Displaying items by tag: Peter Malone's Movie Reviews

THE SHEEP DETECTIVES

UK/Ireland, 2026, 109 minutes, Colour.

Hugh Jackman, Nicholas Galitzine, Molly Gordon, Emma Thompson, Hong Chau, Conleth Hill, Nicolas Braun, voices of: Brett Goldstein, Patrick Stewart, Regina Hall, Bella Ramsey, Chris O'Dowd, Rhys Darby, Bryan Cranston, Julia Louis-Dreyfus, Tommy Birchall.

Directed by Kyle Balda.

No, not inquiries about sheep difficulties. The sheep themselves are the detectives. And, very enjoyably so.

Shepherd George, living in a caravan outside a typical Miss Marple English village, reads detective stories to his sheep. Leader, Lily, usually solves the mystery while others always think it is the maid! They are an interesting flock, a range of different characters, some woolly eyes, some awkward, the aristocratic ram, two rams who like to butt themselves and vehicles, and an aloof leader, Sebastian, whom George has rescued from being the target of dogfights in a carnival. They speak, a range of star voices, varied personalities, some frisky young lambs, enjoying life, devoted to George.

George is genial – he is played by Hugh Jackman. And, then he is murdered.

The local policeman is a bit dimwitted, Nicolas Braun from Succession, but an eager young visitor, journalist, Nicholas Galitzine, ever-ready to help him. And there is the imperious lawyer who comes to read the will, Emma Thompson. Then George’s daughter from the US also turns up, Molly Gordon.

Of course, the sheep are determined to find out who killed George.

The enjoyment of the screenplay relies on the murder mystery, Agatha Christie-style scenario, the listing of suspects, presence, opportunity, profit from the murder. Lily takes charge, clues are found, and she finds all kinds of ways of trying to communicate with the policeman while unable to speak to him.

It is all very entertaining, the suspects, the local butcher, another Shepherd, hotel keeper, local vicar, all with motivations. But, eventually Lily works it out, find ways of communicating with the policeman, mystery solved! There are enough clues for audiences to work out who the murderer is – but probably a good enough mystery not to work out the actual identity of the murderer!

The sheep realise that they are often considered woolly-headed. This is a film to vindicate the sheep and their abilities, and a nice underlying moral, that the sheep reject winter sheep because normally they are all born in spring and summer. A little winter lamb is active in Lily’s manoeuvres – and, of course, welcomed finally into the flock.

Who would have thought that the sheep could have been so entertaining?

1. An entertaining murder mystery? Scenario, clues, based on popular novels, the victim, suspects, investigation? And the contribution of the sheep and the detective work?
2. The English village, the fields, the sheep, the caravan, shops, church, butcher’s, the hotel? The countryside? The musical score?
3. The humour, the MGM lion bleating, the sheep and their various characters, the butting twins, the conversations, jokes, the shepherd who read detective stories to the sheep, Lily’s solving them, the sheep and the murder investigation, fear at crossing the road, the chicken crossing the road, always present, Mopple and his accidents, collaboration with him?
4. George, Hugh Jackman and his charm, reading the detective stories, his invention to help the sheep, his naming all the sheep, Lily after his wife, Sebastian, their characteristics, encouraging them? His death? His reappearances, his ghost for Lily, for Rebecca?
5. The situation, Ham as the greedy butcher, Caleb the shepherd, plans to work with Ham, Beth, the hotel, stealing the letter, the Reverend and George’s donation of the money? The Reverend trying to track down George’s children?
6. The arrival of Elliott, young, enthusiastic, reporter, camera, all the photographs, the crash, returning, collaboration with Tim, and helpful, with the sheep, with the lawyer, ousted from the reading of the will? The sheep and the clues, the chemical on his hands, the hair for the DNA, the revelation, the son from South Africa, the phone call to the lawyer, his visiting his father, the murder? His trying to escape?
7. Rebecca, the daughter, the correspondence, arriving, at the hotel, the visit to her father, losing the hoop, the sheep finding it, leading Tim to find it in the field? Her lies, the visit to her father, the reading of the will, the alibi, her arrest? the winter lamb and the blue and the red on the hooves, Lily helping, the line floor?
8. Tim, the only policeman, slow, ambitious, dignity, procedures, searching, the return, with the sheep? Gradually improving? The collaboration with Elliot? Interrogation of Rebecca? Led by the sheep, working with the sheep, realisations, the arrest?
9. The sheep, the voices, the characters, colours, Lily, leader, solving the mysteries, the clues, prejudice against winter lambs, her judgements, providing the final clues? Sebastian, the Carnival, the brutal fight with the dogs, a winter lamb, alone, saved by George? His stern comments? Saving Lily and Mopple from the dogs, his death? (And the issues of death, forgetting deaths, thinking sheep became clouds, facing the reality of death?)
10. The range of sheep, their characters, the superior knight, the woolly sheep, the young sheep, the playful sheep, the comments and questions, wanting to forget? The little winter lamb and rejection, participating in the case, Lily welcoming him into the flock?
11. The film working well as a murder mystery, characters and suspects, presence, gains, opportunity? And the animation – and the rehabilitation of sheep as stupid animals!

