonding? Possibilities for further action?

FLIGHT 149: HOSTAGE OF WAR

UK, 2025, 90 minutes, Colour.

Directed by Jenny Ash.

This is a 2025 documentary about events which happened 35 years earlier. 1990s saw an invasion of oil-rich Kuwait by President of Iraq, Saddam Hussein, leading to international troops involved in the Gulf War, later referred to as the First Gulf War.

Memories of the event of this film have been well superseded by a quarter of a century’s events in the Middle East as well as planes crashing into the twin towers in 2001. The first Gulf War was that of President George Bush, the invasion of Iraq in 2003 by his son George W Bush. There was also the war in Afghanistan until the withdrawal of the American troops under President Biden. And, immediately preceding the release of the film, the Hamas’ attack on Israel, Israel’s attack on Gaza with the consequent deaths and inhumane treatment of the Palestinians, clashes with Hezbollah, a war with Iran and the bombing of its nuclear facilities.

The focus of this film, with solicitors interviewing survivors decades after the event, and with some dramatic reconstructions of some of the characters and episodes, is the flight, British Airways 149 which landed at Kuwait at the time of Saddam Hussein’s actual invasion. Narrative of the documentary gives the timeline, the arrival of the flight, the empty airport, the taking of the plane, its destruction, the imprisonment of the passengers, their internment in hotels, then their being scattered, used as human shields, Saddam Hussein being filmed with some of them, especially children, as propaganda.

The documentary keeps indicating the dates in August 1990 and the number of days that the passengers were detained.

On the one hand, there are significant interviews with passengers and crew remembering what they experienced at the time, quite emotionally effected, older men now, a little girl now grown-up, a wife, representatives in the area. On the other hand, the issue of what the British government knew, the foreign office, the Prime Minister, Mrs Thatcher, scenes with her giving speeches, with President Bush, various members of her staff and government.

The film contributes to an exploration of what British Airways knew, at the time and afterwards, the role of the government, the secrecy.

Also the centre of the consequences of the experience, a great deal of post-traumatic stress, evidenced in the interviews with the survivors as well as the dramatic reconstructions of episodes.

The film offers 90 minutes of exploration, testimony from those involved, and for audiences interested in following up, as might be expected, the entry in Wikipedia is long and very detailed.

SINATRA – TO BE FRANK

US, 2015, 80 minutes, Colour/black and white.

Directed by Simon Napier-Bell.

A popular documentary, produced in England and directed by the boss of Wham, Simon Napier-Bell, this nicely-entitled film was released for the hundredth anniversary of Frank Sinatra’s birth.

An enthusiastic opening with Sinatra’s fandom in the 1940s, then a journey through the decades, named, highlighting his career and, the background of his life. Born in Hoboken, New Jersey, the film shows his Italian family background, only son, early talent, working in a group, the Hoboken Four, record contract, early indications of Sinatra controlling his life and career, taken up by Harry James and Tommy Dorsey (learning from him the importance of timing and breathing).

It is interesting in retrospect to see the “bobbysoxsers” of the 1940s, thousands of girls lining up in adulation of Frank Sinatra (20 years before the Beatles). A successful singing career with bands, radio, records, inaugurating albums when LPs were developed in 1948, later developing thematic albums, his popularity for half a century, records, radio, television – and, from the 1940s, the movies. Social media, one of the best ways to be known was to appear in the movies.

There were the MGM musicals, an award from Louis B Mayer, then his being fired when he made a costing remark about Mayer and this was reported back to Mayer. 1950 and his being a little old hat in terms of song, not getting good parts, and then fighting for his role as Maggio in From Here to Eternity, success, Oscar, a range of strong films like The Man with the Golden Arm, musicals like Guys and Dolls, with Bing Crosby in High Society… Then the change for the 60s, the Rat Pack and his friendship with Sammy Davis Jr (and race issues), a further film career.

There was his marriage to his childhood sweetheart, Nancy Barbato, their two children. Then there was his relationship with Ava Gardner, too similar people noted, a short marriage. Then, there was a surprise of his marriage to Mia Farrow, brief, but, finally his marriage to Barbara Marx and some serenity in his old age.

The film highlights that he was critical of Elvis Presley but there was some kind of television reconciliation and singing together, and his realisation that he had to adapt to changing times, changing popularity in musical styles – which he did, culminating, of course, in My Way.

There are discussions about his relationship with mobsters, from his father working in bootlegging, to friendships with a range of the Mafia types.

Considered one of the greatest if not the greatest popular singers of the 20^th century, he identified with the lyrics and the emotions of his singing and reached out to a very wide audience over quite a long time.

