Displaying items by tag: Peter Malone's Movie Reviews

THE KING OF KINGS

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

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

Directed by Seong-ho Jang.

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

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

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

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

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

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

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

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

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

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

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

NOVOCAINE

US, 2025, 110 minutes, Colour.

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

Directed by Dan Berk, Robert Olsen.

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

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

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

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

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

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

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

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

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

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

BANGER

France, 2025, 90 minutes, Colour.

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

Directed by So-Me.

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

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

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

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

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

A MINECRAFT MOVIE

US, 2025, 101 minutes, Colour.

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

Directed by Jared Hess.

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

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

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

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

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

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

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

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

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

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

IN THE LOST LANDS

US, 2025, 100 minutes, Colour.

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

Directed by Paul W.S.Anderson.

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

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

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

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

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

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

WALLACE & GROMIT: VENGEANCE MOST FOWL

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

Directed by Merlin Crossingham, Nick Park.

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

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

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

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

Dastardly results.

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

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

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

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

BIRD

UK, 2024, 119 minutes, Colour.

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

Directed by Andrea Arnold.

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

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

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

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

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

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

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

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

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

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

TIME CUT

US, 2024, 92 minutes, Colour.

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

Directed by Hannah MacPherson.                               

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

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

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

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

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

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

GREY LADY

US, 2017, 107 minutes, Colour.

Eric Dane, Natalie Zea, Amy Madigan, Adrian Lester, Carolyn Stotesbery, Chris Meyer, Rebecca Gayeheart, Laila Robbins, John Shea, Billy Sherry, Rafiki Rocky Rodrigues, Eilin O'Dea.

Directed by John Shea.

Grey Lady is a police investigation with a number of murders to be solved. And, the title refers to the island of Nantucket, inclement in its off-season.

For those who want to sit back and enjoy this kind of thriller, there are certainly intriguing elements. Some reviewers refer to the intricacy of the plot lines – while others just simply label the episodes as chaotic. It will depend on the viewer’s frame of mind at the time of watching.

The film was directed by veteran actor, John Shea, who also appears as the local police chief. The star of the film is Eric Dane as the investigator, emotional because of the death of his sister and of his partner, trying to investigate the background of family members. It is interesting to see British actor, Adrian Lester, as one of the local police and there is a tour de force performance by Amy Madigan as the mysterious aunt.

Lots of atmosphere. Quite a number of killings. All kinds of intricacies in the tangles of the plot and the solution.

