Displaying items by tag: Peter Malone's Movie Reviews

HISTORY OF THE OCCULT. Historia de lo oculto.

Argentina, 2020, 82 minutes, Black-and-white, colour.

German Baudino, Nadia Lozano, Hector Ostrofsky, Agustin Recondo, Ivan Ezquerre, Casper Uncall, Lucianon Guglielmoni.

Directed by Cristian Ponce.

A film for a specialist audience. Of more particular interest to an Argentinian audience with its setting and issues.

With a prologue, a murder, a watchman coming across the murderer, taking his notebook, but later being killed, the rest of the film takes place over a couple of hours, focusing on a particular television program, the Hour Before Midnight. The film is in stark black-and-white, two moments where the colour red is seen by some characters – and a brief final sequence in colour.

The audience has to pay particular attention to the characters and issues, gradually appreciating the complexities of the plot. There is a political background, an election, the candidacy of the president, Belasco, and a group wanting his defeat. They have evidence that he was involved during his university years with a man who claimed to be a warlock, establishing a business company and its thriving, but the ultimate suggestion that it was in fact a coven.

The film focuses on four of the producers of the program, news that it is being terminated because of lack of sponsorship and political critics. This is its last program. The host of the program has been briefed by the producers, three guests invited, a plan for the interviews, the hope for a gradual revelation about the warlock, the coven, the President’s involvement. Behind the scenes there is anxiety, touches of espionage, a secret package from a noted sponsor, a young woman as a lookout outside the studio.

While the program goes generally to plan, with some commercials, with some static and interruption, one of the producers has drugs from the sponsor that they should take in order to deal with the stress of the program and the expose. It has various effects on each of them.

Interviewed is a senator from the government and a question is raised about his knowledge of his daughters, having given one of them away. He storms off the set. The second interviewee is the warlock, confidently and gradually giving all the information to the television host and audience about his being a warlock and the company. The third guest is an author, who has written an expose.

There is pressure at the end, the program coming to an end, a few more minutes, but then a phone call of the warlock to his daughter (allegedly he didn’t have one) and his change of heart, revelations and his wanting to save her.

It is over to the audience then to appreciate this as a drama with a touch of the occult. And, for the audience to consider this in the context of Argentinian political history.

HANS ZIMMER AND FRIENDS: DIAMONDS IN THE DESERT

US, 2025, 158 minutes, Colour.

Hans Zimmer, Jerry Bruckheimer, Timothy Chalamet, Billy Eilish, Christopher Nolan, Denis Villeneuve, Pharrell Williams, Zendaya, Loire Cotler, Laura Lapointe, Holly Madge, Johnny Marr, Juan Garcia-Herreros.

Directed by Paul Dugdale.

A film for audiences who enjoy music. And, especially, music composed for films. The focus here is on long time and prolific composer, Hans Zimmer. In more recent years, he had travelled with orchestra and many musicians, performing around the world. This film captures concerts in the Coca-Cola vast auditorium in Dubai, at other venues in the city and performances out in the desert.

However, it is of interest for film buffs because of the many interviews with actors and directors with whom he worked, as indicated in the credits above. Then also the producers, publicists that he worked with. And, a number of musical artists, singers, performance who are very talented especially a focus on guitarists and drummers, and the number of women in the orchestra talented with violins and cellos. The visuals of the performances and the camera angles and editing, frequently on the move, then impressive close-ups, a treat for those who enjoy music performances.

Zimmer himself is very genial, in his performances, his range of talent with instruments, especially the piano, his enthusiasm during the performances, his encouragement of particular talents, long close-ups, encouragement. And, for the sake of the performances, the number of members of the orchestra and of associated performances is large.

Zimmer also explains his history, European background, years in the United States, work in the United Kingdom, beginnings, developments, the range of films he has scored, much of it played (and, the difficulty for with some of the scores, played alone they can seem quite repetitive, momentarily monotonous, because they have been scored for the visuals on the screen which a live concert does not have – although there are some sequences from some of the film is.)

The discussions with actors and directors like Christopher Nolan (Dark Knight, Interstellar) and Denis Villeneuve (June) are quite informative.

The film is long, as mentioned some of the scores are long and repetitive, but the whole experience is well worthwhile, learning about musicians on composition, collaboration with the filmmakers, the challenges to the composes imagination, living with expectations of success.

One of the films made immediately after this concert film was F1, and audiences who are seen the documentary will appreciate the moods, the chords, the atmosphere of Zimmer’s score for F1.

JURASSIC WORLD: REBIRTH

US, 2025, 134 minutes, Colour.

Scarlet Johansson, Jonathan Bailey, Rupert Friend, Mayerasha Ali, Ed Skrein, Manuel Garcia-Rulfo, Luna Blaose, David Iacono.

Directed by Gareth Edwards.

It is 32 years since Steven Spielberg skilfully drew us into the world of Jurassic Park, bringing to life the story and characters written by Michael Crichton. Spielberg himself made a sequel in 1997. But, over the years, quite a number of ventures into and adventures in the Jurassic World. And another one…?

Best to say immediately that this reviewer quite enjoyed this Rebirth. Certainly, many of the reviewers will say that it is formulaic, that the characters and the action are what we might expect, that we know what the dinosaurs are like, what they are capable of, what they will do in terms of menacing those who venture/intrude into this Jurassic World. And it is true that this film is formulaic (even written by regular Spielberg collaborator, David Koepp).

