Displaying items by tag: Sam Worthington

FUZE

UK, 2025, 98 minutes, Colour.

Aaron Taylor-Johnson, Theo James, Sam Worthington, Gugu Mbatha-Raw, Saffron Hocking.

Directed by David Mackenzie.

A British action thriller with some surprises.

The title refers to a bomb crisis in central London, a World War II bomb discovered on a building site, calling in the experts, the detailed study of the bomb and the ability to defuse it, military personnel, and also London police involved in evacuating the area and keeping the situation under control.

This scene to indicate that Fuse is a fairly straightforward action thriller with Aaron Taylor-Johnson as the expert for defusing the bomb and Gugu Mbatha-Raw as the police superintendent.

But, there is more, much more.

While the bomb diffusing is going on, the audience sees a group of bank robbers entering a precinct, heavy equipment, drilling through a wall, getting into the room with safe deposit boxes, a search for uncut diamonds. Theo James is one of the gang, keeping an eye out for the police and the situation with the bomb defusing. Sam Worthington is a member of the gang.

Gradually, a young corporal working on the defusing and suspicious raises questions. Police searching the area for evacuations come across the robbery.

With the explosion of the bomb, the attention of the drama goes to the criminals, their escape, issues of diamonds, contacts, setups and betrayals… There is also the involvement of a family who live in the building near the bank and are kept for the interrogation.

And, just when the issues of the diamonds and betrayals seem to be explained, there is a whole lot more in the film, twists and drama and explanations right up to the end - not what we might have been expecting.

1. The title and expectations? Bombs and explosions? Defusing?
2. The impact of the plot, the situation, the police, the expert, the evacuation of the area, the details of the defusing? And the introduction to the theme of robbing the bank? Audiences wondering about the connection?
3. The London setting, in the city London, the building area, the bomb, World War II? The police and their involvement, communications? The expert, at the shooting range, his background, Middle East, the stories, comrades dead? The squad, the various personalities, the young corporal and his expertise, working with the bomb, the equipment, the timing, on an off? The police and the equipment, supervising, the screen and indication of the bomb and its activity? Phones and Communications? Timing, split-second? Alerts, scares?
4. The situation in the city, the police, the range of people on the move, police barriers? The introduction to Romeo and his family, the plane to catch, anxiety, the language? Seen in the park? Eventually their wanting to return, their address in the suspicious building? Bringing them home, the lift out, carrying the grandfather and chair upstairs? Interrogations, language issues? The grandfather and his assistance in giving information?
5. The bank robbery and the insertion in the main theme, the personalities, the team, their cover, overalls, the drilling, explosions, personal interactions, opening up the boxes, the cash, the jewellery, the uncut diamonds? Karalis on guard, his being seen by the two police, decisions to be made, the escape, the sewers, the car, the different personalities? The escape, the rendezvous with Karalis, the sewer stench and its being used to help the escape, the police guard, getting through, the arrival of the rendezvous, the splitting, the issue of the uncut diamonds, Karalis going outside, his partner coming in, the shooting? The issue of the diamonds, smashing, the fakes? The buildup to the confrontation, cars and pursuits, the shooting?
6. Zuzana and her role, personality, taking command, assessing situations, communications? The news about the robbery? The evacuation over?
7. The issue of the corporal, the bomb, the timing, his realising that it was not a World War II bomb, trying to speak to the authorities, his interaction with Will Tranter, eventually Will Tranter meeting the superior officer, conversations, acceptance of the job done?
8. The twists, the explanations of the end, going back 10 years, Romeo situations in Afghanistan, Tranter and standing on the bomb, as his assistant, the vehicle, Karalis and his presence, the strategy of the attack, the shooting, defusing the mine? The involvement of each, the connections, Karalis and the revelation, the actual uncut diamonds, eluding the police at the airport, the group meeting in Istanbul – and the final commentary on what happened to each of them and the diamonds?

AVATAR: FIRE AND ASH

US, 2025, 197 minutes, Colour.

Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Oona Chaplin, Kate Winslet, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Brendan Cowell, Jemaine Clement, Giovanni Ribisi, David Thewless, Britain Dalton, Jack Champion.

Directed by James Cameron.

The third Avatar fantasy and science-fiction adventure from James Cameron. It is, in fact, 16 years since the first Avatar film was released with great success. Then a 13 year wait for Avatar: The Way of Water. Only three years wait this time. And, Cameron has noted that although sequels are in preparation, his making them will depend on how this film is received. There is no doubt of its popularity and success at the box office – but, along with critical comment and popular reactions, will this be enough?

In the meantime, here we are again in Pandora, out in the galaxies, beautiful floating islands, homes in the forests, mountains, cliffs, crags and oceans, huge creatures swooping in the air, exhilarating transport for humans, marvellous giant beasts of the sea with consciousness, communication – and the background of a creation mythology. Audiences who relished all this in the first films will appreciate it once again, especially since this is how this film begins, the fantasy, rather than focus on the Sky People, the humans who had journeyed here with their vast laboratories, scientific equipment, boats and weapons.

Many of the responses to Fire and Ash have stated that, in many ways, most ways?, is a replay of the previous films, the establishing of the families and tribes, the dangers from the humans, the relentless human expansion, clashes between the tribes, the buildup to the final battles. And, this is quite true. But, there are many audiences who are willing to surrender themselves to this kind of repeat experience.

Once again Sam Worthington and Zoe Saldana play the parents, the leaders of the Navi tribe, their children, especially Loach, still suffering the loss of his brother and feeling responsible for his death, his bonding with his brothers and sisters, and with the children from the local tribes. But there is a change in the family, the presence of the human, Spyder, teenager, needing a mask to breethe, but welcomed into the family except for the severity of the virulent hostility from the mother, loathing humans. In fact, Spyder is the son of the former soldier, Quaritch, who, like Jake, has been transformed.

The presence of Spyder, his welcome in the family, his father searching and wanting him back, provides much of the drama at the centre of this film, leading to the issue of whether Spyder be sacrificed for the safety of the tribes (echoes of the biblical story of Abraham and the sacrifice of Isaac).

But, this time there is another warrior tribe, led by one of the most savage female leaders, absolutely relentless. And she teaming up with Quaritch to wreak vengeance.

And the expected battles: the confrontation between Jake Sully and Quaritch. And, of course, at great length, intensity and spectacle, the Navi’s long and spectacular battle with the humans.

There is one complaint, true of the other films. Much of the dialogue is quite commonplace, often trite, and, with Spyder, the kind of quick American slang that would appear in the bubble a cartoon panel.

So, for the fans, more of the same but with some variations as a new characters like Spyder and barre. It runs for 3 ¼ hours but, with continuous action, it keeps up its pace. And the question raised: can there be still more created stories out there in Pandora?