VIE PRIVEE/ A PRIVATE LIFE

France, 2025, 109 minutes, Colour.

Jodie Foster, Daniel Auteuil, Virginie Efira, Mathieu Amalric, Vincent Lacoste, Luana Bajrami, Noam Morgensztern, Sophie Guillemin, Frederick Wiseman, Aurore Clement, Irene Jacob, Park Ji-min.

Directed by Rebecca Zlowtoski.

Jodie Foster, very American in her award-winning career for over 50 years, nevertheless had quite an education in French and has appeared previously in French films. Here is a star vehicle for her, working along some of the most prominent of contemporary French actors.

She is Lillian, divorced from a Frenchman, and eye-doctor, Gabriel (Daniel Auteuil) with a son she does not communicate well with who is married with a baby son (Vincent Lacoste). She is a psychiatrist, quite a clientele, working with some of her patients for many years – and glimpses of her at work, with an angry client who wanted to give up smoking and failed after so many years and has gone to see a hypnotist with an instant cure and he wants his money back! So, serious themes with touches of humour.

But, she is visit by the daughter of one her long-term clients with the news that her mother has died. Lillian goes to the memorial but is angrily rejected by the dead woman’s husband (Mathieu Amalric), her being blamed for the death which turns out to be a suicide.

Which means then that the film turns into something of a detective story, Lillian worried about the suicide, coming to the conclusion that it was really murder, suspicions on the husband, and then the erratic behaviour of the daughter. And she enlists her genial ex-husband to help her find evidence. Thedead woman, Paula (Virginie Efira) appears in flashbacks.

At one stage, Lillian also visits the hypnotist because she has started to weep cannot prevent the tears. The therapy includes quite a startling episode, imagining a former life, 1942, Lillian with the dead woman, musicians in Orchestra, the husband the conductor drawing a gun, and the police arriving, led by her son. Which seems to indicate that Lillian herself is in serious need of some kind of therapy.

While Jodie Foster is a strong screen presence, her character here is rather superior in the American way, sometimes alienating the other characters and, sometimes, the audience.

With all the investigations, the complexity of relationships, and, it should be mentioned, strong Jewish background, there are many threads to be followed. With its complexity, the temptation is to say that it is all very much psychologised or, more accurately, psychiatrised.