But the point to be made is that in a way, the formula doesn’t matter. It is what happens within the formula that is important. And, inside the formula here are a whole lot of episodes designed to keep the audience anxious, on the edge of their seats, feeling the sense of menace, and enjoying it all at the same time. It works.

The opening shows the island where experiments taking place in the 2000s. Apparently everybody had got used to dinosaurs, going to zoos and other exhibitions to watch them, but now finding other things to amuse. The museums are closing down in the cities but on the island, there are experiments to make bigger and more menacing dinosaurs. Then, an initial moment which seems to undermine the credibility of the film, one of the experts opens what looks like a Mars Bar and carelessly drops the wrapper. Needless to say, it is swept into the machines and causes havoc – and the careless wrapper is devoured by a dinosaur! All that within the first few minutes. The experimental station is closed down. And the dinosaurs, some even more gigantic, are on the loose.

Then, to the present. A group of entrepreneurs, mercenaries, scientists, Rupert Friend, Scarlett Johansson, Jonathan Bailey, taking on these roles, set out on a mission to the equator, where numerous dinosaurs are still swimming, to get blood samples which, it is hoped, would contribute to the preparation of pharmaceuticals to alleviate heart disease.

In case this was all too is expert-oriented, there is a Hispanic family on a boat, father, two daughters and a lazy boyfriend, who are attacked by a dinosaur, boat overturned, rescued and sharing the action of the scientific expedition.

The impact of the film is the enormous range of action adventures, dangers, menace, a Jurassic World on the ocean. But, then a crash landing of the boat, survivors onshore, and the trek through the jungle, mountains and rivers, to a helicopter rescue intended near the old buildings.

Scarlet Johansson in charge, we are in good hands, backed up by a genial Mahershala Ali. Motivations are mixed, especially greed and the fatigue of the millionaire pharmaceutical entrepreneur. But, the best of intentions will prevail.

Yes, the Jurassic formula, but plenty of exciting confrontations with the dinosaurs.

1. More than 30 years of Jurassic Park/Jurassic World? The tradition? Dinosaurs, experimentation, consequences?
2. The prologue, 17 years earlier, the island, the Centre for experimentation, the careless scientist and the wrapper, the breakdown, the disaster, his being destroyed? The island abandoned? Memories of the earlier films?
3. The present, the different situation, people used to dinosaurs, in zoos, exhibits, lesser interest? The scientists, studies? The closing of the zoos, the closing of the museums?
4. Martin Krebs, his character, pharmaceuticals, big business? His background? His approaching Zora Bennett, her background, character, mercenary? Motivations, money? The discussions, her agreement, the proposal, the particular dinosaurs, to get samples of their blood, to be used for heart condition experimentation and medications? The approach to Henry Loomis, his work at the Museum, knowledge, quiet life, his decision to go on the expedition?
5. The surviving dinosaurs, around the equator, people forbidden to go to the area? Martin Krebs, Zora and the link with Kinkcaid, his boat, the bargaining, the two members of his crew? Setting out on the expedition?
6. The Jurassic world of the Ocean, the surviving dinosaurs, their size (and the special effects)?
7. The family, on the boat, a family reunion, the genial father, the teenage daughter about to study in New York City, the saviour, her lazy boyfriend, Isabella and her age? The discussions, the situation, the approach of the dinosaur, overturning the boat, the fact that they were seen, the flare, the rescue?
8. The approach to the dinosaur, the size, the activity, the threats? Zora, attempting to shoot the dart, eventually succeeding? The dangers, Henry collaborating, the family on the boat, Martin Krebs and his urging them on? Kincaid and his observing?
9. The continued dangers, the threats of the dinosaurs, the decision to crash land the boat, the family falling out, the daughter and Krebs not rescuing her, stopping her calling the Mayday signal? Her resentment? The contrast with Xavier, showing some heroism, leaving of the boat to save his girlfriend?
10. The members of the crew, packing up, leaping from the boat, the landing, the crewmember and her pushing the load, taken by the dinosaur?
11. The action of the family, making their way to the village, the dangers, the dinosaurs, taking cover, the little dinosaur and the daughter, the licorice? The sentiment with the pet? The father and his leg injury? Audience participation in the dangers, in the night, Xavier peeing and the fight behind him? The pipeline, finding the pier, the raft, inflating it, the attack of the dinosaur, overturning it, the hiding, the little girl under the raft, turning it over, the continued ride, their arriving at the ruined base?
12. The team, the journey through the valleys, the mountains, the dinosaurs, the huge dinosaurs with the long tails, able to get the sample? On the cliff, the sheer cliff face, going down, the member of the crew taken by the dinosaur? Zora and Henry, into the cave, the eggs, the attack of the mother, repelling her, with the egg, Krebs and Kincaid and the ropes, the final rescue? Making their way to the base?
13. The base, abandoned, the cafeteria, hearing Stand by Me? Everybody reunited? The daughter and her resentment towards Krebs? The strategies, the attack of the dinosaurs, winding the underground tunnels? The various adventures in the tunnels, Krebs and his taking the vehicle, with the samples? The drive, out-of-control, confrontation with the dinosaurs, his crash and death?
14. Kincaid, wanting to help, the helicopter, the surveillance, turning back, Henry lighting the flare? The helicopter crash? The interactions, Kincaid with the flare, tracking the dinosaur towards him, the others escaping, getting to the shore, the dangers, the little girl with her pet, the boat, everybody on board, sailing away, the flare and the rescue of Kincaid?
15. The generally formulaic plot – but audiences not minding the formula because of the vitality, interest and tensions of all the episodes?