1. The third in the series? The popularity of the films? Box office records? The work of imagination and James Cameron?
2. Recreation of the world of Pandora, the visuals of space, the beauty of the floating islands, the colonies for the various tribes, homes, cliffs and rocks, the sea, rivers? The contrast with the scientific base, the scientific equipment, elaborate, the controls? The space vehicles? The ships? The creatures, flying, the giant creatures in the sea? The range of special effects, especially for the confrontations, the battles, the rescues, the attacks, the deaths? In the background of the musical score?
3. Presuppositions from the earlier films, the range of characters, Jake Sully, his human background, becoming part of the tribe, the romance, his wife, the children in the family life? His being hero, his wife and her prejudice against the humans? Quaritch, human, transformed, his son, his warrior behaviour, his death, revived? The general and her command, the Captain Scoresby on his boat, the scientists and their demands, the warriors, the humans and their scientific advances, the havoc on Earth, potential havoc for space? The development of these themes again?
4. The previous emphasis on the science and the expedition from Earth? This film taking it for granted, opening with Pandora, its beauty, peace, the islands in space, the homes, the family? The audience invited to enter the world of fantasy rather than science and science fiction?
5. The repeat of the situations, humans as Sky People and their attack on the Navi? The life of the Navi, the relationship with the other tribes? The buildup to the confrontation between the tribes, and the clash with the humans?
6. Jake Sully, established character, his leadership? The death of his son, the blaming of the younger son? The younger son and his friends from the other tribes? Spyder and his being the son of Quaritch, received by the Navi, wearing a mask, the hostility of the mother?
7. The revelation of the warlike tribe, the leader, visualised, fierce, merciless? Teaming with Quaritch? His associate?” Marriage and his love for his son, wanting with him? Spyder’s response? Spyder and the experience without the mask, the daughter, her special powers, her representing the God, his revival?
8. The focus on the family relationships, the dangers, the threats, the role of the young son, relationship with his father, clashes, reconciliation, his role in the final battles?
9. The mythical aspects, Kiri and origins, the visual manifestations, the flying creatures, the creatures and the sea, communicating with them, their communications, life? These beasts the target of the humans?
10. The range of battles, their being visualised, in the air? The humans and their weapons and vehicles? The herding of the sea beasts?
11. Focus on the humans, the general and her attitude, commands? The captain of the ship, his mission? Dr Garvan, sympathetic, his helping Jake Sully? The contrast with Selfridge and his wanting to get Spyder and study him?
12. The buildup to the confrontations, Varang and her fierceness, her role in the battles, the final defeat?
13. The issue with Spyder, Jake and his decisions, his wife, agreeing, changing her mind, seeing Spyder saving Jake’s life, Jake taking him out, echoes of the Abraham story and the sacrifice of Isaac, his inability to kill? Leading to the confrontation with Quaritch and his falling into the abyss?
14. Peace among the tribes, Jake as leader, the defeat of the humans – abandon ship? The future, peace in Pandora? The role of the humans?
15. And the success of sequels depending on the commercial success of this third in the franchise?

RELAY

US, 2024, 112 minutes, Colour.

Riz Ahmed, Lily James, Sam Worthington, Willa Fitzgerald, Jarad Abrahamson, Pun Bandhu, Elsa Davis, Victor Garber.

Directed by David Mackenzie.

For most of the time, this is one of those paranoid thrillers that were popular decades ago, industrial espionage, technological surveillance, threats, dangers, counter surveillance.

The setting is New York. The issue is a big company, food company, working on developments but finding debilitating side-effects in their products, concealing the documentation. And these situations which lead to conscientious whistleblowers, pursuit of the whistleblowers, the recovery of documents.

In this case, the whistleblower is Sarah Grant, played by Lily James, in hiding, with documents, menaced by the company’s agents, taken on by a mysterious personality, a broker (the original name for this film). He is played very effectively by Riz Ahmed, able to live a shadowy existence, master of disguise, unobtrusively infiltrating situations. And, significantly, his mode of communication with Sarah Grant as well as her pursuers, is via at tri-state communication system, Relay.

With Relay, messages are typed for the central exchange and then voiced to the recipient by the staff. This is a method used for hearing impaired people. It also offers an opportunity for voice disguise and identity anonymity.

The group of pursuers is led by Sam Worthington. (Interesting that this New York story is directed by Scottish David Mackenzie and the two leads are British and Sam Worthington, born in England, growing up in Australia.)

What brings some humanity to the film is a gradual revelation of the broker’s story, Muslim background, New York City, 9/11, work on Wall Street, business exposes and his becoming a freelancer broker. But, the way this is revealed is through his attending of AA meetings, bringing some more personal depth to his character.

And, as might be expected, there is a twist in the drama. For this reviewer, the twist was too much, throwing too much doubt on the “realism” credibility of all that we had seen previously. And, while weapons previously were verbal threats and challenges by Relay, the culmination brings us to guns and knives, desperate chases…

Some have relished the dynamism of the story and for most of the film this is quite strong Others have found the twist and its consequences too much.

