Displaying items by tag: Peter Malone's Movie Reviews

S.W.A.T: FIREFIGHT

US, 2011, 89 minutes, Colour.

Gabriel Macht, Robert Patrick, Carly Pope, Giancarlo Esposito.

Directed by Benny Boom.

This is comparatively brief action show, in his time straight to video. However, it drew on the popularity of films about S.W.A.T as with the television series.

The initial setting is Los Angeles, an episode with the team in action, introduction to Paul Cutler, played by Gabriel Macht, his success, his being ordered to go to Detroit and train the team there for certification with the FBI. Initially unwilling, immediately feeling the hostility of the local commander, played by Giancarlo Esposito, he meets the men, various attitudes, criticism, many scenes of their exercises of training. And there is also a female psychologist played by Carly Pope.

The focus is on an episode with a psychopath played by Robert Patrick and the death of the woman he had as hostage. Motivation for Paul, for the group, and Walter mysterious, tantalising, setting Paul up for mistakes, and eventually an elaborate confrontation.

TThe film moves continuously, some sympathetic characters, the psychopathic villain, and plenty of action for the fans. (And, possibly, the good promotion film for anyone wanting to join S.W.A.T.)

1. Audience interest in S.W.A.T, films, television series? Anchored in reality? Imagination?
2. The Los Angeles setting, the initial hostage situation? The transition to Detroit, the range of views of the city, police precincts, training precincts, warehouses and crises? The musical score?
3. Paul Cutler, experience in Iraq, police, dedicated to his work, in charge of the team, the initial confrontation, negotiating, the backup, the snipers? Discussions with his superior, his being sent to Detroit, unwilling? The scene with the girlfriend, his commitment to his work?
4. Attitude towards Detroit, the encounters with Inspector Hollander, resentments, chain of command, relationship to the FBI, the certification of the men? The introduction to the men, characters, attitudes, work, the scenes of their training? The program for certification?
5. The episode with Walter? Getting into the building, the confrontation, water and grows, her killing herself? Walter’s reaction? The effect on the team, on Paul, his first loss of a hostage?
6. Lori, joining the group, the background of Iraq, comradeship, her skill, shooting, sniper? Part of the team?
7. The encounter with Kellogg, his attitude, at the bar, the competition, his being disqualified? His later dealings with Paul collaboration?
8. Walter, Government background, as an agent, the collaboration with his partner? The setting up of Paul, entering the wrong house? The motivation, vengeance, Hollander letting Walter go, Walter and his taunting, being present?
9. Kim, her work as a psychologist, discussions with Paul, his attraction, the meal, the night together, her being targeted by Walter?
10. The buildup to the final confrontation, Walter and his killing of the two agents? The setup, Lori and the explosives, Kim the explosives, the targeting of the team, Walter’s and his attack, his death? The other injuries? The final confrontation, Paul and the fight with Walter’s associate, his death? The timing, the skills with Lori, her escape, sniper? Freeing him, the confrontation with Walter, his falling to his death?
11. Hollander and his change of mind, the team, Lori staying, Paul returning to Los Angeles, the invitation to Kim to visit her sister?

SPECTRAL

US, 2016, 107 minutes, Colour.

James Badge Dale, Emily Mortimer, Bruce Greenwood, Max Martini.

Directed Nic Mathieu.

There are quite a number of spectres in Spectral.

The setting is a blend of the present and the future, arms developments in the United States, experiments, but a civil war in Moldava, the past with the Russian connection, uprisings, devastation.

The film opens with the soldier on patrol, encountering a spectral appearance, white and ghostly, which overcomes him, killing him. The general, place by Bruce Greenwood, contacts Virginia and asks for advice, especially in expert, Clyne, played by James Badge Dale. He is a skilled inventor of defence systems, especially the camera. He is sent to Moldava, explanations from the general, immediately going out on the expedition with his camera, a team of soldiers, some very sceptical.

There are encounters with many spectres, especially seen through the camera, and with devastating effect on overcoming the troops. Accompanying the group is a political and arms adviser, played by Emily Mortimer. The group finds two children, some explanation that the spectres can be warded off by iron filings and other scientific aspects.

A buildup to a final confrontation with the spectres, devastating killings of the soldiers, an escape by helicopter – and the scientist then speculating, rationally, on the possibilities of what they could be, decides, with the help of some theories by Einstein, that the scientists have been speculating on condensation is, and experimenting with human beings, to develop the spectres as a fighting force.