1. The title? For Lillian and, for Paula, the other characters?
2. The French setting, atmosphere, psychiatrists, opticians, the range of clients, sessions? Background, apartments, restaurants, the home invasion, the countryside? The musical score?
3. The film’s perspective on psychiatrists, their patients, years in sessions, effective, not effective, listening, hypnosis, special techniques? Psychiatrists and their personal life interfering with their practice?
4. Lillian, American, American superiority, her skills as a psychiatrist, interactions with her patients, the patient and smoking, hypnosis, wanting his money back? The sketches of other clients and their talking, on the couch? Lillian and her life, marriage to Gabriel, her professional work, the separation, her relationship with her son, the grandchild, offhand? Superior?
5. Valerie, the visit, Paula’s death, Lillian going to the wake, Jewish ceremony, Simon and his hostility, ousting Lillian? Valerie explaining the suicide? Lillian and the long years of therapy, the relationship with Paula? Not listening to her final tape? Suspicions, the psychiatrist mind, questioning, suspecting Valerie and her motivations, suspecting Simon, the visit to the funeral, his hostility, the decision to go with Gabriel to find the stolen tape? His coming to her office, making her lie down, his speech explaining the situation, all, Paula, choosing him as the father of her child, the death of the hunt?
6. Paula, seen in flashbacks, character, relationship to Simon, relationship to Valerie, the long years of therapy, her aunt and the death, the issue of the medication, ending her suffering, the repercussions, her suicide? Or murdered by her daughter, Simon using the medication to kill her?
7. Gabriel, working with eyes, love for Lillian, the marriage, the separation, her going to him for advice, her weeping, the meetings, the meals, the friendship and response, going to Simon’s house, pretending to be out of petrol, the aftermath?
8. The ransacking of the office, the stealing of the tapes, and a confession of the patient with the smoking problem, apology?
9. Lillian going to see her son, the technical issues, her using old-fashioned tapes, her set? Difficulties with her son, the glimpse and her grandchild? The later visit, the apologies? Her daughter-in-law?
10. Going to see the hypnotist, the session, going to the imagination, a past life, the war, the orchestra, relationship with Paula, Simon is the conductor, her son as the military presence? Her escaping? The hypnotist, not wanting to see her again, Lillian listening to the tape, the imagination?
11. The resolution of the issues, Lillian and her problems, needing some kind of therapy, the contribution of all of the characters? And peaceful ending with the family?

THE RUN   

Digital Release, June 17th

Australia, 2025, 107 minutes, Colour.

Callan Mulvey, Charlotte Maggi, Felix Cameron, Taylor Wiese, Tim Phillips, Joe Romeo, Nicholas Hope.

Directed by Stephen de Villiers.

Futuristic drama – except, that it is the near future, setting is 2036, only a decade to go.

This is an Australian drama, filmed in the South Australian countryside. There has been a pandemic, leading to a post-pandemic somewhat apocalyptic atmosphere in the countryside. And, it is noted that there have been practically no births registered in the previous three years. The country towns have been abandoned by the government, not worth the effort and costs to support them. There are some vehicles on the road. And there are many suspicious characters.

In this context, there is a central character, Mac (Callan Mulvey) grieving the death of his daughter, his wife seriously ill. He drives, makes different contacts, meeting up with some strange characters, and it emerging that he is a courier transporting goods to rendezvous points. His bosses have a hold over him, threatening his sick wife, sending images of her to his phone. He is trapped. He seems resigned and has little hope.

We are introduced to a number of drivers, especially three brothers, one in control, one a laughing reckless criminal, the other morose, not speaking.

Then, a surprise character, Aliah, obviously fleeing. But, this becomes a surprise to Mac and to the audience – she has a baby. The three brothers are in pursuit – questions about relationships, but also about exploitation, young women trafficked, producing babies, the trafficking of the babies.

Alia is played, a very strong performance by Charlotte Maggi given the anxiety, care and protection of the baby, his continued crying, as the risk of her being discovered.

She teams up with Mac, chases, dangers, a teenager with a shotgun protecting his property, Tom (Felix Cameron), heightening the tension, seemingly impossible situations to escape from, but some changes of heart, Mac risking his life to save Alia and the baby, and some indications of hope that there are islands off the mainland, ferries to take the refugee to some safety.

Australia and apocalyptic atmosphere, the ugly side of human nature, not without hope.

