Displaying items by tag: Regina King

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!

CAUGHT STEALING

US, 2025, 107 minutes, Colour.

Austin Butler, Regina King, Zoe Kravitz, Griffin Dunne, Matt Smith, Liev Schreiber, Vincent D'Onofrio.

Directed by Darren Aronofsky.

50 years ago Martin Scorsese made the striking New York film, Mean Streets, emphasis on the Italians. Caught Stealing takes place 25 years later, moving towards the end of the millennium, but the title of this film as one reviewer suggested would include “sleazy” streets. And this reviewer would add “ugly and insane”.

At the centre of this strange picture of New York gangsters is a hapless young man, Harry/Hank played by Austin Butler who, after his striking performance as Elvis, has proven himself with The Bikeriders, Dune 2, Eddington, a significant American actor who can hold a total film. He is in New York, a transplant from California, prospective baseball player, involved in a deadly car crash, working in a dingy bar, a girlfriend, no major prospects.

But, he is asked by his eccentric roommate, Russ, British actor Matt Smith with a Mohawk, to mind his cat while he goes back to London for his father’s illness. Hank is wary of the cat, it bites, proves itself a nuisance – but, relief for cat lovers, it becomes more important as the narrative goes on, even moments of endearment.

Of course, Russ is unreliable, involved in drugs, in possession of a huge amount of cash which he has hidden in a storeroom. And then the thugs and criminals arrive, assuming that Hank is involved and has all the information. And they want the money.

The old Mean Streets had Italian gangsters. In 1998, there are the Russians, with a capacity for vicious torture. There are also the Hispanic entrepreneurs, running clubs, running drugs. And, most bizarre of all, some Hebrew gangsters – very much Orthodox and observant in Jewish traditions, folksy in their conversations, going home to mother for sabbath and listening to her cautions about driving on that day – but with Hank driving, all is well. And they are played, almost unrecognisable behind the beards and Orthodox clothing, by Liev Schreiber and Vincent D’Onofrio.

And, there is also a corrupt cop, played by Regina King.

Which means then that Hank is often literally on the run, even when he has had serious kidney punctures due to the vicious torture, trusting in the corrupt cop, manipulated by everyone, upset by the treatment of his girlfriend, but all the time phoning his mother in California with great devotion and baseball intensity, “Go, Giants!”

This is a film with plenty of intense and violent moments, some ironic humour, a great deal of betrayal and set-ups, the issues of whom to trust, and the put-upon Hank becoming shrewd and shrewder in how he can possibly escape from this gangster pursuit. No spoiler – he does, a victory for the little man over presumptuous brutes.

1. Literally arresting title? The status of Austin Butler as a star? The reputation of Darren often ostia as director?
2. 1990s, the mean streets of New York, the shift from Italian gangsters to Russian gangsters, Jewish and Orthodox gangsters…? But the same gangster themes, oppression, innocent victims, torture and killing?
3. Hank’s story, young man, baseball hopes, from California, ringing his mother, Go Giants? Incident, the death of his friend, alcohol, dependence? His accommodation, sharing the apartment, relationship with Russ? At the bar, his work, girlfriend? Prospects?
4. Russ, British, going back to London, criminal, the drug connections, the money? His cat? Interesting the cat to Hank? And the further involvement with the cat…? The important key in its litter box?
5. The Russian gangsters, types, personalities, demands, to the apartment, the brutality with Hank, questioning, assumptions about his guilt, torture, his injuries?? The cat?
6. The Hassidic brothers, their garb, beards, observing the Sabbath, their mother and her insistence on the regulations? Jovial manner? Yet ruthless, with Hank, searching the apartment, interrogations, torture, abducting him, at their home, the final drive – and their comeuppance?
7. Russians, Colorado, his collaboration, the questions, the complications with Hank, the key, losing, his relationship with his girlfriend, realising she is in danger, her being shot?
8. Elise Roman, police, questioning Hank, the information about the dealers? Her involvement with Hank, following leads? The revelation that she was corrupt? Confrontations with Hank? Following him? The final deals, the threats, the information about his girlfriend’s death? The key? Death?
9. Confrontation at Paul’s bar, the fights, the shootings, the key, all killed?
10. Hank, in the streets, the various encounters, his pain and wounds, the entanglements? Searching for the key, Jason, and leaving the key in his abandoned clothes?
11. Russ returning, the storeroom, the amount of money, the Russians, Hank and his handing over Russ, saving the cat?
12. Hank and survival, overcoming the Russians, overcoming the Hassidic brothers? The killing his girlfriend, his crashing the car? Getting the money, impersonating Russ, sending have the money to his mother?