The climax is going to the town, finding the science complex and moral decision about terminating it.

1. Title, expectations, science fiction, futuristic, supernatural themes, the ghosts?
2. The opening in Virginia, Clyne and his work, vision? The action taking place in Moldova, the Civil War, the ruined city, the military headquarters, venturing out into the streets, the buildings, ruins, the spectral experiences? The musical score?
3. The plausibility of the plot? Supernatural beings, or ghosts between life and death? The technology for cover-disguise? The revelation of the scientific advances, success, failures, consequences?
4. Audience response to the soldiers, the initial experience with Davis, seeing the spectre, overcome, his death? The sequence repeated throughout the film?
5. The general, his concern, contacting Virginia, the discussions with Clyne, his work, his advances? His going to Moldava, the explanations by the general? Fran and her presence, observing, her military perspective?
6. The decision to go out into the streets, setting up the camera, the tanks, the camera showing up the spectral vision, the consequences for the soldiers, the many deaths, the many creatures?
7. The finding of the children, their father, ceramics, the iron filings as protection? The finding of the soldier hiding under the tub? Joining the squad?
8. The squad, the commanders, the various personalities, suspicions, the experience of the spectres, their being overcome, the many deaths?
9. Contact, losing contact, the possibility for a helicopter, getting to the landing, exposing themselves to the spectres? The help from the children? The little boy going out, his death? Fran, her scepticism, change of heart, becoming involved?
10. Clyne, his character, dedication to his work, the camera, his rational arguments, setting up the camera as the searchlight, highlighting the spectres?
11. The buildup to the climax, the escape to the helicopter pad, the helicopter, the rescue? The headquarters gone, meeting with the general?
12. Clyne, the background of Einstein, theories of condensation, going to the plant, the huge process, the many spectres, experiments, on human beings, kept alive, the issue of pain? Clyne and his decision to terminate the experiment? Fran wanting the new knowledge?
13. The blend of fantasy and reality, military, military developments, science and rational explanations?

LE PARADIS/LOST BOYS

Belgium, 2023, 83 minutes, Colour.

Kahlil Ben Gharbia, Julien de Saint Jean, Eye Haidara.

Directed by Zeno Graton.

A French language enigmatic title, touches of irony, for a film about Belgian youth in juvenile detention.

The film is brief, sets the atmosphere for a group of young male adolescents, crimes not explained, living in the community, sharing much with their supervisors, meals, sport, practical skills like welding. However, there is certainly a strong discipline. But, interestingly, the high walls of the detention centre are transparent, the outside world showing through.

The film focuses on one young man, Arab background, Joe, a very effective performance, intense, from Kahlil Ben Gharbia. He is quiet, introspective, escapes to a walk along the beach, is interrogated by a supervisor as regards his future, participates in all the activities with the other young man. The group is presented interestingly, distinctive characteristics for each of them, especially a short one with glasses who is often at breaking point.

Another young man comes into the centre, William. Joe is fascinated, and a revealing of his emotions and sexual orientation. Has his own story, the two bonding, even to a kiss and embrace, Joe holding his radio close to the wall for William to hear it…

A film of interactions, the role of the supervisors and authorities, the various activities for the young men, a more positive kind of juvenile detention centre – but with an escape attempt, and the consequences for Joe.

Interesting to compare this film of some kind of juvenile delinquency, very moderate in comparison with some British and American stories of gang members in detention.

1. A topical film? Youth, youth detention, crimes, care, rehabilitation?
2. A Belgian film, Belgian society, the picture of the youth in detention, the carers, those in authority, comments about judges, cases, difficult relationships with parents?
3. The setting, the centre, the transparent wall (contrasting with the enclosed wall at the end of the film)? The conditions, the rooms, meals, recreation, sport, the welding jobs? Creating the atmosphere? The musical score?
4. The focus on Joe, his age, Arab background, his life, in juvenile detention, comments about his family? A loner, quiet? His going out, walking along the seafront? With the rest of the young men, interactions? With Sophie and the other members of the staff? Conversations, meals together, strict discipline? The encounter with William, the attraction?
5. William, the contrast with Joe, his background, family? Attitudes? Interactions with Joe, the mutual attraction? The radio, Joe holding it to the wall? Together, the kiss, the reactions? William and the regime, interactions with the others? Work?
6. The portrait of the of the boys, their ethnic backgrounds, their ages, interactions, friends, playful, intense, the boy with the glasses, sometimes at boiling point? The meals and interactions, jokes, dancing, sport…? The prospects? Planning for the future?
7. Joe, sometimes morose, his emotions, Sophie warning him about his emotions and relationships? The fireworks, the painting of the faces, going outside, the return at the gate, the rain, raucous?
8. Joe and William, running away, pursued, caught? The repercussions for each? Joe and his frustration, the hearings, the woman in judgement, keeping him for another three months?
9. Joe and his final transfer, the new centre, like the present, in the yard, smile, his beginning to run? His future?