1. The original title, The Broker, and the focus on –? The film title and the focus on the communication system, tri-state, for hearing impaired, for voice disguising? Its use throughout the film?
2. The New York settings, the city, apartment blocks, the streets, offices, Grand Central station, since in Poughkeepsie? The musical score?
3. The initial situation, setting the tone? Hoffman, the meeting with McVie, with Ash? Documents, payments, at the train station? The introduction to Ash?
4. The new situation, Sarah Grant, the company, third development and experimentation, concealing failures in research, whistleblower, needing protection? Her presence, her character, communication with Ash via Relay? Her speaking, “Go ahead”? The quibble about “all right”? Her isolation, needing protection, the documents?
5. The character of Ash, seeming loner, a lonely life, the importance of the AA meetings, the discussions with Wash? After the meetings? The later meetings and his revelation about himself, Muslim, in New York, 9/11, his drinking, Wall Street, his tasks, broker and cover-ups? The explanation of himself, his personality?
6. The dealings with Sarah, the relay calls, his watching her, his various disguises? Her vulnerability, alone, jogging?
7. The corporations group, their personalities, working together, pursuit, the van, the phone calls through Relay?
8. The details of the plans for the documents, Ash and his cupboard, using US Post, the details, forwarding, collecting them? The news about the missing pages, Sara apologising, her mistake? The plan to put them in the newspaper, the group watching, the false tracking, photos and the use of many cameras, identifying Ash?
9. The plans for the money, sent to California, to be forwarded to Poughkeepsie? The plan is to save Sarah? Her being taken by the group, the Schubert concerto, Ash pulling the alarm, the escape?
10. The twist in the plot, credible or not? Undermining the realism of everything that had gone before, especially Sarah’s character and performance? The extreme detail in presenting the pursuit and finding the truth about it?
11. The shift from menace, paranoia, phones and cameras, Relay? The van, the tasers, guns, capitation his escape, the running, wounded? His previous phone call to Wash, the police arriving, the arrests?
12. The credibility of Sarah, the situation, the reality, her harsh toughness after the seeming romance?
13. Audience interest in this kind of thriller, espionage, psychology – but how much affected by the final twist and the ending?

THE KILLER

France, 2024, 126 minutes, colour.

Nathalie Emmanuel, Omar Sy, Sam Worthington, Diana Silvers, Said tTaghmaoui, Eric Cantona, Tcheky Karyo.

Directed by John Woo.

In the 1970s and 1980s, John Woo was one of the key directors of action filmmaking in Hong Kong, with a distinctive style, arresting moments, framing and editing, elaborate action sequences.

The Killer was one of his most acclaimed films, a star vehicle for Chow Yun-Fat. Woo then moved to filmmaking in the United States, most strikingly in Face/Off with John Travolta and Nicolas Cage. While he continued to make some films in the United States, he also went back to China, a number of striking historical films.

In his mid-70s, he made this film, a remake of his 1989 film, this time focusing on action in Paris, and the killer being a young woman, Zee with a very troubled background, skilled in assassinations and escapes, disguises, under the control of a Rogue Irishman played by Sam Worthington who works for a crime boss Eric can turn. He is played by British actress, Nathalie Emmanuel, noted for being one of the stars of Francis Ford Coppola’s.Megalopolisa

There are very exciting set pieces in the John Woo manner. There are car chases, confrontations with criminals, quite an episode in a nightclub where a young American singer is wounded, hospitalised, but ordered for elimination. Zee takes compassion on her, pretends to be an American official just as the police come to interrogate. And the policeman is played by Omar Sy with his customary charm. He plays an officer with a chequered career record.

Quite some further complications, orders for assassinations, threats to Zee herself, money deals, a suspicious Arab prince, Zee wanting to protect the singer, threats to her own safety, ultimate confrontations.

While a world of hired assassins is amoral/immoral, the screenplay weaves human themes and conscience issues throughout.