1. 2036, 10 years into the future, the pandemic, deaths, the effect in society, isolating country towns, the few births registered, the trafficking in women and babies? Couriers for the crime bosses?
2. The Australian countryside, the roads, the voyage, the coast, the sea? The abandoned towns? The old warehouses, stores? The vehicles on the road?
3. The atmosphere, the musical score, the plausibility of the situation?
4. The character of Mac, driving, his vehicle, difficulties, career, the bosses, deadlines, the restrictions of his life, the bosses and their hold over him? The flashbacks to his daughter, happy memories, her death, the toy in the car? No future except the driving?
5. The various drivers, their vehicles, the introduction to the three brothers, the leader, his manner and control, the silent brother, the reckless brother? Their interactions, the issue of the girl, the baby, revelations of the past, the relationship, the birth, the young girls, pregnancies, the trafficking of the girls, the babies?
6. The old man and burning him?
7. Aliah, audience surprise at seeing her with the baby, her care for the baby, the baby continually crying? In the vehicles, getting out, trying to escape, the pursuit, the different trucks, hiding? The encounter with Mac, his being taciturn, her determination?
8. Travelling with Mac, his protection, his advice about how to treat the babies, the breathing, the air, binding their arms? The relationship between the two, developing?
9. Mac, his decisions, to protect the baby, to protect Aliah, the confrontations, the weapons, hiding, the baby in the drawer, the warehouse, the attacks, the brothers, the violence? The fight with the leader, the silent brother, speaking, letting Aliah go?
10. The encounter with Tom, young, on the property, the gun, teaming with Mac, to protect the baby, to rescue Aliah, with the gun, the confrontation with the reckless brother, and his protection?
11. Aliah, sometimes running away, the note, returning, the protection from Mac, the confrontation with the father of the baby, Aliah getting the gun, her shooting him?
12. Mac, wounded, with Tom, taking Aliah and the baby to the wharf, the ship to the island, the future…?

THRASH

Australia/US, 2026, 86 minutes, Colour.

Phoebe Dynevor, Whitney Peak, Djimon Hounsou, Matt Nable, Andrew Lees, Josh McConville, Costa D'Angelo,

Directed by Tommy Wirkola.

Yes, another shark movie. Since 1975 and Jaws, there have been so many shark movies, a very popular theme with the public. There have been serious films, parodies like the Sharknado series.

This film was written by a Norwegian writer-director, Tommy Wirkola, many of his horror films were set in Scandinavian snowy mountains.

The setting is South Carolina, a level 5 hurricane bearing down on the coast, huge waves, flooded streets, rooves removed, houses collapsing, vehicles crashing, stranded, the expected special effects for a hurricane. And, in addition, a number of sharks with a Great White leading to some heroism at the end!

There are several human stories. The first focuses on a young woman, grieving the death of her mother, confined to her house, her uncle an expert on shark tracking. Second is a family, a grossly swearing father, foster mother, three young children in foster care. The third is a young woman, pregnant, late in driving out of the town, stranded, pinned in by a branch in her car. There are also scenes with the uncle and his staff, eager television reporters, and their driving, then sailing to the rescue of the niece.

A whole lot of heroism. A number of gruesome deaths with sharks. Three children stranded, their foster father reappearing but again the sharks. They use their enterprise to distract the sharks to get the car to escape. The main emotions are for the pregnant woman, the niece seeing her, coming to her rescue, the credibility or not of the impending birth, and the child, the final rescue.

This is what one commentator called a serviceable entertainment, far-fetched but some grounds of credibility, some heroism, action, and audiences imagining what they might do in a similar situation.

Thrash was filmed in Melbourne and the supporting cast is largely Australian, especially Matt Nable as the foster father and three children.

UNDERTONE

Canada, 2025, 95 minutes, Colour.

Nina Kiri, Adam DiMarco, Michell Duquet.

Directed by Ian Tuason.

Undertone is a small budget horror film from Canada – but with a great difference.

Most horror films rely on the visuals. This film is actually a horror film which focuses on sound. The visuals are, in fact, quite strong, very dark, the action taking place overnight, in a radio studio at home, the central character, Evy, sometimes venturing out into other rooms of the house, the stairs, to the bedroom where her very ill mother whom she is taking care of lies catatonic.