LAST BULLET/ LOST BULLET 3/ BALLE PERDUE 3

France, 2025, 110 minutes, Colour.

Allban Lenoir, Nicolas Duvauchelle, Stefi Celma, Gerard Lanvin, Quentin D'Hainaut, Anne Sarah.

Directed by Guillaume Pierret.

A very French action show, Last Bullet, police, criminals, drug dealing, plenty of action and stunts, appeared in 2020 and was very successful. So, a year or two later, a very successful sequel. Now, a third in the franchise, the French title remaining the same but an alert for English-speaking audiences, not just another Lost Bullet, but the Last Bullet.

The central characters of the previous films reappear, audiences having got to know them well, liking some like Lino, former prisoner, rehabilitated, working on cars, good relationships. But there is also Areski, police, caught up in all kinds of violence, even murder. And, the women in their lives. And, especially, one of the chief of police in the drug squad, totally corrupt, dealing the drugs, some brutal henchman, political deals, and out for some vengeance.

With the new scenario, Areski is hiding in Germany, new name and job, relationship even though has a wife and child at home, becoming the target of the chief but cleverly, with the help of his bike, evading the deathtrap. He returns to France, trying to reconstruct his life, determined to work against the corrupt chief, but paired up with Lino who has to forego some of his vengeful hatred.

In many ways the plot is simple, the two combining, the help from their female collaborators, some more corruption at the top, the setting up of the police chief, and, in the  last part of the film, plenty of car and mobile action, stunt work, one of the reasons for enjoying this series of films.

For those coming across this film the first time, enjoyable action. For those following the previous two films, some satisfaction in the conclusion, the good rewarded, the bad defeated.

1. The popularity of the first two films? A satisfactory conclusion to the series?
2. French action film, action sequences, stunt work, CGI, effects? Cars, chases, buses, the tower and confrontation? Audience response to the action?
3. The opening in Germany, introducing Areski, his role in the previous films, criminal, killings, his wife and family, escaped to Germany, working, the control of Resz, corrupt administration, drug smuggling, his work and cover, the relationship, Resz wanting him killed, on the bike, the chase, his outwitting the pursuers, survival, return to France?
4. The situation at the Spanish French border, the exchange, the prisons, Resz and his control?
5. Lino, his past, present, rehabilitation, working, the relationship with Stiller? With the authorities?
6. Rose, corrupt, control, his thugs, trying to kill Areski? The deal with Spain? With the authorities? His working with Yuri? The film’s critique of police and political corruption?
7. Areski and his return, working to bring down Resz, the meeting with Lino, memories of the past of the murder, their working together? The role of Stella, the past, present?
8. The officer in charge, her attitude, the pursuit of Resz, her doubledealing and exposure?
9. The buildup to the confrontation, the cars, the chases, Lino and Stella, Areski and his changing attitudes, wanting to escape? The bus? The final violent confrontation, the cars, the van, the tower?
10. Yuri, the attitude of Resz, his change of heart, his final vengeance?
11. The style of French action films for the French audience? The impact on international audiences?

DEPRAVITY

US, 2024, 115 minutes, Colour.

Devon Ross, Victoria Justice, Taylor John Smith, Dermot Mulroney, Sasha Luss, Alex Roe.

Directed by Paul Tamasy.

Depravity is a challenging title. Not just wicked, depraved.

The film introduces us to 3 young people, in their 20s. Alex is handsome, man about town, smug, and, we discover, some rather depraved greed and its consequences. Then there are the roommates, Grace, pleasant and attractive, getting caught up in some violence and becoming the victim of violence. And then there is Aria, an art student, roommate, becoming involved but seeming to keep a distance from what goes on.