THE HARDER THEY FALL

US, 2021, 139 minutes, Colour.

Jonathan Majors, Idris Elba, Regina King, LaKeith Stanfield, Zazie Beeta, Delroy Lindo, Dion Cole, Michael Beach, R.J. Cyler, Edi Gatghegi, DeWanda Wise, Damon Wayans Jr, Danielle Deadwyler,

Directed by Jeymes Samuel.

The strong Western, using the various conventions of the American West, outlaws, violence, rivalries and politics. What makes it more significance is that it is a film which focuses on African-American characters in the West, very few white characters to be seen. And, as been written Jeymes Samuel, a British writer, producer, director, but also a songwriter and musician. And music featuring significantly throughout this film.

There is a very strong opening, in version of a home, parents and their child, the death of the parents, the leader of the troop, the carving the boy’s forehead – and moving 20 years forward.

The star of the film is Jonathan Majors as the boy growing up, leader of his own group, involved in robberies, but also a journey of vengeance, and his relationships with various members of his group.

The other central character of the film is Idris Elba as the gunfighter who carved the boy, was freed from prison, involved in money dealings, taking over a town, ousting the Mayor, and his followers. And, at the end, quite a revelation about the relationship of the two men.

There is a very strong cast indeed, a range of key actors, African-Americans. There are significant male actors like Delroy Lindo, LaKeith Stanfield, Damon Wayans Jr. But, it is even stronger, the African-American women, Regina King, Danielle Deadwyler, Zazie Beetz.

With seeing as a western, is a picture of the characters in the white American West, playing on the conventions, heroes and villains, and ambiguities of characters and behaviour.

1. The title, in the context of the West?
2. The settings, the western locations, action?
3. The cast, African-American cast? Africans Americans in the 19^th century West?
4. Nat Love story, as a child, parents, the attack, their deaths, the carving on his forehead, the passing of 20 years, his new life, associates, killing Cortez? The robbery? The news about Rufus block? Nat and his relationship with Mary Field?
5. The portrait of the supporting characters, in themselves, their Association with Nat Love, with Rufus Buck? Loyalties, betrayals, shootouts?
6. Rufus Buck, at the opening, 20 years later, prison, pardon, the stolen money, his relationship with Trudy Smith, Cherokee Bill, the escape from the train? Killing the corrupt guards?
7. Redwood City, wily escape, the mayor, buck whipping him? Escape and the money?
8. Marshall Reeves, the arrest, capturing Love, the issues of revenge? The relationship with Cuffee? Mary, the proposal, the refusal? The buying of the saloon?
9. The action, the to-ing and fro-ing, between Nat story, Rufus Buck’s story, the deals, the love for Cuffee?
10. The wagon, the friends and betrayals, the money, the shootouts? Tesco’s death?
11. The confrontation between the women, their fighting?
12. Rufus Buck, with Love, the revelation about their father, his abuse, their being half-brothers, the shooting of the revenge? That killing Buck?
13. The end, Marshall Reeves, in control, Cuffee in support? The grave? The death of Buck, the freedom for Nat Love?

SHIRLEY

US, 2024, 117 minutes, Colour.

Regina King, Lance Reddick, Terrence Howard, Lucas Hedges, Michael Cherire, Brian Stokes Mitchell, Christina Jackson, Andre Holland, Dorian Missick, Reina King, Amirah Vann, W. Earl Brown.

Directed by John Ridley.

Shirley is Shirley Chisholm. She is a significant American personality from the 1970s. American audiences will respond to this portrait of her and her political campaigns. Audiences from outside the United States may be surprised to learn about her.

Some googling would be helpful. And, the television series, Mrs America, dramatising the Equal Rights movement in the United States in the 1970s features her as one of the protagonists. Shirley Chisholm was an African-American.

Regina King, Oscar-winner for If Beale Street Could Talk, gives a forceful performance as Shirley Chisholm. She is first seen campaigning to enter Congress, with captions indicating how few women, let alone black women, have been in Congress. She campaigns. She wins. She wants to have her say, the Democrat leader relegating her to a minor portfolio. She has to learn that there are steps in political rise.