And, in the climax of the film, there are special visual effects. But, always the emphasis on sound.

Evy is in Canada, communicating with her friend, Justin, whom she hasn’t seen for 10 years. He is in London. They are involved in producing podcasts, listening to versions of various stories, probing them, the mysterious uneasy content, and, of course, sounds.

Personal complications with Evy pregnant, deciding about her pregnancy, wanting to communicate to Justin, the continued care of her mother, some momentary hallucinatory moments with her mother and mirrors, the darkness of the night, and a whole range of sketches appearing all over the walls of the house.

And the particular story they are probing, mysterious sounds, increasing, having effect on Evy, leading up to the final eruption.

With the limited set, the focus on sound, the film experience is rather claustrophobic we respond to the eerie horror atmosphere.

1. The title, The focus on sound, a film to be heard more than seen?
2. The use of sound, natural, people talk, sound heard technology, background sound, breathing sound, management sounds, accidental silence?
3. The single setting, the house, the room for communication, mirrors, staircases, the mother’s bedroom?
4. Evy, caring for her mother, her mother upstairs, quiet, the later apparitions of the mother standing in the mirror? Evy’s age, the pod cast, the friendship with Justin, his being in England, their not having for 10 years? The casual conversation, the revelations about the podcast, talking in the middle of Evy’s night?
5. The nature of the podcast, mysterious cases, anonymous radio files, opening them up, listening to them, speculating, casual terms, serious tone is, mysteries?
6. Evy and her casual manner, yet affected, especially at night, in the house, the sounds, her mother and concern for her, visits? The ultimate effect, the mirrors, the drawings, the contents of the drawings, their increase, everywhere house, the staircase, the rooms?
7. Justin, the audience not seeing him, discussions about himself, his life, family?
8. The contents of the tapes, opening them, listening, the story, men and women, issues of pregnancy, children, the children’s songs, Baa Baa Black Sheep, London Bridge is Falling Down, children falling and dying? Pregnancies and threats? Women fears?
9. The overall effect for the audience, interest in the situation of the podcast on communications, interest in the content of the files and their oral impact, left to the imagination? And the climax and its effect on Evy?
10. The film as a technical experience in the use of sound, linked with the conventions of horror films?

THE SUPER MARIO GALAXY MOVIE

US/France/Japan, 2026, 98 minutes, Colour.

Voices of: Chris Pratt, Charlie Day, Donald Glover, Brie Larson, Benny Safdie, Kevin Michael Richardson, Keegan-Michael Key, AnyaTaylor-Joy, Jack Black, Luis Guzman, Issa Rae, Glen Powell.

Directed by Aaron Horvath, Michael Jelenic, Pierre Leduc.

For 40 years the Super Mario Bros and entertained generations all around the world. They are identified with Nintendo and computer and video games. There was a live-action feature in the 1990s, not well received or reviewed, starring Bob Hoskins and John Leguizamo.

However, the games and the programs developed, with special appeal to younger players and audiences, and, as the years pass, happy memories of now adults and parents. 2023 saw the first feature length animated version of Super Mario action.

The present film serves as something of a movie icon worldwide with its immediate success on release, breaking records, audiences flocking to see it, millions of dollars.

One might say that the production is hyper-spectacular, the range of animation figures, humans, creatures, spacecraft, castles and builders, action in space.

While the two brothers, plumbers in their overalls, are ordinary characters, Mario forceful, Luigi of less effective, they are presented as ordinary heroes in extraordinary galaxy adventures and rescues. But, there is a strong female presence, especially in Princess Peach, definitely coming to the rescue. The three are voiced by Chris Pratt, Charlie Day and Anya Taylor-Joy. And, for so many of the multi-varied characters, a wonderful array of voices which adult audiences will be enjoying, Glenn Powell, Jack Black, Brie Larson…

And, while there are heroics, there is also the money, and ambitions for not only world power but Galaxy power. Ambitious Bowser at one stage says to his son, in Jack Black’s voice, “I want to stand on the ashes of the world…” (And, at the time of its release in early 2026, Donald Trump was offering similar sentiments about Iran.)