What goes on is their suspicions of an older sinister-looking gentleman, who goes on walks with his dog, always looking grim, as mysterious and exotic visitors. There is talk of a serial killer. The trio is tempted to suspect him, find a way into his apartment, getting into the crawlspace above the roof, investigating his room, discovering a great deal of money. But, for the drama, of course, the sinister man returns and there are dire consequences for him and, ultimately, for the others.

Also involved in the action is a glamorous but suspicious woman with a foreign accent who visits, is wary of the disappearance of her patron, bringing along a boyfriend, with an accent and blonde hair like a British teddy boy. Also in the act is a detective, rather more casual than the usual New York detective.

So, all kinds of suspicions, deaths, hiding of bodies, mysterious international criminals, the background of the theft of priceless art, mysterious money hidden away.

Dermot Mulroney is the sinister gentleman next door. John Taylor Smith is the superficially charming but greedy Alex. Victoria Justice is the more glamorous Grace. Devon Ross is the underestimated Aria.

A number of unexpected twists throughout the screenplay – and a twist at the end which some astute audiences might have picked.

1. The tone of the title, expectations? As applied to each of the characters?
2. The introduction to the central characters, their personalities, age and experience, relationships, Aria, her art, the paintings, her work, reserved personality? Friendship with Grace, Grace more open? Alex, charm, opportunist?
3. The apartments, suspicions, Mr Evers, his appearance, sinister, with the dog, walking?
4. The background of stalking and serial killers, their suspicions of Mr Evers, wanting to get which room, Alex and his using the roof, Mr Evers returning, Grace on guard, getting out of the situation?
5. Mr Evers, the possibility of his being a killer, the finding of the money, the artworks, Tovia and her glamorous style and look, her suspicious of Mr Evers absence, her return, confrontations? Her boyfriend and his menacing presence?
6. Mr Evers returning, the guns, Grace, killing him, wrapping his body, lowering it down the chute? Its eventually falling, burning?
7. The repercussions of these events on each of the characters, Alex, no conscience, greed, the money, getting rid of the body? Grace, the relationship with Alex, anxieties, some touch of conscience? Aria, her involvement, seeming detachment?
8. The police investigations, the detective, suspicions, the money, the artwork? His behaviour with the suspects?
9. The criminals, arriving, Tovia and her style? The boyfriend? The dramatic confrontations, hiding, searching for the art? Guns? Fights, shootings? Grace dying? Alex and his being tied up, suspended in the chute?
10. Aria, her behaviour, the artwork, the money, involved but seems seeming detachment?
11. Alex, his death, greed?
12. The search for the paintings, Aria, in the apartment, hiding, finding the paintings – and the irony that she was the art thief?

EXTERRITORIAL

Germany, 2025, 109 minutes, Colour.

Jeanne Goursaud, Dougray Scott, Lera Abova, Kayode Akinyemi, Annabelle Manding, Rickson Guy da Silva.

Directed by Christian Zubert.

This is a German action show which means that the filmmakers have admired and learned from American action shows.

The initial focus is on Sara (Jeanne Goursand), the extraterritorial of the title, having served in Afghanistan, seen combat, also found a partner and their having a son, his death, her return to Germany, manifestations of PTSD, anxiety, mania, delusions. However, it seems that an appreciative American firm is offering her a work position in the US. She goes with her son to the consulate to check with passport and travel arrangements.

This part of the film certainly sets a tone. But, at the consulate, she is forced to wait a long time, her son restless and her allowing him to go to the playroom. She returns five minutes later. He has disappeared. The next part of the film is the frantic search, the help of the consulate authority, Dougray Scott, and his assistant, Donovan, Kayode Akinyemi. The Consul herself becomes involved. Her son is nowhere to be found, and looking at the surveillance pictures show only Sarah, that she had come alone to the consulate. Is this one of her PTSD delusions?

After the desperate search, the latter part of the film moves into high-powered action, Sara drawing on her military skills, the layout of the consulate and its various buildings, something like a labyrinth, multistoreyed, long corridors, elevators. And she draws on all her skills to evade detection and pursuers. But she does encounter a mysterious woman also living in the consulate with quite a history. Suspicions, clashes, but then the two working together.