28 YEARS LATER

UK, 2025, 117 minutes, Colour.

Alfie Williams, Ralph Fiennes, Jodie Comer, Aaron Taylor-Johnson.

Directed by Danny Boyle.

In 2002, 28 Days Later, the blend of drama and horror, made quite an impression. The screenplay was by Alex Garland who had collaborated with director, Danny Boyle, with The Beach. Boyle was to go on to win an Academy award for slum dog millionaire. Alex Garland continued writing that made a number of thoughtful and significant dramas including Civil War and its vision of America as well as the stark and challenging, Warfare.

They produced but were not so involved in a sequel, 22 Weeks Later, continuing the story, written in the grip of a plague, a virus of rage released, transforming humans into zombielike creatures, the threats to civilisation, the violent rampages…

Now, while this film does open in 2002, highlighting a young boy along with other children, protected from the rage, but then being attacked, his finding refuge with his clerical father praying in the church, a gift of a cross, but then the infected coming through the stained-glass windows in attack.

This film is the first of a trilogy set in the 2020s. The transition is to an island, protected from the mainland, survivors managing by the way of life cut off from the modern world (Europe not infected).

The central character here is a young boy, Spike (Alfie Williams in a persuasive performance), relying on his hunter father, Aaron Taylor Johnson, his mother, Jodi coma, mysteriously ill.

The first part of the action is the boys initiation, at age 14, venturing across the causeway with his father, running the risk of infection, with bows and arrows to shoot the infected. It is a demanding experience for Spike, not as confident a warrior as he might have thought, hearing news of a Dr surviving on the mainland. Concerned about his mother, and alienated from his father, he decides to return to the mainland, carrying his ill mother in order to find the Doctor.

While the central drama is enough to keep audience attention, there is always the stalking by the infected creatures, dangers, escapes, confrontations. A moment’s pause with the young Swede stranded and talking of modern Europe to the uncomprehending boy. They do find the doctor, played by Ralph Fiennes, and some personal drama with the mother and her illness, and the finding of a baby born from an infected mother.

To be continued, 28 Years Later, Temple of Bones (the temple and the bones we have already seen).

1. The impact in the 2000s of 28 Days Later, 28 Weeks Later? England, infection, the zombie transformations? The threats, the characters, the struggles?
2. This sequel almost 2 decades later? The beginning of the trilogy? The impact of zombie films over the decades and this British production taking its place with so many serious zombie films as well is the exploitation films?
3. The focus on 2002, the threats of the infected, the horror sequences, the threats to the community, Jim, the family, urging his escape, going to the church, his father, giving him the cross, his father’s apocalyptic martyr mentality, the infected coming through the stained glass, destroying him?
4. The transition to the present, the community on the island, the visuals of the village in the past, the rows of houses, the decay of the houses over the decades? The small community and survival, separated from the mainland, preserving their health? The various members of the community, their functions, lookouts, keeping the gate, the meetings and organisation?
5. The focus on Jamie, Spike, Isla? At home, Spike and his age, relationship with his father, his mother ill and her moods? The breakfast, Spike giving her the bacon?
6. The coming of age, going to the mainland, bows and arrows for defence and attack, the proud father, the village people seeing them off? Going to the mainland, the tides and the time? The dangers? The quest to kill the infected? The responsibility for return, no search parties for any who disappeared?
7. The experience on the mainland, the tension, the appearance of the various infected, Spike and his arrows, sometimes hitting, sometimes missing? His father protective? Seeing the vast land, Spike and his curiosity, to go inland, the mystery of the fire and smoke? The dangers, the pursuit, the visualisation of the infected, naked, running, zombielike, the taking refuge in the house, going to the upper storey, the deaths? The return, the achievement, the final pursuit, the infected so close, getting the gates?
8. The celebratory party for Spike, the crowd, the joy, the drinking, his father’s speech? His father going out with the girl, Spike observing them, his disillusionment with his father? Going home?
9. The news of the doctor, Spike and his decision to take his mother, his father’s reaction? Going on the causeway, on the mainland, searching for the doctor and the smoke? The various dangers and pursuit? Hiding? As mother going into the train carriage, the pregnant woman, infected, giving birth? Taking the baby, the encounter with Eric, his saving them? Carrying the mother, saving the baby?
10. The confrontation on the train, fleeing, Eric and the discussions, Europe not infected, Spike and his ignorance of the modern world? Eric and his phone, battery going, throwing it away, the photo of his girlfriend and Spike’s diagnosis of her illness? The attack, Eric and his death?
11. The doctor, finding mother and son, the baby, the iodine as a prophylactic, taking them to his house, the monument of bones and skulls? Spike, anxious, the doctor and his personality and story, surviving, his diagnosis of cancer, the mother understanding, handing over the baby, the doctor taking her away, her death, the processes of cleaning skulls, Eric’s skull, the mother’s skull, and Spike placing them on the monument, his mother on top?
12. The baby, Spike taking it back, leaving at the gate, to be named after his mother, and Spike going back out again – and the preparation for the sequel? And the flashing images of the story throughout the final credits?

THE SURVIVORS

Australia, 2025, 6X 50, colour.

Charlie Vickers, Yerin Hat, Robyn Malcolm, Damian Garvey, Eloise Rothfield, Miriama Smith, Johnny Carr, Martin Sacks, Jessica De Gouw, Thom Green, Benedict Hardie, Catherine McClements, Don Hany, Julian Weeks, Jaime Ureta, Ian Bliss.