So, excitement for the younger audiences, experiencing it in the cinema, experiencing the big wide screen and heightened sound, an invitation to come to the cinema more often. Extraordinary the way that animation films have developed over recent decades.

But, adults accompanying the children might find that this one is more than enough for them, Super Mario comedy and drama all over the galaxies.

WIDOW FROM CHICAGO

US, 1930, 61 minutes, Black-and-white.

Alice White. Edward G Robinson, Neil Hamilton, Frank McHugh.

Directed by Eddie H. Cline.

American gangster films 1930, only three years after the introduction of sound, but effective use of sets editing and voices. While Edward G Robinson had been in films for some years, this was a strong gangster role and preceded his major gangster career move with Little Caesar, 1931. He offers an effective performance, a variation on the gangster thing.

The young policeman wants to make his mark, impersonates a con man but is murdered by the gangster boss. His upset sister, Alice White, ingratiates herself into the gangster world in order to expose the killer. She links with the man, allegedly suicided on a train, whom her brother was impersonating. She uses him as part of her scheme, a lot of scenes in a nightclub, some comedy with Frank McHugh (who had have a rather longer career in comedy roles as in Going My Way).

There is something of a shock as the young woman shoots a policeman – but then connects a speaker onto the phone, recording everything that the gangster says and his propositions, it being revealed that she had a blank in the gun and it was all part of the setup.

Not essential – but interesting for those who are fans of 1930s gangster films, especially at Warner Brothers.

CONVICT'S CODE

US, 1939, 62 minutes, Black-and-white.

Robert Kent, Anne Nagel, Sidney Blackmer, Victor Killian, Norman Willis, Maud Eburne, Ben Alexander.

Directed by Lambert Hillyer.

Produced in 1939, this small budget feature resembles some of the gangster films of the early 1930s. Robert Kent, former professional boxer, stage actor, plays a top football player who is framed as the getaway driver at a robbery. He is serving six years in prison, obtaining parole with strict conditions.

Soon in the film, we discover that his benign employer who offers to help is actually the man who framed him, respectable businessman who controls betting and other gambling in the city and who is losing money because of the ballplayer’s success.

So, some cat and mouse, the sympathetic victim, his tough landlady, the persistent parole officer, but a still active chauffeur for the businessman’s sister – and, very quickly, and rather nicely for a film of this time, fall in love. Then the footballer, with the aid of a newspaper journalist friend, starts to track down the witnesses at his case, finally finding one alive or in the US, the confrontation, the witness being murdered.

The businessman’s associate is more determined to get rid of the footballer but the businessman discovers that his sister is in love with him and decides to meet the footballer, the shootout between the two business partners, and in dying, the businessman telling the truth with then sister who goes to the prison, the footballer taken in by his parole officer, who has made an immediate vindication, pardon, and wedding bells are in sight.

Slight, but pleasingly presented and acted.

THE DRAMA

US, 2026, 105 minutes, Colour.

Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, Hayley Gates, Jordyn Curet.

Directed by Kristoffer Borgli.

Sometimes people play, especially younger people, possibly after a couple of drinks, “what is the worst thing you have ever done?”. And that is the key to the drama in The Drama.

Charlie, Robert Pattinson, sees an attractive young woman reading a book in a cafe. She is Emma, Zendaya, and when he makes his approach, pretending to know the book, she does not respond – he is speaking into her deaf ear. Not the most propitious introduction. (Actually, there will be some very unpropitious developments as the film proceeds.) Nevertheless, they fall in love and are planning the wedding.

Charlie and Emma have friends, a married couple, Mike and Rachel (Mamadou Athie and Alana Haim). He is to be best man. She is to be the maid of honour. One night, drinking, good friends, the ‘worst thing’ game is proposed. They lovingly tell a story, with some reluctance. Emma, unwillingly first, tells the story of school bullying and the other three are aghast.