A more comprehensive documentary about Frank Sinatra was released also for his centenary, a two-part television series, two hours each, directed by the celebrated

FRIENDSHIP

US, 2025, 100 minutes, Colour.

Tim Robinson, Paul Rudd, Kate Mara, Jack Dylan Grazer.

Directed by Andrew DeYoung.

To be fair to this film, which this reviewer did not enjoy, hero to opposite opinions, the former favourable opinion being that of many American audiences.

A New Classic

Friendship is an absolute gem of a movie. The film is laugh out loud funny during its entire runtime. Tim Robinson and Paul Rudd are both hilarious and everyone else in the ensemble is very funny as well. The movie balances physical humor, funny situations, and well written jokes very well. The movie has some great set up and pay off jokes. Andrew DeYoung wrote and directed this movie and he did a great job in both of those aspects. The film is also shot very well, especially for a comedy, the cinematography here is fantastic. The movie is also very well edited and uses typical comedic editing tropes usually found in older movies or cartoons to full effect in this movie. I highly recommend this one if you like comedies.

willphelan, Apr 25, 2025

Cringe Worthy

I left the theater feeling as if I needed a deep cleanse. The scenes supposedly meant to be funny were not. Instead, they created a disturbing sense of voyeurism, as the viewer is forced to watch as an emotionally handicapped person embarrasses and debases himself and over again, in several ridiculous, often violent ways, causing harm to himself and others in his desperation to be included in his neighbor's circle of friends. His behavior was unpleasant and creepy, but, strangely, there was no attempt by anyone, wife or neighbor, to encourage him to seek help. There is no redeeming value in this depiction of male relationships.

burnleybainbridge,  Jun 12, 2025

While many audiences have found the film very funny, this was not this reviewer’s sense of humour. The central character, played by Tim Robinson (many television comic appearances and Saturday Night Live), is not one to identify with. Much of the action seem to be quite absurd, not in the comic absurd mode but very much absurd absurd. And a lot of profanity and swearing. The drama was focusing on male friendship, male needs, male inadequacies, male stupidities – and, even with Paul Rudd’s final wink, the future is still seems very, very uncertain.

I KNOW WHAT YOU DID LAST SUMMER

US, 2025, 111 minutes, Colour.

Madelyn Cline, Chase Xui Wonders, Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Sarah Michelle Gellar, Freddie Prinze Jr, Jennifer Love Hewitt, Gabrieltte, Austin Nichols.

Directed by Jennifer Kaytin Robinson.

in 1997 there was a very popular thriller, a group of young people involved in an accident, covering it up, but eventually targeted, with a Grim Reaper-disguised slasher pursuing them, a threatening note with the title of the film, I Know What You Did Last Summer, and a group of young stars becoming popular at the time, Freddie Prinze, Sarah Michelle Gellar, Jennifer Love Hewitt, Ryan Philippe, engaging the popular young audience of the time.

Almost 30 years later, the same title. Ironically, the production company is called Original Films. Not exactly! However we discover that this is not a remake. Rather, it is a sequel – and one of the characters stating that there were similarities to the events of 1997 and that the killer in this one decided to wreak vengeance by using the events and twists of the past as a “template” for this series of revenge killings.

While twentysomethings might immediately engage with the central characters as the film opens, a gathering, an engagement party, 4th of July, Southport North Carolina, fireworks, an older audience might find them often irritating, sometimes alienating. However, after the accidental death episode and the cowardly decision to cover it up, the film does get that much more interesting.

And, then the killer appears – or is shrouded like The Grim Reaper with metal sickle. The group covering up the accident and the death raise themes of irresponsibility, co-responsibility, fear, concealment, callousness. When two people not associated with the cover-up are killed, it seems skewiff  However, after a while the culprits are attacked, a limited number of suspects, some gruesome fights and killings, some tension and sudden shocks.

Perhaps the young cast will have their moments in the future but their acting here is akin to soap opera styles. And this is particularly marked when some of the original cast turn up in their characters from 1997, Jennifer Love Hewitt, Freddie Prinze and, a device to introduce Sarah Michelle Gellar in her character from 1997 in a nightmare sequence for one of the targets.

When the main suspect, the local pastor, who has a connection with the person who was killed in the accident, is also disposed of, there is a certain curiosity or more of who is behind it all – and, some twists and a final revelation, probably not expected for most audiences.

Which means that this is a slash-thriller for younger audiences and tolerant older audiences.

BANK OF DAVE 2

UK, 2025, 104 minutes, Colour.

Rory Kinnear, Joe Hartley, Chrissy Metz, Amit Shah, Rob Delaney, Leila Farzad, Hugh Bonneville.

Directed by Chris Foggin.

A response to the original film, Bank of Dave, could be “If only…!”.