Directed by Cherie Nolan, Ben C. Lucas.

The survivors is a television series based on a novel by Jane Harper, a well-respected Australian novelist, with film versions of her two films, The Dry and its sequel and the Dried 2.

This reviewer had read The Survivors. The screenplay is well-written, bringing all the characters to life, all the main episodes and interactions from the novel are on the screen. The casting is excellent, and satisfying for readers of the novel.

The setting is the Tasmanian Coast photographed spectacularly, a motif throughout the film, especially storms and high waves and danger. The focus is on the town, where everybody knows each other, experiencing a tragedy 15 years earlier, a rescue boat overturned as it sought to help a stranded teenager on the cliffs. At the same time, a 14-year-old girl had also disappeared, her body never recovered.

The rescued young man, Ciaran, returns home to his parents, his severe mother, an excellent performance by Robyn Malcolm, and his father moving into dementia, also an excellent performance from Damian Garvey. Ciaran is played by Charlie Vickers. He is married to a wife of Korean origin who had also grown up in the town.

There is resentment towards Ciaran who has been absent for 15 years. There is also the family, mother and sister, of the girl who disappeared – and a strong performance from Catherine McCammon’s as the mother. The members of this cast include the local restaurant owner who son what was died in the accident, his resentful grandson, another brother, a lecturer visiting, and a young woman working in the restaurant who was investigating the story of the girl who disappeared. Early in the piece she is murdered – and the film works well as a murder mystery, a success of range of suspicious characters, the establishment of alibis, a dramatic revelation of the murder at the end.

Well worth watching in itself – and satisfying for fans of Jane Harper’s work.

1. The novels by Jane Harper, the variety of settings, from The Dry to the Tasmanian Coast? Film versions? Television series? Australian characters, locations, imagery, language, relationships, crime?
2. The Tasmanian settings, the town, the coast, the beaches, the majestic cliffs, the caves? Homes, streets, restaurants? The sports club? The countryside to Tasmania? Hobart, the city, the prison? The musical score?
3. The adaptation of the novel, the key elements of plot, character? A successful presentation and interpretation of the novel? The satisfying casting? Performances?
4. The town, a melancholy history, everybody knowing each other? The background of 15 years earlier, the young men and their friendship, the parents, Brian has the sports coach, his sons, pride, captain and the boat, friendship with Toby, Julian and his running the cafe? Trish, her daughters, Olivia and the relationship with Keiran, Gabby, 14, her friendship with Mia? Keiran and his friendship with Sean and Ash? The series presenting each character distinctively, effect of cinema portraits for the interactions?
5. The episode, Keiran and the cave, the sudden storm, Toby and Finn in the boat, coming to his rescue, the boat overturning, their deaths? The effect on the families, the memories? Keiran being blamed for calling them to rescue him, resentme nts, especially his mother, his father urging him to go to Sydney?
6. The setup of the situation in the present, Liam, Toby’s son and his continued resentments against Keiran, staying with Verity, taking Keiran’s place in the family? His relationship with Julian? Ash, the relationship with Liv, his drug dealing? Friendship with Sean? Trish, by herself, her memories of Gabby, wanting her still alive, the issue of the backpack, throwing them into the sea to sew if the tide would bring them in, hopes for recovery of Gabby’s body? Trish and her moving to Melbourne, her return?
7. Keiran, married to Mia, their meeting in Sydney, the birth of Audrey? Keiran returning after so many years, people’s reactions and blame? The ambiguous behaviour of his mother? Her love of the baby? Brian, the setting in of dementia? Tensions within the house?
8. Brontë, photos, working at the restaurant, her project, investigating the past, specially Gabby’s disappearance, discussions with Mia? Drugs from Ash? Interviews with the various members of the town, her project, her body being found on the shore?
9. The screenplay, the variety of suspects for her murder, the buildup for each one, then the alibis, questioning motivations? Not giving so much attention to the actual killer, emerging more towards the end, in the final revelation and motivations?
10. The focus on Brian, the past, teacher, trainer, scenes of training the children? Love for Verity, her continued care? The dementia, on the beach, the lift home by Julian, the DNA from Bronte, his arrest, to Hobart, the accusations, his bewilderment? Keiran and his understanding of what really had happened? Verity, her continued support, the visit to Brian before he went to prison? The bail hearing and his return?
11. The character of Verity, tough-minded, her devotion to Finn, the accident, her resentment towards Keiran, making life hard, his father urging him to leave? His return, the difficulties, with each parent, interactions with Mia and his love for her, the relationship with liv, the final revelation that she was at the cave, that she called the boat, that he shielded her from any blame? The gradual revelation of this truth? Mia, upset, suspicious of the relationship, her behaviour?
12. The suspicions on Ash, the phone, live having taken Bronte’s phone, giving it in, Ash and the relationship, the phone offering him his alibi?
13. The author, his reputation, sacked from the University, writing the history of the town, Bronte’s admiration, sharing the photos with him? Mia, coming to see him, her admiration, his help, giving her the material, his pass and her reaction? The photos of his stalking? Interrogated by the police? Ash and his resentment because of the buying of the house, Ash in the garden, the author changing it, the men going into the shed to find the paint, the fight?
14. The buildup to the Memorial, the football match, the dedication of the club, the speeches by Julian and Verity, Trish coming with Liv and Mia, everybody present?
15. The police, and Verity, her single-mindedness, suspicions, behaviour, defending Bronte’s memory, the coming of her parents, the sadness, the evidence? Her assistant and his more sympathetic approach? The range of interrogations and questions, charges, evidence? Chris, the local policeman, earnest, the discussions, interviews, evidence, looking at the photos and surveillance clips? George, policeman of the time, the gradual revelation that he concealed the evidence of Bronte’s backpack and throwing it in the sea, talking with Verity, Trish and her upset – and her accosting him and Julian in the middle of the ceremony?
16. The further investigations, Bronte’s photo, her initials on the cave wall, indication of her presence? Keiran, going to the cave with the photo, wanting Ash to come but not able, going with Sean, the examination of the cave, the initial scratched out, Keiran’s gradual realisation, Sean and his behaviour, the struggle with Keiran, the digging up of the camera and the computer, the soil comparisons, focusing on Ash’s garden, the conclusion about Sean, the police going, his being arrested? Verity and Mia, concerned about Keiran, his eventually coming out? The arrest and interrogation of Sean?
17. The finale, Bronte’s parents, Trish with Liv, Ash and Liv, Mia and Keiran, Verity and Brian, walking along the shore, and the toast to Bronte?
18. A satisfying drama of relationships, a satisfying murder mystery and solution?