1. The title, the island of Nantucket, its weather, nothing being either black or white?
2. The American movie tradition of police investigations, murders, mysteries, detection, serial killers and motivations, sanity and insanity?
3. The introduction to Doyle, the paper headlines of the death of his sister, his partner, Maggie, discovering her pregnancy, the callout, the screaming, Maggie tending the woman, the woman killing her, Doyle and his confrontation with the man, his eyes, the escape? Maggie and her death, the Rose and the Crown? Consequences, Doyle and his suspension, forbidden to continue investigating, his defiance, the travelling to Nantucket?
4. Doyle, his personality, the significance of the happy opening sequence, the family, his father? The later return to the photo? The ambiguity of his father, the revelation of the relationship with Lola, his father and Lola and the fight, his uncle’s death, his coming into the room, assuming his father had killed his own brother? And the focus on Beth as a little girl, watching everything, traumatised?
5. Doyle, personality, taciturn, unsmiling, determined, the burden of his past, the death of his sister and partner? On the boat, meeting the Duchess, and meeting Eli? Johnson, his welcome, the police on the island, not wanting Doyle to investigate? The tensions? The collaboration with Johnson, Johnson and playing in the band, the bond? And Doyle getting information from his colleague back in Boston? The authorities in Boston?
6. The events on the island, the exhibition, Billy and the sculptures, Melissa and her paintings, Doyle attracted to the woman in the bath, memories of his partner, buying it, the celebration afterwards? Eli and her spilling wine on the painting, the apology, joining in the gathering afterwards? The meetings with the Duchess, the divorce, the intensity of her businessman husband, her death?
7. Doyle, getting more information about his family, the visit to the house, Tony and his collaboration and information, seeing Angela – and the later revelation that Angela was Lola?
8. Doyle and Melissa, the bonding, the discussions, revelations, Melissa and her tensions? Clara, Irish, massage, friend?
9. The revelation of the audience of who Eli was, her collaborator, revealed as her brother, Perry? The discussions between them, Eli as Beth, her trauma, orphanage, institution, escape, collaboration with her brother, the religious language and motivations? The revenge for the death of her father, blaming Doyle for his father’s killing of her father, the series of murders of relations and friends, and the symbols on the victim spelling out Doyle’s name?
10. Eli/Beth and her charm, yet her madness, manipulation, violence, vengeance, control of Perry? Perry and his violence? The episode with Tony, blindfold, cutting off his fingers, the confrontation and the pursuit? The confrontation with her mother, threatening, unable to shoot her? The episode with Clara, the massage, locking Beth in, Perry and the guns, the confrontation, Beth killing Clara, the disposal of the body, the manoeuvres to track Melissa, the phone calls, confronting her, telling her of the death of Clara, Melissa’s collapse, the boat, abducting her?
11. Doyle, putting the pieces together, working with Johnson, information from Boston? The meeting with Lola, revealing the truth, the flashbacks to what happened, the fact that Lola had killed her husband, but the little boy had seen only his father with the weapon? The whispered promises in the church? Builders gift of his father’s camera?
12. The final confrontation, with Beth, threatening Melissa, her death? The confrontation with Perry, the gun, the revelation of Lola’s secret, that Perry was in fact Doyle’s brother, not being able to kill him? The arrest?
13. The end, to going back to Boston, farewell from Johnson, the praise of the local authorities, the final talk with Melissa, and the story throwing the coin at the lighthouse – and the flashbacks to the memories, Doyle’s father and the camera, the whole family the throwing coins, and the irony of their return?

THE ORDER

US, 2024, 116 minutes, Colour.

Jude Law, Nicholas Hoult, Tyler Sheridan, Jurnee Smollett, Walter Slezak, Odessa Young Alison Oliver.

Directed by Justin Kurzel.

The events in this investigative thriller took place in the 1980s. But, a film about extreme right-wing groups in the United States in the 2020s will immediately alert audiences to the attack on the American capital, January 6th, 2021. And, in fact, at the end of the film, the link is made.

The name, The Order is taken from the 1977 novel by William L.Pierce, the Turner Diaries, seemingly intended for younger readers but something of a manual for an uprising against the state, and how it is achieved in stages. This book features in the film highlighting its influence. Already, in 1988, there was a film about these events, Betrayed, directed by Costa Gavras and featuring Tom Berenger and Debra Winger. Early in 1989, the book on which this film is based was published. Its title, The Silent Brotherhood: Inside an American Racist Conspiracy, by Kevin Flynn and Gary Gerhardt. Kevin Flynn is noted in the credit as a consultant for the film.

The film has been directed by Justin Kurzel, well noted for his crime dramas and his skill in portraying mentally and emotionally disturbed men – especially in Australia, The Snow Twown, The True Story of the Kelly Gang, Nitram (and not forgetting his Macbeth).

The framework of this story is the investigation by FBI agent, Terry Husk, a fine role for Jude Law, one of his best (his role before this one as the ageing Henry VIII in The Firebrand). He works in collaboration with an earnest young deputy, Jamie Bowen, played by Tye  Sheridan, and a local agent played by Jurnee Smollett. The setting is Washington State – so much of the scenery, the mountains, filmed beautifully as background.

At the centre of the brotherhood is a young enthusiast, all-American, Bob Matthews. This is a very interesting and different performance by Nicholas Hoult who resembles closely the photos of Matthews himself, at times baby faced, an innocent despite the prejudices and violence he is spouting (scenes of his intensity in close-up looking like Nicholas Hoult more than 20 years earlier as a boy in About the Boy). The actual Bob Matthews, we find there is a strong resemblance between him and Nicholas Hoult.