What follows, suspicions, puzzles, questioning, have some comic elements but, of course, deadly serious consequences. Rachel is vehemently condemned naturally. Mike tries to be supportive. But, it is Charlie who experiences the worst, suspicions, allaying suspicions, trying to communicate, going to his work and an extreme faux pas which has dire consequences during the wedding.

There is a strange and confusing flashbacks to members school days and her relationship with her parents. Violence, gun culture…

The wedding seems to be going well, but one of the most disastrous celebrations of marriage on screen.

Can anything be salvaged in the relationship? Charlie is shamed. Emma is confused, let down and embarrassed.

There is an ending which rather stretches credibility – leaving the audience wondering what will happen next? And, emotionally, wondering whether they have taken sides either with Emma or with Charlie.

1. The title? The story as a drama, a touch of the tragic, the touch of the comic, satiric?
2. The American setting, Americans in their 30s and 40s? Lifestyle, relationships, friends, marriage and weddings, taken for granted ordinariness?
3. The twist in the plot, the two couples, their friendships, casual telling stories, the game of the worst thing ever done, revelations, consequences, suspicions, damage?
4. The framework of the story, Charlie, British and American, seeing Emma, attracted, her reading, the music, discovering that she has i hearing in only one ear? Photographing the couple, returning, the discussion about the book, his inadequate answers? Together, the later meetings, the effect of the initial encounter on each of them?
5. Charlie, with Mike, writing his wedding speech, the flashbacks, filling the details of the relationship, its development?
6. Emma, 30s, her life so far, reading, friends, Rachel, Mike? The developing relationship with Charlie? Audiences liking her, liking Charlie?
7. The meal, drinking, talking, the preparations for the wedding, the detail, Rachel as made of honour, Mike as best man, the discussion about the venue, the catering, clothes…?
8. The telling of the worst stories, Charlie awkward, Rachel and locking the boy overnight, and her telling her story, gun culture, the flashbacks to her treatment at school, into the water, abused? Imagining the school massacre?
9. The reaction of everyone? The audience reaction? Believing her not? Rachel, the indignant response, suspicions, denunciation, breaking contact? Mike, shocked, lower key, supportive of Charlie?
10. Charlie, his response to the story, upset, suspicious, believing or not, communicating with Emma? Her attitude, telling the story, drinking, the aftermath?
11. The consequences for Charlie and Emma, her story, trying to explain, memories of school, the rival, shooting practice, the group, gun control, her leadership and collection group?
12. Charlie, imaginings, dreams, suspicions, that there was worse? Discussions with Mike? And to the office, the secretary, asking her about her relationship, if her boyfriend could commit a gun massacre, his weeping, making a sexual advance, her response, his change? And the later consequences of this episode?
13. The preparations for the wedding, going to the venue, Emma’s and her behaviour, the dance practice the wedding, difficult, seeing the DJ allegedly taking drugs, building up to the confrontation, and estates? The food the decisions?
14. Charlie and his love for Emma, suspicions, the damage to his psyche, the consequences of the episode in the office?
15. The wedding, Emma’s parents coming, Charlie’s, awkwardness? The ceremony?
16. The aftermath, the drama, Emma and her parents military background guns? Rachel, her presence, drunk, the violent speech? Emma’s father and his speech, the interruption? The growing awkwardness? Charlie going out, Emma going out, overhearing the secretary, the speech and everything coming out, the secretary boyfriend and punching Charlie? Confusion, and walking out, the kiss and bewilderment?
17. The aftermath, Charlie beaten up, at home, going out to the diner, the hamburger, and arriving, going through the ritual as if they were meeting the first time?
18. The issues of knowing one’s partner before marriage, secrets, revelations, understanding, forgiveness? Or revelations, too late, destructive for the marriage? And the future for Charlie and Emma?

FATHER, MOTHER, SISTER, BROTHER

US/France/Ireland, 2025, 110 minutes, Colour.

Tom Waites, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicki Krieps, Sarah Greene, Indya Moore, Luke Sabbat.

Directed by Jim Jarmusch.