THE SYNDICATE

UK, 1968, 63 minutes, Colour.

William Sylvester, June Ritchie, Robert Urquhart, Christian Doermer, John Bennett.

Directed by Frederic Goode.

A small-budget action adventure film, shot on location in Kenya. The release was delayed and the initial version, over 100 minutes, was edited to 63 minutes for general release.

A team go to Kenya for uranium exploration. The leader is alcoholic, Robert Urquhart overacting, travelling with his wife and very suspicious of her, June Ritchie perhaps under acting. The principal character is a failed American pilot, William Sylvester, in with the British team, falling in love with the wife, having to take final action. There is a young German entrepreneur explorer, Kristian Dermer.

Most of the action takes place in travelling to the uranium site, the locals digging, suspicions and a whole range of suspicious accidents. Perhaps it is the editing that makes this rather confused. Clashes, personality fights, the husband suspicious of his wife, her wanting out of the marriage.

At the end, the young German goes to Nairobi, teams up with various business interests, guns produced, attacks and violence, the threat to the uranium – and the pilot and the wife making their escape by plane.

Not necessary viewing.

THE SHROUDS

Canada, 2024, 120 minutes, Colour.

Vincent Cassel, Diane Kruger, Guy Pearce, Sandrine Holt.

Directed by David Cronenberg.

For 50 years, Canadian writer-director, David Cronenberg has been a highly significant and influential figure in world cinema. In fact, 50 years ago, his first feature film was called Shivers and released with the alternate title, The Parasite Murders. Eerie, a different kind of horror film, a parable about contemporary society, Shivers announced Cronenberg’s interest, his style, his sometimes disgust at the human condition. And, for 50 years a continuing stream of highly arresting films on the topic of the human body.

With the emphasis on horror aspects, commentators began to use the phrase “body horror” and this is always used as short out to indicate Cronenberg’s attention in his films. Definitely the case here as Cronenberg was turning 80, still experimenting in his style, but heavily influenced by the death of his wife of over 40 years.

Celebrated French actor, Vincent Cassel, plays Karsh, a man with technical know-how and funds to support it. His wife contracted cancer, went through all kinds of treatments, died and was buried. Karsh then developed a business, Grave-Tech, a cemetery at the side of an elaborate restaurant, but, a particular focus, Karsh able to keep close contact with his dead wife, a complex shroud in which she is buried but which enables images of her body, decaying, to be seen by a screen on her tombstone. (If that sounds intriguing, there is certainly a great deal more…)

Diane Kruger plays several roles in this film, Becca, the deceased wife in flashbacks, Terry, the lookalike younger sister who is friendly with Karsh as she works as a vet. And, there is an android (who is able to keep changing shape and she cares for and advises Karsh), Huny, who is voiced by Diane Kruger as well.

The other member of the cast is Maury, played by Guy Pearce, morose, dishevilled (almost the opposite of his Oscar-nominated role in The Brutalist). He is also a tech genius and has collaborated with Karsh setting up the cemetery, the technology, in creating Huny.

Part of the drama is the desecration of the cemetery, the mentally disturbed Maury suggesting all kinds of conspiracies, even international and political plots behind the sabotage. There is also a mysterious Hungarian woman, Sandrine Holt, trying to persuade Karsh to establish a similar cemetery in Hungary!

In many ways, The Shrouds becomes even murkier in its plot, focusing on the doctor who treated Karsh’s wife, his disappearance, his possible reappearance in the cemetery. And the visuals become murkier, intense close-ups of the wife’s decaying body, growths on her skeleton, Cronenberg’s constant fascination with the human body, health, sickness, decay, corruption.

Cronenberg always has intriguing and complex plots. This one sometimes goes sidetracking but, ultimately, the focus is on Karsh himself, his grief, the effects of coping with grief, his obsessions.

No question whether Cronenberg fans will want to see this film. But, for audiences who do not know Cronenberg horror, not his fans, a reminder that he has become the master of “body horror”.