21^st-century audiences will enjoy the film, characters, drama, action –   but many old-timers and critics, probably expectedly, wrote it off as not to be compared with the original.

1. The films of John Woo, in Hong Kong, in the US, in the 20^th century, later films, this remake, 2024?
2. The Paris settings, the views of the city, landmarks, the streets, buildings, car chases, bikes, stunt work and special effects? The musical score?
3. The title, the focus on Zee, her story, family, exploited, criminal, the revenge on her pimp shooting him, her skills, becoming a hired killer, Finn as her controller, her lonely life, her friendship with the tailor, his making the suit for her, her commission to go to the club, the disguise, suit and hat, searched, Jen singing and her fascination, the confrontation with the criminals, her weapons concealed, the violence of the deaths? Jen hitting her head, going blind? Her escape?
4. The de-consecrated church, the candles and her lighting them for her victims, the images of the crucifix, the way it was filmed, commenting on the action, the Christian symbolism? The empty church, the birds, her going to pray and reflect, the meetings with Finn?
5. The criminal background in Paris, the boss, dealings, ruthless, international connections, his control, known to the police, his moods? His working with Finn? The Prince? The plane, the robbery of the drugs, Finn concealing them?
6. The police, the drug situation, the criminal world, their knowledge, political pressures? The role of the Prince and their shielding him?
7. Sey, his integrity as a police officer, his career, memories of being shot and the revelation that it was Zee who shot him? His partner, the shootouts and chases, his partner wounded, his wife pregnant? The bond between them? The disillusionment of his final betrayal, setting up Sey, snipers, his standing on the spot as target, Zee saving him, shooting the assassin?
8. Sey and his investigations, his relationship with the authorities, his skill with the gun, pursuit, in the car, crashing into the drug dealer, the confrontation, shooting, pursuing him, the confrontation at the water’s edge, his being shot? The further revelations of his drug deals, the stealing of the drugs, the friendship with Jen, listening to her song, her having the information?
9. Sey, the orders to kill Jen, her compassion because of the blindness, the story, pretending to be the American Embassy official, changing her mind about the lethal injection, present at the interview with Sey? His realisation of who she was, her disappearing? Finn and his continued demands that she kill Jen? The hospital, the return, the assassins, corrupt police, on the bike, edging them off, rescuing Jen, the shootout in the hospital? Taking her to a safe place? The discussions about her background, the information, in the church?
10. Finn, with the boss, the boss challenging him, his death? Finn, the other assassins, the women assassins?
11. The buildup to the confrontation with Zee, the abduction of Jen, the bargaining, the information about the drugs? The pursuit, the confrontations, the exploding of the drugs?
12. The fights, choreography, in the church, the female assassin, overcoming her, the rescue of Jen?
13. The finale, the setup, to shoot Sey, the revelation of his friend’s treachery, Zee and her shooting the assassin?
14. Sey and the authorities, his taking a stand, refusing the award, wanting integrity? The meeting with Zee, the possibility of her change and a respectable future?
15. The issue of crime, hired killers, ethics and morality, the lack of morality, but the possibility for human compassion?

THE EXORCISM

US, 2024, 93 minutes, Colour.

Russell Crowe, Ryan Simpkins, Sam Worthington, Chloe Bailey, Adam Goldberg, David Hyde Pierce, Adrian Pasdar, Samantha Mathis.

Directed by Joshua John Miller.

The Exorcism was released in 2024 although information is at hand that it was filmed at the end of 2019. Russell Crowe appeared as the Vatican exorcist in 2023, The Pope’s Exorcist. This seems to have offered an opportunity for The Exorcism to be released.

Interestingly, the film has been cowritten and directed by Joshua John Miller. He is the son of the actor, Jason Miller, who played Father Karars in The Exorcist – although Joshua John Miller was born the year after the film’s release but he may have been drawing on family discussions in the ensuing years about the film and its effect on his father.