Of course, there is a twist, the unmasking of an official who has a history in Afghanistan of betrayal of secrets to the Taliban and who wants to eliminate Sarah for self-protection.

A variation on familiar plot of disappearances. Some remembering of European involvement in Afghanistan. And then, an action hero, this time a very resourceful woman, going in to no-holds-barred fighting for her son.

1. The information from the title, Sara and her work in Afghanistan, return to Germany, PTSD?
2. The German setting, the city, homes, outdoors? The move to the consulate, space, interiors, the variety of buildings, the elaborate opening up of the different storeys, corridors, rooms, elevators…? The consulate as something of a labyrinth? The musical score?
3. An action film, given Sara’s background? The buildup, her character, her son, the situation, prospects in the US, her son’s disappearance, the search, moving into a violent action scenario?
4. The establishing of Sara’s character, Afghanistan, the return, tensions, mental states, delusions, devotion to her son? The initial encounters, people’s reactions? Her going to the consulate, the prospects of work in the United States? The memories of her husband? Taking Josh, entering the consulate, lining up, the surveillance, the wait, taking Josh to the playroom, her return and his disappearance?
5. Sara and her motivation, the intense love for her son? Her panic when he had disappeared? Confronting the authorities? The encounter with Erik, with Donovan? The reassurance, her suspicions and anxieties?
6. The atmosphere of conspiracy, Donovan and his behaviour, Erik and his charm and reassurance? The intervention of the Consul, her interpretation of the events? Wary of Sara? Checking the surveillance, no images of her son?
7. The latter part of the film, action show, Sara and her fighting skills, skills and surveillance, observation, going throughout the building, those pursuing her, the fights? The encounter with Kira, suspicions, her background and being in the consulate, confrontations, reassurances, support, Kira and her help, the dangers? Donovan and the pursuit?
8. Sara and the labyrinth, her skills, violent skills, the eventual confrontation with Donovan, the revelation of the truth?
9. Erik, his role in Afghanistan, flashbacks, betrayal to the Taliban, his wanting to avoid being exposed, his manipulations of Sara and the situation, the taking Josh?
10. The final role of the Consul, the buildup to the final confrontation, the unmasking of the villain, enclosed in the room with Sara, her wits getting out, and reunion with her son?

LA COCINA

Mexico/US, 2024, 139 minutes, black-and-white/Colour.

Raoul Briones, Rooney Mara, James Waterston, Anna Diaz, Oded Fehr, Lee Sellars.

Directed by Alonso Ruizpalacios.

A word which comes to mind as we watch this highly-powered drama, is “exhausting”.

The first part of the film, a long film of 2 hours 20 minutes, takes place in a large kitchen of a New York diner, large staff, chef, cooks, waitresses, continual movement, the orders coming in thick and fast, shouting, speed, and tensions, more shouting, some altercations – exhausting for the staff as they go about their business, but, as said, exhausting for us to watch them, the pressures and their exhaustion.

This is a Mexican production from the celebrated Mexican director, Alonso Ruizpalacios. There is a large Hispanic cast, with some Americans. And, surprising to discover, the screenplay is based on a British play of 1957, a play by Arnold Wesker, The Kitchen , part of the movement in Britain in the late 1950s, a move away from the drawing room to a lot of “kitchen-sink” realism.

The film was shot in black and white although, there are some moments of colour, often quite striking, small, sometimes brief, into the black and white. And, especially initially with a young woman arriving from Mexico by ship and trying to find her way around New York to get a job, some blurred black-and-white photography. And, with the language, mixes of Spanish and English.

Which means that the images of the kitchen are images of the melting pot, especially Hispanic/English, of New York City and communities around the US. And, not only the mix, but the role of the American bosses, the hold over their staffs, issues of visas and permits, illegal immigrants, trapped at the whim of the bosses, full of hopes and dreams (especially dramatised in a most welcome quiet part of the middle of the film, some of the staff taking a break in the alley speaking of their dreams and hopes, some realistic, some fantasies).

Tensions rise throughout the film with a number of themes. The accountant finds money missing and one of the managers assumes that it is the key character of the film, the cook, Pedro (Raoul Briones) who has taken the money for his girlfriend, Julia (Rooney Mara) for an abortion. But Pedro does not want the abortion. Julia does and there are consequences. And there is the anger of the chef against Pedro, counting him down for eventual firing. And there is the main boss, with the power, who comes to supervise and check.