No mistaking the contents of this film from the title.

In fact, this is a portmanteau film, three successive, unrelated stories, quite different locations, but a continuous family theme.

Jim Jarmusch has been making idiosyncratic, well-received films for over 40 years, a wide range of themes and styles, from Native American stories, Dead Man, to vampires, Only Lovers Left Alive. And he has worked with a great number of significant actors, as evidenced by the cast of this film. (And check the skateboarders in each story as well is a reference to Rolex watches.)

The opening story, set in snow-clad New Jersey, has two middle-aged siblings, brother and sister, Adam Driver and Mayim Bialik, driving to visit their father, Tom Waites, the brother, divorced, but in contact with his father, helping him out with supplies, the sister, married with family, not having kept in contact with her father. When they arrive, they are somewhat on edge in the conversation and its directions, their father’s response, a great awkwardness. And, that is the plot, father, distanced from his children, and, after they go, a reassurance that he still has an active life to lead.

The Mother story is actually set in Dublin, suburban streets, again two siblings, this time daughters, Vicki Krieps and an almost unrecognisable Cate Blanchett (we have to keep checking whether this bespectacled lady is actually her). The focus is time is Mother, waiting for the daughters, a thoroughly proper performance by Charlotte Rampling as an author, everything just so in the preparation for the afternoon tea, trying to maintain contact with her daughters, trying to influence their lives, their awkwardness with her.

And, then to Paris, for a brother sister story, reuniting, going to visit the storage and view their parents belongings, some reassessment of the relationship to their parents and to each other.

The three stories are not exactly in competition but audiences will respond differently to each of them.

1. The distinctive films of Jim Jarmusch for over 40 years, multi-awards nominations?
2. An international collaboration, stories in New Jersey, Ireland, France? International cast? Jim Jarmusch and directing, writing, music?
3. Three short stories, family relationships, tentative relationships, difficulties in communication, unions?
4. The idiosyncratic use of Rolex watches, genuine or fake in each story, the skateboarders in each story, characters, on the highways, on the city streets…? Evocative for the audience?
5. Father? Jeff and Emily, their age, strength of the relationship, memories of the past, Emily and her marriage and family, business work, Jay, the divorce, reticence, not meeting their father often? In the New Jersey countryside, winter and snow? The roads? Finding the house?
6. Tom Waites as the father, age, appearance, voice, living alone, photos and memories of his life, his children, and not coming to see him often, tentative, the house and its condition, their comments, silences, Jeff and his history of helping his father, concerned about the house repair, the truck? Emily, restraint affection and interests? The proceeding of the visit, some conversation, Jeff giving him groceries, the money? Their driving away, the effect of the visit on them? And the aftermath, the father sprucing up, phoning a girlfriend, arranging the meal, the money, revealing his car and his financial condition…?
7. Mother? The Irish setting, the city streets, the uniform homes, buildings? Charlotte Rampling’s presence, dress, manner, the afternoon tea set, everything just so? The revelation background of her writing, publications, not talking about them? Two daughters, no reference to the father?
8. Lilith, appearance, hair, with a friend, in the car, the relationship, gay suggestions, her mother watching her arrival, drawing conclusions? Her character, conversation, the relationship with her mother, love, affection, distance? The contrast with Tim, driving, the car breaking down, the phone calls, the ignition, arriving, her appearance, clothes, everything just so, manner of speaking, affection for her mother? The conversations, limited, Lilith curious, the relationship between the sisters? The afternoon tea, everything just so, lavish, overhead filming of the table and cakes? The proceedings? The decision to go, promises future, the two sisters, Lilith and money and the uberr, Tim waving, her mother left behind?
9. The transition to Paris, the city, the streets, the rings, the two siblings, meeting, the discussions, their parents, what was left for them, the interactions with people in the city, the going together to the store room, the contents, from the grandparents, rather overwhelmed, the decision what to do with it? The future?
10. The overall impact of each of the stories, the connection between them, themes of family, relationships, tensions, difficulties in communication, futures?