The film opens eerily with an actor walking through the various storeys of the set, rehearsing his lines, then suddenly attacked and killed. Which means that there needs to be re-casting.

This is a film about the making of the film with some scenes of the film within the film. There is an elaborate set, the multi-storyed and a basement, the basement used, of course, for a dramatic climax. On the whole, the film is, literally, very dark. The apartment of the actor is full of shadows, sometimes sinister. Most of the action takes place on the set with some interior darkness. While there are some moments outside the apartment and the studio, they are generally night scenes, also dark.

And, the theme of the film is dark. Russell Crowe plays an actor, a back story of alcoholism and addiction, neglected wife and daughter, to rehab, being offered the role of the exorcist priest in the new film – which has links to the original, the screenplay in the film called The Georgetown Project. The name of the actor is Tony Miller – same surname as the director.

Tony Miller is diffident, is interviewed, does readings, gets the role, ups and downs in performance, some reconciliation with his daughter (Ryan Simpkins), suspended from school, attracted to the young actress who is playing the possessed victim in the film (Chloe Bailey). Things begin to go more wrong, the actor becoming more and more possessed, building up to an exorcism confrontation, especially with the priest adviser to the film, an unexpected appearance by David Hyde Pierce.

Final dramatics and melodramatics of exorcism. Compared with of the Exorcism films, this one seems rather slight in its imagination, not an essential exorcism film at all, but it must be said that Russell Crowe certainly gives his serious best in his performance.

1. Continued audience interest in films of exorcisms? The references here to the original Exorcist? The Georgetown Project? And the writer-director, son of Jason Miller, Father Karas?
2. A film about the making of the film and the film within the film?
3. The opening, the priest, rehearsing his lines, going through the set, the eerie experience, his death?
4. The focus on Tony Miller the introduction, his back story, Catholic, altar boy, abuse and the flashbacks to the sequences, alcohol, the death of his wife, neglect of his daughter? Rehab? Only going to the confessional, after 40 years, the return to the confessional? The offer of a comeback? Diffidence? Preparing the lines, his daughter returning, her suspension, his reactions? Rehearsing his lines with her? Encouraged by her? Making her his PA?
5. The director, his background, intentions, the choice of Tony, the discussions, the readings, interviews? The decision for Tony to act in the film?
6. The darkness of the film, even in the brief outdoor sequences, at night? The apartment dark? The set, the house with its several storeys? The musical score?
7. The signalling of the days of shooting? Tony, the scenes, his renditions, the director and his advice, dissatisfaction? The effect on Tony and his performance? At home? The temptation to drink? His finally succumbing?
8. The actress, Blake, the role of the possessed woman? Friendship with Lee, sharing, the sexual encounter?
9. Tony and his gradual deterioration, his becoming possessed? Not himself, the threats to others, confrontations, with Lee, her desperation?
10. Father Conor, expert advice, Tony asking about why he became a priest, his heroes? His study of psychology? The discussions with the Lee, the confrontations with Tony?
11. The desperation of the film crew? The pressure to get the film made?
12. The buildup to the climax, the basement in the set, the eerie atmosphere, Lee going down, Fr Conor offering himself? The behaviour of the possessed Tony, the priest and Blake, paralysed? Lee and the confrontation? Prayers, the litany of the saints, Tony recovering, Fr Conor and his being overcome, destroyed?
13. The culmination of the experience, this film as an exorcist and possession film, and the speculations about the effect of such a theme on the cast and crew?

HORIZON. AN AMERICAN SAGA, CHAPTER 1

US, 2024, 181 minutes, Colour.

Kevin Costner, Sienna Miller, Sam Worthington, Jena Malone, Michael Rooker, Danny Huston, Owen Crew Shoe, tatanka Means, Ella Hunt, Tim Guinee, Giovanni Ribisi, Scott Haze, Tom Payne, Abby Lee, Will Patton, Jim Lau , Georgia McPhail, Luke Wilson, Angus McFadyen, Isabelle Fuhrman, Hayes Costner, Michael Angarano, Jeff Fahey, Dale Dickey, Jamie Campbell Bower, David O'Hara and James Russo.