And, it all boils over, the pressure on Pedro, Julia’s son arriving, an altercation with one of the waitresses, objectively reasonable but too much for Pedro, frantic, then berserk, chaos in the kitchen, spilling over into the restaurant itself. The desperation of the Hispanics and others of racial and ethnic backgrounds, overwhelming anger and destruction. And, what of the future, the uncertainties of the future?

(And La Cocina is challenging watch at the time of the release, with the executive orders of Donald Trump and the intentions of mass deportations for illegal Hispanics.)

1. The reality of Hispanic refugees, legal and illegal, in the United States? Political repercussions on the 2020s, the Trump administration?
2. The screenplay based on Arnold Wesker’s 1957 British play? The issues then? The “kitchen sink” dramas? Relevant in the 2020s?
3. The black-and-white photography, the realism, the artifice of blurred screens? The colour insertions? The musical score?
4. The tone of the opening, Estella, travelling to the US, entry, New York, lost, unable to speak English, searching for Pedro, to get a job? Her arriving, Coming for the interview, the woman waiting, the manager, the interview, accepted, the actual applicant late and not being hired? getting the job?
5. The first part of the film, the introduction to the kitchen, the chef, the cooks, the manager, finance? The large kitchen, the various cubicles and areas for the cooks, the specialties? The information about the menu, the style of cooking, the speed, the waitresses? Not seeing the clientele until later?
6. The pressure of work in the kitchen, exhausting for those working, exhausting for the audience watching? The volume of sound, the talking, the different languages? The pressures, timing, the orders, the machine with the orders coming through? The kitchen as a microcosm of New York City, the Americans in charge, the Hispanics working, treatment, attitudes?
7. The issue of the missing money, the accountant and his concern, Lewis and his attitudes, suspicions of Pedro, his relationship with Julia, his personality, the issue of the abortion, the presumptions about guilt? The continued concern of the accountant, eventually finding the money, Lewis and his accusing Pedro, the truth? The focus on Pedro, his background, working for three years, the relationship with Julia, her pregnancy, the behaviour during the day, kissing, the sexual encounter, yet the harsh reactions, Julia and her concern? Pedro wanting the child? Julia, going to the abortionist, the experience, the return, serving, the blood on her leg? The arrival of her son? The impact on Pedro?
8. The variety of personalities, Mark, white, authority, brutality, fights, reconciliations? Influence on the other workers? Their personalities, conversations, memories, joking, serious?
9. The flooding of the floor, everybody having to manage? The main chef, 25 years working, attack on Pedro, the counts against him? The arrival of the owner, his manner, talking, meeting people, tasting and testing?
10. The waitresses, the busy work, seeing the customers, complaining cost customers, friendly customers? The continued work, refilling the trays? Pedro and the clash with the waitress, arguments, her leaning over, his physical response?
11. The break, the quiet, in the lane, the characters, smoking, talking, their dreams, symbolic, the long story about migration, no conclusion, provoking emotion and thought?
12. The buildup to the mayhem, the pressures on those in the kitchen, authority, jokes, rivalries, angers, Julia and Pedro’s discovery, her son arriving, her leaving? The waitress, intervening, the violent reaction, his losing his temper, the eruption, the violence and destruction of the kitchen, pouring the rubbish over himself, going into the restaurant, causing mayhem and destruction? Back in the kitchen, on the floor, the chef and his response, the owner coming, the quiet menace, his observing the destruction, the confrontation with Pedro? His future?
13. The impact of this film for a Hispanic audience, Latin Americans in New York City, legal and illegal, continued threats, owners owning them, no visas? The impact for the broad American audience and understanding the issues? For audiences outside the US?

FUNNY BIRDS

France/Belgium, 2024, 97 minutes, Colour.

Catherine Deneuve, Andrea Riseborough, Morgan Saylor, Naima Hebrail Kidjo, John Robinson, Joseph Ollivennes, Ken Samuels, Maria McClurg.

Directed by Hanna Ladoul, Marco La Via.

 Funny Birds is a funny title, funny with humour, but also funny peculiar. Does it refer to the chickens that Laura, Andrea Riseborough, has rescued after they are too old for the big chicken runs and fosters them, collecting the eggs and marketing them with her own brand? Or does it refer to Laura herself, her young daughter Charlie, who is at college and comes back to look after her mother and work with her, her mother becoming ill?