And, it could be a response to Bank of Dave 2.

Which means that their stories about Dave Fishwick and establishing the Bank of Dave, his personality, life in Burnley, Lancashire, his concern about ordinary people needing loans and asking for small interest payments, giving profits to charity, made for a rather heartwarming true/truish story.

So, what could happen with Bank of Dave 2? The subtitle is an enjoyable play on words, with Dave as something of a Loan Ranger, but with his discovery of the exorbitant rates charged by upstart companies, controlled by US interests, freely operating with poor legislation in the UK, the threats to ordinary people and getting them into situations impossible to repay the loan let alone the interest, here was a possible crusade for Dave.

And, he takes it up, becomes involved, takes risks, runs the danger of gangster manoeuvres from the US, has the backing of his local parliamentarian, even the backing and help from his rival from the previous film, Sir Charles, played by Hugh Bonneville.

Rory Kinnear was very engaging in the first film as Dave and continues his charm and exuberance. And, supported very well by Joe Hartley as his wife Nikki, full of common sense but also shrewdness. And, this time, he is helped by the rather awkwardly reticent Oliver (Amit Shah) who works as an accountant for Citizens Advice, recommended to Dave and becoming enthusiastic in helping Dave seek out particular cases, especially for possible court cases against the companies.

Dave has also read an article by American Jessica (singer and television star of over 100 episodes of This is Us, Chrissy Metz). He Is persuaded to come to Burnley, is almost knocked over in the street by Oliver whom she then meets officially, but is eager to collaborate, finally being able to draw on a past friend in New Jersey for a confrontation with the gangster.

The screenplay is often very broad, comic touches rather than subtlety, the romance very early signalled, but the road to confrontation with the exploitative business is actually quite complex, interestingly so.

Which means that most people who enjoyed the first one will enjoy the second – though there are quite a number of bloggers who seem to resent sequels and want to bad mouthe them. And, it seems a pity that there are many bloggers also who seem to become allergic and condemnatory when they go and see what might be described as a nice and entertaining film.

1. The popularity of the original film? The work of Dave Fishwick? The movement towards the Bank of Dave? The next step in Dave Fishwick’s campaigns, the loan companies?
2. Back to Burnley, Lancashire? The pictures of the town, homes, workplaces, buildings? The scenes in New York, the editorial rooms? New Jersey, the restaurants, the gangster’s home? The musical score, the finale concert, def leopard, and the finale in the pub, Stand by Me?
3. Presupposing knowledge of Dave, his personality, his concern and commitment, the bank, charity work, the support of his wife, her shrewdness?
4. The television interviews, the question on the radio interview, his concern about loans, finding out more, reading Jessica’s article, phoning her, inviting her to Burnley? His meeting with Oliver, Oliver and is Citizens Advice work? His interest in working with Dave?
5. Jessica, her articles, personality, cerebral, invitation to write person-oriented articles, phoning Dave, coming to Burnley, Dave’s explanation of the town, the situations, the loans? Her standing in the street, almost knocked down by Oliver, the discussions, his awkwardness, their meeting in Dave’s bank? Their friendship, working together, telling stories, reticence, the bonding between them?
6. Oliver, the various stories, Zoe singing at the pub, her mother and debt? The other stories? Jessica and Oliver going to the various interviews, the sad stories of the loans, the exorbitant interest rates? Oliver and Jessica with the idea of filming, the episodes, David his involvement? Online, the number of viewers?
7. Dave and his involvement, the discovery of the various companies, their exorbitant rates, the decision to buy back some of the debts, going to pay, empty offices, the confrontation with the official and the big building, security, confirming Dave is commitment?
8. Mancini, gangster, reputation, in New Jersey, the contact with Margot, his supporting her, demands, her plans, wanting payments, court cases, buying off, the confrontations with Dave?
9. The MP and his support, Sir Charles and the previous antagonism, his coming to support Dave, recommending the lawyer?
10. The court case, Dave and Nikki and the rehearsals, the actual case, Margot and the threats, the whole truth and nothing but, Tom Cruise joke, Dave and his speech, the documentation, the information from the lawyer, Dave and co and their research into payments, the attempts at paying back and no contact with the companies, everything online? The judge, the adjournment, Margot and dropping the case?
11. The emotional side, Oliver and Jessica, discussions, their lives, his divorce, boring job, her contact with the police and detective? The phone call, her successful articles, returning to the US? Oliver’s reaction?
12. The issue of the papers served on Mancini, the help of the detective, Dave, Nikki and Oliver going to the US, Jessica and her help, going to the restaurant, the next day, the detective turning up, the serving of the papers, the gangsters tracking Dave through his phone, to the concert, the device of getting him back to England?
13. Success, Jessica going to Burnley, the pub, Zoe and her mother on stage, the arrival of Def Lepard and co-, Stand by Me?
14. The truth behind the film, truish – and the inventiveness of the gangster connection for the drama?