1. The title? Death? Burial? Emotional response to death?
2. The work of David Cronenberg, for 50 years, his reputation, the focus on the human body, on death, decay and corruption? “Body horror”?
3. A personal film, almost 50 years career, the illness and death of his wife?
4. The Canadian setting, the city, apartments, the restaurant, the cemetery and the graves, offices and hotels? Atmosphere? The musical score and tone?
5. The story of Karsh, the screen presence of Vincent Cassel? His career? His age, the experience of his wife’s illness and death, the four years passing, Grave-Tech? The collaboration of Maury? The company, the technical development of the shroud, material, shapes, the scene of Karsh wearing it, his wife buried in it, the technology in her grave, the camera mechanism in the shroud, transmitted to the screen on the tombstone? The vacant place for Karsh to join his wife? Audience response to this technology and behaviour?
6. The flashbacks to Becca, love for Karsh, her illness, the treatment by the doctor, the relationship with him? The flashbacks is real, or is dreams, hallucinations? The relationship between the two, intimate, sexuality, nudity, tensions between them?
7. Terry, like Becca, divorce from Maury, her work, vet, grooming the dogs, conversations with Karsh, clashes, attraction, the sexual encounter, consequences? Her comments about Maury?
8. The Hungarian connection, the woman, her husband, the idea of the cemetery, the meals and their discussions, the plans, her wealth? Private planes? The sexual encounter? Her influence, Karsh and his decisions, finally flying with her? The future?
9. Maury, dishevelled, mental distress, technical skills, married to a divorced from Terry, his collaboration with the cemetery, the technology? Asked disturbed by the destruction at the cemetery, the puzzle? Maury and the introduction of wild conspiracies, plots, Russians, particular characters, the doctor who treated Becca, his disappearance, his seeming to occupy the grave next to Becca? The impact on Karsh, on Maury?
10. Suspicions, action, Karsh and the effect? And his final decision to leave this and go to Hungary?

JANE AUSTEN WRECKED MY LIFE

France, 2024, 95 minutes, Colour.

Camille Rutherford, Pablo Pauly, Charlie Anson, Annabelle Lengron, Liz Crowther, Alan Fairbairn, Frederick Wiseman.

Directed by Laura Piani.

2025 sees the 250^th anniversary of the birth of Jane Austen. She was very much part of British life in the 18^th century but she was also an extraordinary pioneer in the development of the English novel in the 19^th century, leading the way to Thackeray, Dickens, the Bronte Sisters, George Eliot… And she continues to be very popular.

In her speech accepting her Oscar for writing the screenplay for Sense and Sensibility, Emma Thompson said that she went to Jane Austen’s grave to discuss the box office. Indeed, Jane Austen is still top box office, the many adaptations for screen and television of her novels, and films about her, about book clubs for Jane Austen readers, adaptations of her stories and updating them.

What if a French writer and director, Laura Piani, decided to pay tribute to Jane Austen by creating a character, Agathe, Camille Rutherford, a French novel writer, writing in English, manager of a bookshop, sad and withdrawn after a family tragedy, early chapters of a manuscript entered for a grant to go to a Jane Austen writing retreat in England? Would Jane Austen wreck her life?

Does the popularity of Jane Austen’s novels, especially her heroines, mean that many women readers and moviegoers can identify with these characters? What about Emma and her being busy and plotting people’s lives? What about Elizabeth Bennett and her prejudice against proud Mr Darcy? Or Persuasions’ Anne Eliot, growing older, not married? In fact, our writer, Agathe, says explicitly that she identifies with Anne Eliot. (The screenplay does have references to characters in Mansfield Park, Sense and Sensibility, and to Mr Darcy.)

The writing residence takes place at a British country mansion, managed by descendants of Jane Austen herself. The hostess is most welcoming. Her elderly husband is eccentric, to say the least, some incipient dementia. However, their English lecturer son, Oliver, Charlie Anson is an obvious Mr Darcy. Which means that a lot of the time during the fortnight is not spent in writing but in interactions of prejudice. And there are some other writers present who have some problems of their own which Agathe has to listen to as well as take advice.

While the issues are serious, they are treated with a rather light touch. However, Oliver is definitely not a character who has a light touch. He looks severe. He speaks severely. He obviously represents the Darcy-pride but, one would need sound advice from a female audience as to whether he is in any way attractive. In fact, he contrasts rather severely with Agathe’s best friend, Felix, Pablo Pauly, her confidante who also runs the bookshop with her. He is full of life, full of mischief, engaging, good company.

So, a light, somewhat slight venturing into the Jane Austen tradition. Maybe Jane Austen wrecked Agathe’s life for a short time but, on paper at least with Oliver, there is a Jane Austen ending.

1. For Jane Austen’s 250^th anniversary? The popularity of Jane Austen’s novels, of her influence on English literature, of her own personal life? The many film versions of her novels? The many contemporary adaptations? Variations on her themes?
2. The title and expectations? Agathe and her life, her story, her Jane Austen kind of life?
3. A French film, cast? The locations? The British cast? French admiration for Jane Austen?
4. Agathe’s story, as a writer, her success, managing the bookshop, advice to customers, her relationship with Felix and the running of the shop? The sad story of the accident and the deaths, the repercussions, her fear of travelling, cars? The relationship with her sister, and her nephew? Her writing and sending material to publishers? The line of her life, her comparison with Anne in Persuasion?
5. Felix, friendship, love for Agathe, cheery? Teasing her? Sending her manuscript to the Jane Austen residency house? Her being accepted? Reluctant to go? Her motivations for not going? Felix pushing, driving her, the ferry to England?
6. Arriving in England, meeting Oliver, his dour personality, the relationship of family to Jane Austen herself, the house, the residency? The car breaking down, the clash between Agathe and Oliver, the cold, spending the night, getting the lift?
7. Beth and the welcome to the residency, Todd, the touches of dementia, his behaviour, erratic, naked, but jovial? The contrast with Oliver, his career, lecturer, literature, broken relationships? The parallel with Mr Darcy? His pride? Agathe’s prejudice? The interactions between them, going out, the local pub, the breaking down of the prejudice? (Convincing to the audience on not?), The discussions, touches of intimacy?
8. The residency, the opportunity to write, Agathe not writing, contemplating? The piano? The other members, the writer and her snobbery, pontificating, irritating Agathe, her troubles and Agathe comforting her, a bond? Cheryl, the discussions, friendship, breaking down the barrier with Oliver? The other members in the background, the writing, presentations of their writing?
9. Agathe not writing, pretending? Coping with her life? The arrival of Felix, cheering her up, his friendliness? Hopes? The precipitation of the relationship with Oliver?
10. Agathe, the result of the residency, her life momentarily wrecked, but reconstructed, family, Felix and friendship in the shop, her writing, and the relationship with Oliver?