And, there is the question of the presence of Catherine Deneuve in this film. And she is a very welcome presence. We remember that Catherine Deneuve has been headlining films since 1964, the just over 60 years. And, on checking her age, she was 79 when she made this film. And it is not generally the kind of film that she appears in. This is a small film, quiet, a focus on women and empathy for them, and a role in which she can enjoy herself, a character who was at home in the 1960s but is still at home in the 2020s. In many ways she is quite a funny bird.

In fact, this is a French or Belgian coproduction, filmed in Europe, English language, but an American story, the chicken farm in New Jersey.

The plot is fairly straightforward, Laura and the chickens, her becoming ill, her daughter, Charlie, Morgan Saylor, coming home to stay with her, work with her, look after her. There are two sympathetic neighbours who help with the distribution of the eggs, the wife pregnant. The main complication, quite a complication in fact, is an epidemic of bird flu and how to handle the situation, conceal the hens from the local sheriff and his by-the-book offsider.

And, then, there is Solange, Catherine Deneuve, suddenly turning up quite unexpectedly to the audience and to Charlie and her mother, Solange abandoning Laura when she was very young and in the world with more than a touch of New Age explorations. But, Solange enters into the life of the farm, fascinating to see Catherine Deneuve out there with the chickens, working in the garden, gradually bonding with small detail with her daughter and granddaughter plus a whole lot of those New Age traditions, including medicinal cannabis.

One could say that there is no major reason for seeing Funny Brids but, should you come across it, and are interested in a sympathetic/ edmpathetic focus on the story on three generations of women, it is quite enjoyable.

1. The title, the reference to the chickens, their background, cared for by the women? The women as funny birds?
2. French-Belgian coproduction, an American story, some French background? The New Jersey setting, the farm, the countryside, the neighbours? But filmed in Europe? The musical score, the songs?
3. The situation, Laura, her age, caring for the chickens, rescuing the old hens, caring for them, in the house, in the barn, outside, feeding them? The eggs, packing them, her brand? Making a living?
4. The arrival of Charlie, relationship with her mother, the tensions, her mother ill, coming to care for her, work on the farm? Her studies, the allusion to her father, his interest in business, the business studies? Her age, her boyfriend and his visit? Her commitment to working with her mother?
5. The film’s focus on the details of work on the farm, with the chickens, the eggs, packing, distribution, the garden, the vegetables? The details of life on the farm, the mother and daughter, home life, meals and cooking, the support?
6. Laura and her illness, the visits to the doctor, losing her hair, Charlie and the discussions about the wig, cutting her hair, shaving her mother’s head, shaving her own? The growing bonds between the two?
7. The arrival of Solange, the presence of Catherine Deneuve, age, background, travelling the world, the theories, sustaining, feminist…? Charlie’s puzzle, never having heard of her grandmother, her mother’s reaction, angers, trying to ignore Solange?
8. Solange, her personality, no background explanations, allusions to her past, helping Laura, working with Charlie, hands on with the work, the change of attitude, the growing bonds between them, enjoying each other’s company, the meals, helping Laura?
9. Joanna and Sebastin, neighbours, helping with the distribution of the eggs, Joanna pregnant?
10. The issue of the bird flu, the decision to hide the birds, but not tell Laura? Newspaper headlines, concealing them from Laura? Sebastian, unwilling to help, and Joanna and her pregnancy, continuing to help, ultimately becoming too much?
11. The arrival of the sheriff, Solange and her approach, his serious deputy? Solange, the dates, stopping him coming into the house?
12. The birthday celebration, the cake, the dancing? The aftermath? Solange disappearing?
13. The end of the epidemic, the chickens coming out again, join and the birth of the baby?
14. The postcard from Solange, her sending the letter to the sheriff confessing to selling the chickens to get the money, saving Laura and Charlie from exposure? The postcard just with the destination – and the joke about getting a passport to go there?
15. Laura, recovery, happiness in her life and work, Charlie and her studies, hope for the future?

CLOWN IN A CORNFIELD

US, 2025, 96 minutes, Colour.

Katie Douglas, Aaron Abrams, Carson MacCormack, Kevin Durand, Will Sasso.

Directed by Eli Craig.