Directed by Kevin Costner.

Kevin Costner has had a long screen career, over 40 years, winning an Oscar for Best Director in 1994 Dances with wolves. Apparel for at relations between Native Americans and those who have come from beyond America. He is a low-key film, Open Range, was praised for its picture of the American West.

For 20 years, Costa has been working on an ambitious project, Horizon, An American Saga, creating an epic story, collaborating with writers, discussions with studios, financing. Finally, the first two chapters have been made, Costner investing his money into his project. At the time of release of this chapter, the third chapter has begun filming for 2025 release.

As might be expected, the saga is vast in scope. It begins in 1859, a printed poster advertising Horizon, an entrepreneur encouraging the building of towns in the West. And this motif, as well as the printing of the poster, recurs during the film. There are many strands of narrative, and’s for a while and audiences wondering how the strands connect. But, as the narrative progresses, we discover the links and connections.

The principal focus is on a settlement in the San Pedro Valley, a father and son taking out acclaim but then killed by the local Apaches. Horizon offers a great deal of focus on the Native Americans, the traditions and beliefs, the invasion/intrusion by the settlers, the feeling of threat, the violent responses, indeed visualising here a massacre and conflagration of a settlement, and the various responses of the white community, the role of the military, independent scouts and trackers, those with a vengeance against the Indian attacks. There are scenes of Native American community life, and the clash between leaders who accept the inevitable incursions of the settlers and those who want to cut them off.

After the massacre and Fire, survivors moved to a fort, the film showing details of life fort, the commanders, working with the settlers, touches of ordinary life, within the outbreak of the Civil War and the young soldiers having to go off to fight.

Audiences may have forgotten about a Montana sequence so early in the film, a woman who shooting old man, her fleeing with a child, the family of a man who shot and who survives, rugged settlers, bound on vengeance, sending the two sons to search for the escape woman and bring back the child.

Enter Kevin Costner himself, riding into the fort, doing business, but encountering a young prostitute who is also a babysitter for a couple in the fort, eager to do business’s