M3GAN 2

US, 2025, 120 minutes, Colour.

Alison Williams, Violet McGraw, Jenna Davis, Amy Donald, Ivanna Sakhono, Brian Jordan Alvarez.

Directed by Gerard Johnstone.

The first Meagan film was billed as horror. But it was horror in the tradition of Mary Shelley’s Frankenstein, a focus on scientific experimentation, the producing of a creature who went on to wreak some havoc even while geared for being protective of the young. It was not horror and the popular sense of slasher and gore. It was more a film of menace.

And, now the sequel. Not accurately described either as horror (and disappointing the slasher fans and their expectations). This sequel is something of a Meagan Resurrected. And, it is more of science-fiction, science fantasy, concerns about the future. And there is a strong focus on a I, the humans developing get, the robots and androids getting lives of their own, especially in international in war situations, exploited by military and government. There is a final message that humans and a I should coexist and should develop together.

But, before that final message, the audience is introduced to a creation beyond Meagan herself, and adult creation, Emilia, a demonstration for military interests of her skills in infiltration, fighting capabilities – and then discovering she has an AI mind of her own.

The film then introduces the main characters from the first film, especially technical expert, Gemma, and the young Katie for whose company Megan was originally created. And, their associated scientific friends. Gemma is once again her intense self, righteous, single-minded, wanting to prevent active of Katie. But Katie seems to have developed a strong willpower herself.

So, a set up of conflict between Amelia and Meagan, much of it taking place at a huge exhibition for the promotion of AI. The problem is that many do not recognise Amelia as she mingles amongst the guests, especially tantalising a wealthy entrepreneur, played comically (as usual) by New Zealand’s Jermaine Clement. An overpowering him, Emilia then is well on the way to control over the United States and beyond.

There is also the technical millionaire entrepreneur, Christian (emphasis on the final syllable!). The climax is in a huge underground complex where the I power is protected, everyone involved, fights, timing, altering brains, Megan having power to live inside Gemma’s mind… And, lots of martial arts between the creations and the huge tough security.

As with the first film, it is more entertaining than might have been expected.

1. The popularity of the original film? The Frankenstein tradition, scientists in technology, creating creatures, the consequences for good and evil?
2. This sequel, more a science-fiction, science-fantasy drama with comic touches?
3. Issues of artificial intelligence, progress, artificial intelligence and speed, control, dominating humans? Threats and dangers? Conflicts? Possible disasters? The message of coexistence with AI and mutual development?
4. The new situation, the introduction of Amelia, the military observation, the confrontations, spying skills, military skills, visualisation, female, glamorous? Then her killing the scientist and going out of control?
5. The scientists, the dilemmas, military, political? Amelia on the loose? Having to find her? The leader, presented with comic touches? Is associates?
6. The return to the characters from the original film, Gemma, her skills, serious, self-righteous, protective of Cady, Cady older, able to look after herself, her reaction to Gemma? Cole and Tess, from the previous film, with Gemma, with Cady? The attack by Amelia?
7. Cady, a relationship with M3gan, care, attack, distraction from the previous film? Cady preserving M3gan, the reconstruction, the voice and personality, a more sympathetic M3gan? Gemma, the reaction, controlled, protective of Cady, a challenge from the military? M3gan reconstructed, protecting her skills, martial arts?
8. The exhibition, the presence of the entrepreneurial, self-confidence, power and wealth, control? His roving eye, seeing Amelia, her being seductive, the episode together, his advances, her controlling him, getting the information, control of the power grid, his showing her to, how to close it down? Her attack on him, his death?
9. Megan at the exhibition, the dancing, popularity, the crowd?
10. The change of atmosphere, the setting up of M3gan versus Amelia, the fights, the mayhem?
11. The role of Christian, his power, wealth, technological know-how? The information about the underground preserving of the central control? Palo Alto?
12. The setting up for the confrontation, the military representative and Amelia controlling him, wounded but surviving? Cole and his penetrating the corridors? Cady and her being captured? Gemma captured, the mind control? Christian and his ambitions, betrayal, speaking to the United Nations?
13. Amelia, his control of Amelia, her rebellion, solution? M3gan, destruction, but getting into Gemma’s mind, able to reboot herself?
14. The final confrontation, the timing, Amelia and her decisions, making and her being in Gemma’s mind, emerging, the final confrontation?
15. The message at the end, Gemma and her address, the role of artificial intelligence, coexistence, developing together?