An arresting title. However, while it is true in the early part of the film, by the final confrontations and climax, there are very many clowns in the cornfield.

There is an interesting central plot of interest to audiences. However, it needs to be said, that like many of the horror films of the first half of the 2020s, especially those with an emphasis on slashing and gore, the death sequences are very graphic, the kind that action fans with horror tastes applaud but which many audiences would in their eyes from.

With that warning, the focus of this review is on the plot. The film opens in the 1990s, the party, young people drinking and laughing, one of the party going out into the cornfield and being confronted by a murderous clown, Fendo. So, there are the visuals of the cornfield, mysterious, sometimes sinister. There is also the closed-down factory for the production of corn syrup. The logo for the factory is Frendo, the clown.

The main action of the film is in the present. Teenager Quinn and her doctor father move to the town of Kellie Springs, Missouri, on the death of her mother. Tension between father and daughter. At school, she makes many friends, especially the son of the Mayor. The on is very strong on tradition, especially with the parade with floats featuring a giant Frendo. During the parade, one of the floats goes up in flames. The Mayor, Kevin Durand, is the promoter of the tradition. He is backed by the local sheriff.

The youngsters have their parties and, once again, a clown emerges from the cornfield and their deaths. In fact, there are quite a number of the characters, drinking, running away, afraid, and a building number of slashing killings. Before many of the killings, the intended victims open an ominous Frendo music box, signalling death. Quinn’s father becomes involved, having to treat some of the wounded Frendos but uses his medical skill to come to the rescue.

Quite a lot of tension, young people, the chases, hiding, defending themselves – but, the interesting aspect is the revelation that the Mayor and the sheriff are leaders with so many of the citizens dressing up as Frendo viciously and attacking the younger generation, including the children, condemning them for not being loyal to the traditions. (The film was released in the first year of the second Trump administration – and the audience watching identifying the older generation and their attitudes with the overwhelming support of Trump in the 2024 election.)

BLUE STORY

UK, 2019, 91 minutes, Colour.

Stephen Odubola, Micheal Ward, Eric Kofi Abrefa, Karla-Simone Spence, Rohan Nedd, Sean Sagar, Kadeem Ramsey..

Directed by Rapman (Andrew Onwubolo).

A number of British films and television series, documentary and docudramas, focus on gangs in different areas of London. And the gangs are black gangs. This is one of those films, very much directed towards the younger audience, the target audience of black youth in London, as well as their parents.

The film has been directed by Andrew Onwubolo, an MBE artist and musician, who has the name, Rapman. He has written the screenplay, and appears as a narrative character throughout the film, especially with, as his stage name suggests, a great deal of rap lyrics. Again, though directed towards the younger target audience, many older audiences will appreciate his presence, the skill of the rap, its commentary on characters and action.

The film is set in areas of London, especially Lewisham and Peckham. They have their various gangs. Some of the characters live in Deptford which is looked down on.

The film focuses on a young man, Timmy (Stephen Odubola) and his mother, transferring him to a different high school, away from his friends, especially one who is particularly tough, Killy. At the new school he makes a number of friends, especially bonding with Marco (Micheal Ward) who has an older brother, tough leader of a gang. The years pass, friendships develop, especially timber with the young girl at school, Leah.

But, towards the end of time at school, the friendship is tested, Timmy rather restrained and not wanting to become involved, Marco is influenced strongly by his brother, problems with Timmy coming from Deptford, the different gangs, the emergence of Killy and his gang.

The plot is quite complex with all the politics of gang leadership, the raids and attacks on other gang members, sometimes at night, sometimes in public, a number of deaths which test loyalties.

While Timmy and Leah become involved, falling in love, hopes for the future, Marco attacks them, hitting Leah, her falling, dead. Marco goes to jail. There are a number of incidents, fights, and Marco’s brother injured and becoming a paraplegic.

Years pass, Timmy, affected by the death of Leah, deadly enmity towards Marco, also becomes a gang leader, leading up to confrontations, possible reconciliations, Marco with memories of his family, prison, going to firebomb a van in which Timmy is trapped, deciding to throw the flames.

The central actors, who have had substantial careers in film and television, are engaging, persuasive, audiences becoming dismayed at what happens to them and their behaviour.

Which means then that this is a serious drama, rap message, the action on the nature attractions of gangs and warfare, but the futility of the violence and deaths.