But the action moves on quickly, groups urging her to stand for the presidency. For non-Americans this may be quite something of a surprise. In fact, she stood, a Democratic contender, in the 1972 election which eventually re-elected Richard Nixon.

While the film serves as a portrait of Shirley Chisholm, the focus is more on her campaign, her relentless commitment, her policies, social justice issues, meeting people, persuading protesters that they can achieve more through political involvement, even having a meeting with Huey Newton, leader of the Black Panthers and his urging support. One of the of the Democrat contenders was the governor of Alabama, the notoriously racist, George Wallace, an assassination attempt on him and Shirley going to visit him in hospital.

There is the quiet support of her husband of 19 years, Conrad (Michael Cherire), the wise advice of political guru, Mac (Lance Reddick in his final performance), Finance manager Arthur (Terrence Howard), young legal impressive physical enthusiast, Peter (Lucas hedges) and various collaborators as well as the hired campaign manager who eventually quits in desperate exasperation.

The film takes us inside campaigns, the pressure, the demands, backroom deals, counting numbers, persuasion, disappointments, betrayals.

There has been an African-American president of the United States, Barak Obama. And there has been a black vice president of the United States, Karmila Harris.

1. The title, audience expected to recognise it? Audience knowledge of Shirley Chisholm? American knowledge? Beyond the US?
2. The true story, the 1970s, the aftermath of the 60s, the Vietnam war, Richard Nixon, the 1972 election, the candidates, the Democrats against Nixon? Shirley Chisholm, Congress, her decision to stand, her campaigning?
3. Introduction to Shirley Chisholm, Regina King’s performance, strong personality, 19 years married to Conrad, his support? Her political activities? Race issues? African-American? Within the decade after the March on Washington? Groups, women, support? Her feminist attitudes and stances? (And the collage of clips from feminists like Betty Frieden, Gloria Steiner and…)
4. The campaign for Congress, support, her victory, with a group of new members of Congress, the photo, the few women (and the statistics about women, black women)? In the Congress, the allotment of the portfolio, rural issues, her reaction, the confrontation with the leader of Congress? Her impatience, her demands, advice for her to be more moderate?
5. The decision to run, Congress, her determination, relationship with Mack, his advice, the relationship with Arthur and his fundraising, her relationship with her husband, Conrad? Her interest in Robert, his legal studies, political career, knowledge of youth politics, his being employed? The hiring of Stanley Townsend? His professionalism, know-how, practicality?
6. The personalities of the advisers, in themselves, in relationship to Shirley, in the advice given, in the ups and downs of the campaign, her agreement, her rejecting, Townsend and his exasperation, eventually going?
7. Shirley and her relationship with her husband, his devotion, 19 years, support? In the background? Feeling exasperated? The stand-off between the two? (And the information of the later divorce – and her marriage to Arthur and it being long-lasting?)
8. The family situation, the sisters’ presence, criticism, relationship with their mother, churchgoing, memories of the father favouring Shirley? Surely reaching out but her hard personality? Mother and daughter watching the television, the phone call, the reconciliation?
9. The various stages of the campaign? The energy, the meetings, the television interviews, the assessments of her opponents, the focus on George Wallace and his stances? His being shot, surely visiting him in hospital, advised against, the criticisms, especially from the African-Americans, the Black Panthers?
10. Barbara, initial enthusiasm, with Shirley, protest versus political activity? Barbara, her involvement, working with Shirley, the link with the Black Panthers, setting up the meeting with Huey Newton? The discussions, arguments? His endorsement? Diane Carroll being the intermediary, her mansion, support of Shirley, the meeting?
11. The issues of various states, her focusing on Florida, California and the winner taking all the votes? The character of Ron and Dylan’s, support, California, pressures, his betrayal with his votes? Also Form true, campaigning, flamboyant, California, interactions with Shirley, his votes?
12. The ups and downs of the campaigns, politicking behind-the-scenes, meetings, phone calls, deals? The ultimate betrayal of the numbers? Shirley, acceptance, determination?
13. The criticism of the film as not delving into Shirley’s personality more strongly, with Nuance? The focus on the campaign and the events and the issues?
14. The significance of Shirley Chisholm, a black woman, politician, Congress, standing for Congress and for the presidency at such a period?