Terry Husk has his own personal problems, his long career, sometimes an intense recklessness in pursuing the criminals. Matthews has the support of his wife, of his pregnant girlfriend, of a lot of the Proud Boy types of the 1980s, moving to bank robberies, explosions to distract from the robberies, a Bricks job on the highway, building up his coffers to start a militia. The screenplay also emphasises the biblical underlining of this Brotherhood, the transfer of promised land to the Jews (to be taken away from them), to the white Americans who see themselves as God’s chosen people, ready to rise up against any immoral society and a two-permitting government.

The pace is strong. The characterisation powerful. The issue is more than challenging. And, while it is a reminder of movements in the past, The Unibomber, bombings in Oklahoma, Waco… It is a sober alert to movements, beliefs, conspiracy theories in Trump’s America.

1. The title, the reference to the book, The Turner Diaries, the manual for insurrections and the group called The Order?
2. The film based on fact, the 1980s, the book basis for the film, The Silent Brotherhood? The popularity of white supremacist groups at this time? The Reagan era? The social standing of members of the group, white groups, the biblical basis, church preachers, neo-Nazi attitudes, the active leaders and insurrection, turning to crime to finance militias?
3. The settings, Idaho, Washington state, the beauty of the mountain scenery? The city sequences, the streets, banks, porn cinema and explosions, homes, the church, the highways and robberies?
4. The focus Terry Husk, Jude Law’s performance, FBI background, moving to Idaho, the phone call and the separation from his wife and daughters, his long experience, long friendship with Joanne Carney, working with her, her authority and jurisdiction, tested by Husk and his taking initiatives? The work together, investigations?
5. The focus on the group, Richard Butler, as a church minister, his ideology, preaching, the Bible, white supremacist presuppositions about the land, anti-Semitic, swastikas and neo-Nazi attitudes? His meetings with Bob Matthews, the threats, Matthew standing up to him at the gathering, his withdrawing?
6. Bob Matthews, his background, age, manner, relationship with his wife, relationship with his girlfriend, her pregnancy? His friends, their thug background? Interviewing the Mexican who pretended he was Spanish for racial supremacy? His hold over the men, his leadership? Later, the arrest and Husk interviewing and getting information?
7. The decision to rob banks, the money, for themselves, but for funding a militias? The sequence of the robbing of the bank, intimidation, the driver and the getaway, his gun on the policeman outside, their exhilaration? Matthews and his wife and his girlfriend? The planting of the bomb in the cinema, a distraction, the robbery of the van? The bigger plans, the Brinks van, on the highway, the hold-up, cars on the highway, the chain across the road, their effectiveness, the dangers, guns and shooting, escape?
8. The local police, the chief, rather more easy-going, Jamie Bowen, his earnestness, relationship with his wife, children? Giving information to Husk? Husk relying on him, going to the motel, the stakeout, the gun, Jamie freezing, Husk and his reaction? His change, becoming more involved, going into action? Husk and the interview with his wife and her fear of him? The confrontation, the shootout, the chase, Jamie shot, his death? The funeral, Husk, Jamie’s wife?
9. The focus on Bob Matthews, his personality, relationships, his plans, his wife, unable to have children, the young girlfriend and the birth of the child, the money for them? Husk and his interview, getting information, the location for hide out?
10. The impact of the church gathering, Butler speaking, Matthews intervening, powerful speech, bigotry?
11. The hideout, the thugs, guard, the FBI attacked, the siege, the shooting? The fire, Bob Matthews staying, Husk going into the building, withdrawing, the collapse of the building, Matthews’ death?
12. Husk and his achievement, Joanne Carney and her work, the regrets for the death of Jamie Bowen? The atmosphere of uprisings in the 1980s?
13. The final information, the references to January 6th, the siege of the Capitol, The Proud Boys and other groups, imprisonment, President Trump pardoning them – and the future during the second Trump presidency?