ALMOST COPS/ BAD BROS

Holland, 2025, 93 minutes, Colour.

Jandinao Asporaat, Werner Kolf, Florence Vos Weeda.

Directed by Gonzalo Fernandez Carmona.

The Dutch title indicates that this is very much to be linked with the American franchise, with Will Smith and Martin, Bad Boys. In fact, early in the film the central character shouts enthusiastically, Bad Boys for Life!

While Dutch audiences may take the characters and settings for granted, the race mixture for this comedy drama, set in Holland, in the city of Rotterdam, offers something of a cultural surprise. The internationality of the cast is important, migrant families from the Dutch colonies in South America, the central character born in Antilles (hence the Dutch connection), some of the characters with Arab backgrounds, highlighting the recent decades of migrant and refugee movements into Europe (and, with some Dutch politicians, attempts at strong and harsh political backlash).

At the centre of this story is a very nice character Ramon (Jandino Asporaat), not a policeman but with the job for maintaining social order in the city. His father was a policeman killed in action (with flashbacks) and he imagines himself, for instance, controlling bank robbers and actually talking to them and offering them some kind of friendship and support. Then he wakes up. He is involved in all kinds of petty infringements of legislation, an old woman refusing to pick up her dog’s faeces, people riding bikes in parks where it is forbidden…

He is also interested in setting up a centre for the young disaffected of the city, his half brother, Kevin, offering to help, supplying a pool table. Then the film shows Kevin at work, surveillance at a wharf, children coming in and stealing what they say they thought was sand but which is cocaine, then the criminals coming back and Kevin being killed. To the dismay of his partner, tough guy, Jack.

Then the film changes tone somewhat. Ramon many times looks very much like Kevin Hart, in the genial and naive aspects. But, with Jack now as his partner, and the tough attitudes to those infringing the law – chaining them, pepper spray… And long chases, and Ramon learning of his brother’s death, the film turns very much into a kind of Dutch parody/imitation/ homage to Bad Boys.

And, in many ways it becomes much sillier, very much the Kevin Hart comedy style though Jack is more in the Idris Elba tradition rather than Will Smith. The situations, even the dangers, are generally played for laughs and some very eccentric situations. But, ultimately, discovering a drug war amongst the gangs in Rotterdam, a confrontation, and Ramon and Jack winning the day.

With the range of characters and the inner-city action, the screenplay could be transferred instantly to an American setting and remake. But, much more care was taken and thought given to the original Bad Boy films.

WHITE RIOT

UK, 2019, 80 minutes, Colour/Black and white.

Red Saunders, Roger Huddle, Kate Webb.

Directed by Rubika Shah.

The title comes from the song by The Clash. The Clash feature in this documentary about racism in the UK, especially in London, in the 1970s.

The film was made in 2019, 40 years after the key events that it portrays. And, it has the advantage of the organiser of the movement and the concert, Rock against Racism, red Saunders. He is interviewed extensively throughout the film, memories of the time, assessment after 40 years. There was a lot of publishing, posters, design, and to members of the staff, Roger Huddle and Kate Webb are also interviewed extensively as are quite a number of other people involved in the Rock against Racism.

It is something of a surprise, at the beginning of the film, for many audiences to hear that Eric Clapton, Rod Stewart and David Bowie had been supportive of racist MP, Enoch Powell (with clips of him and his speeches and interviews). Other musicians, especially The Clash and its members, very strong in the movement as a developed in the mid-70s.

One of the occasions for this uprising was the dramatic development of the National Front and its racist philosophies, especially the deportation of all coloured people from the UK. This documentary includes many sequences of their rallies, especially their leader, somewhat innocent -looking and ordinary but fiercely racist in his declarations and urging people to demonstrate and protest.

On the other hand, there are a lot of young people who are against racism, also gathering, protesting, and the visualising of a huge march in London. And, there is the concert itself, rain, makeshift stage, hopes for 100,000 people attending at Victoria Park filled with enthusiastic people joining with the musicians, especially Tom Robinson, and emotional protest in song against racism.

There is a statement at the end of the film that the National Front was defeated in the elections of 1979.

However, the film is from 2019, only four years after the vote for Britain to exit the European Union. And, in the meantime, more National Front movement of propaganda, especially through Nigel Farrage. And, in years following the release of the film, Farrage himself was elected to Parliament, and with dissatisfaction for the governing Tories and then with the Labour succession, movements again towards racial discrimination, encouraged by the policies of Donald Trump in his second term as US president.