RIVIERA REVENGE/ N’AVOUE JAMAIS

France, 2024, 94 minutes, Colour.

Andre Dussollier, Sabebe Azema, Thierry Lhermitte, Josephine de Meaux, Sebastien Chassagne, Gael Giraudeau..

Directed by Ivan Calberac.

There is something tantalising about the English version of the title of this very French comedy with serious undertones. The French title leads us more into the serious themes of the film, Never Tell (highlighted in the lyrics in the song during the final credits).

One of the target audiences for this film is the older audience with three well-established veterans of French cinema, with Andre Dussollier as Frank, retired French Army veteran, principled, precise, demanding, with Sabine Azma as Anna,  his wife of 50 years, three children, a devoted companion over the decades, with Theirry Lhermitte as a charming man about town of the past, living comfortably in retirement.

It all opens very cheerily, a family celebration, children and grandchildren, for Annie’s birthday party, and their all having to sing Frank’s new lyrics to the melody of the Marseilles. It all offers a quick glimpse into the variety of characters, important for what is to follow.

In many ways this is the material of French farce, Frank discovering Annie’s infidelity of 40 years earlier, the stash of letters conveniently/inconveniently discovered in the attic. The story is the repercussions of this discovery on each of the characters. Frank is flabbergasted, highly offended, against all his principles, denouncing his wife, talking of divorce, and wanting some revenge on Boris, using his information links to discover Boris’s address.

And, off Frank and Annie go to Nice, staying with their daughter and discovering her secrets, in contact with the younger son whom Frank really disapproves of, unlike his older son, very military, with Adrian having a talent with puppets and entertainment.

While there are a lot of farcical confrontations and some mocking of the characters, there are serious themes underlying the surface, fidelity and infidelity, errors from the past, leaving them in the past or resurrecting them, understanding and forgiveness or refusal of understanding, mean-minded vengeance…

The actors are so skilful that they are quite persuasive even if times a touch of the caricature. And, there are implications for the children, the next generation and dealing with this upset of their parents. Meanwhile, Boris is absolutely charming and understanding.

There is a part pleasing resolution when both Frank and Annie watch a performance of a puppet play, some of the dialogue touching on Frank and his own experience of his strict parents. And there is an emotional sequence when Frank, accused of having a relationship with an attractive young woman, before he met Annie, finding out her address and discovering that she is in care, a surprise, the challenge, and some quietly moving moments.

The last minute or so is very French, French farce and comedy – and many will enjoy the implications of what is revealed but, for this reviewer, too frivolous an ending for what has gone before.

1. The tone of the French title, Never Tell? Lyrics during the final credits? The English title focusing on the action and motivations?
2. A French comedy, touches of French farce, bedroom farce, but with serious themes underlying?
3. The opening, the family gathered together, the military man and his memories, discipline and style? Annie, her birthday, the cake? The three children present, the grandchildren? The birthday cake, singing happy birthday to the Marseillaise? The reactions?
4. The situation, Frank and the attic, discovering the letters, the confrontation with Annie, the surprise of her reaction, the past, the secrets, 40 years passing? Her being more nonchalant? Frank, his upset, his principles, his dignity, deception, his reactions, as an old man, grudges? The interrogation of Annie? The talk of divorce? His identifying the lover, memories of the past, his determination to attack? His information contact, trying to find Boris’s address, the nonchalant communicator, the indication of polyamory? Giving the information?
5. Danny, her character, love for her husband, the three children, reactions to Frank, the divorce, her determination to go with him, to identify Boris, the journey?
6. Going to stay with Capucine? Her relationship with her parents, their never visiting? Her relationship, asking her partner to leave? The discussions with her parents, her mother telling her that it was a new honeymoon, the ambiguities in the response to her father and encouraging him? Her partner’s return, her father with a coffee, her ankle, his discovery of the partner, his shock at this relationship? Annie’s response?
7. Adrian, the youngest, not military-like compared with his brother, his relationship with his sister, his work as a puppeteer, with the children at the party, his profession, the discussions with his father?
8. Going to see Boris, Boris recognising them, his charm, life, memories of the past, his wealth at home, the pool and the swimming, the conversations, Frank with the spade and the attempt to hit him? The further meetings, the discussions, the attitudes towards the affair, the past? The effect on Frank? The effect on Annie, the difficulties with Frank, the arguments, her going to see Boris, the possibilities of the relationship beginning again, her leaving and going to the hotel?
9. Frank, the ups and downs of his emotions, his suspicions about the dates for Adrian’s birth, the visit to the beach, the nudist beach, plucking the hair, the blood, sending of the DNA for checking, Annie’s horrified response?
10. The talking with his daughter, the issue of Sophia, Boris explaining it, the relationship, the proposal, Annie shocked that there was another lie? Frank getting her adress, going to the address, discovering Sophie in the aged care home, dementia, the flowers, his leaving? The significance of this returning, acknowledging the past, feeding Sophie?
11. The change in Frank, his not wanting to go to see Adrian’s performance, waiting for Annie, going in, the performance of the puppets, the parallels to Frank’s life? His tear? Applause? Finding Annie? And her returning to the hotel?
12. Talking with his son, getting the gun, going to Boris’s house? The son and five daughters, thinking his father disappointed in him? His father’s apology?
13. The military decision, bringing out the big guns, hiring the band, serenading Annie, the reconciliation?
14. Home, the children, the attic, finding more letters – a farcical ending, ironic or, in terms of the realism of the issues, unnecessary?