1. An ambitious project? The work of Kevin Costner? 19^th century American history, the American West?
2. The scope of the project, this first chapter, three hours, the introduction to the themes, the range of stories and characters? 1859 into 1863?
3. The cinematography, the landscapes, the deserts, the mountains, the mesas, encampments, the towns, the seasons, the rail links, the Apache communities, dwellings? The epic musical score?
4. The introduction, the title, the advertising for Horizon, settlements in the West, the towns? The opening, father and son, taking the site, observed by the Indians? The arrival of the missionary, the derelict man the ruins, the discovery of the graves?
5. The transition to the settlement, the establishing of a town, perhaps, tense, the community hall, the dance, the characters, the Kittredge family, the return home? The attack by the Apaches, the fights, the deaths, the fire and the conflagration, surviving citizens, the African-American couple, the attack on the home, mother and daughter in the tunnel, the rifle barrel for breathing? Young boy, his behaviour at the dance, not dancing with his mother, staying with his father, sent away to scout, surviving?
6. The arrival of the military, Gephart has commander, age, personality, command? Riordan, his personality, work? The other troops? The burial of the survivors? The rescue of mother and daughter? Moving out to the fort? The establishing of life at the fort, protection,, the mother and daughter, the accommodation for them, the episode of Riordan organising the event for Elizabeth, the mother and her reactions? Signs of settlement?
7. The introduction of the episode in Montana, Lucy and her shooting Sykes, her escape, the family gathering, Mrs Sykes is tough, her sons, serious, yet Caleb and his talking, intervening, erratic? The setting out on a mission to find Lucy? Of the plot left in abeyance for quite some time? Resuming the theme, Lucy becoming the villain, her relationship with Will, Mary (Marigold) a local prostitute, living with them, babysitting? Will and his eagerness to promote Horizon towns, the plan to meet the visitors? Lucie/Ellen and her personality, tough, the encounter with the men, the realisation of the truth, the interactions, realising what was happening, his death? Caleb going into the town to get the baby?
8. The introduction to Hayes Ellison, Kevin Costner character? Riding, his work, into the fort, the encounter with Marigold, her place in the town, with a woman Will, the baby, her flirting, approaching Hayes, the glimpse of the other prostitutes in the town, the hard women of the town, accommodation? Hayes, the baths, following Mary’s invitation, the encounter with Caleb, the to-ing and fro-ing, Caleb and his taunts, the gun, the shootout? Hayes taking Marigold and the baby? Their travels together, the winter, camping, seeing the searches at the rail head, going into the town, possible settlement, Marigold and her note, on the Horizon paper, giving the child to the Chinese? Leaving the note for Hayes?
9. The portrait of native American life? The scouts, the leadership, observing the settlers? The screenplay explaining their stances, the long heritage, the bond with the land? The customs, beliefs? The attack on the camp, the destruction? Is conversation with the chief, differences of opinion, to repel the invaders, the chief realising that they would continue to come? The camps, the women, mothers and children? The group leaving?
10. The group searching for the child, going to the store, the Native American and the boy, Nathanial kept Rick and his presence, the group of trackers, the discussions about scalping Indians and payments? The confrontation in the store, wanting Nathanial to shoot, his refusing? Letting the man and the boy go? The range of personalities, the mediator, those knowing the Apache language? The continued trips, the pursuit of the Indians, the shootout, Nathanial as Lookout, his reactions, shooting in defence, the men and the scalping is, sitting together, the payments hoped-for?
11. At the fort, Riordan and the working in the fields with the others, Frances and the approach of Gephart, is statements, her response, romance? The Civil War, the young recruits, Elizabeth and her sadness of the going, giving them the material is keepsakes, Riordan and his explanation of their importance for the young men when they were being killed? The troops leaving?
12. Col Horton, in command, policies, the discussions with Giffard and Riordan? Staying behind the fort, the military command, watching the troops go to the Civil War?
13. The return to Montana, Caleb’s body, the reaction of the Sykes couple, hard? Still wanting vengeance?
14. The story of the wagons going through cancers, observed by the Indians? The leaders, the range of people, men and women, old and young, the hardships, the slow travel? The proctors, arrogant, his sketching, bespectacled, and her manner, the mug of water, their being rebuked by then we can, the episode with Juliet washing, the leering couple, the rebuke by van waiting, their arrogant response, the drenching rain, the continued travel? And the other members of the contract family in the wagon train?
15. The end of the first chapter, the collage of the various strands of the story, summing up, serving as a preview for the next chapter?

LIFT

US, 2024, 107 minutes, Colour.

Kevin Hart, Gugu Mbatha-Raw, Sam Worthington, Vincent D[Onofrio, Ursula Corbero, Billy Magnusson, Yun Jee Kim, Jean Reno, Jacob Batalon, Burn Gorman.

Directed by F. Gary Gray.

Lift is a lighthearted, serious escapade action adventure. It has been directed by F.Gary Gray, skilled in this kind of entertainment like the remake of The Italian Job.

The main surprise of the film is Kevin Hart in the leading role, the action hero. His delivery and speed is rather toned down from his usual action comedies. And he seems to be enjoying himself as a romantic hero with the criminal touch.

In fact, the film has quite an extensive international cast, British Gugu Mbatha-Raw as an Interpol officer, Australian Sam Worthington as her boss. And, in the supporting cast, Americans, Koreans, Latin Americans – and, a veteran French villain, Jean Reno.

And there are some attractive and exciting international locations, opening with an art heist in Venice.

That the core of the story is Interpol’s desperation to catch Kevin Hart and his gang, getting Gugu Mbatha-Raw to be part of the impossible heist of a cargo of gold, being transferred to Switzerland to the villain so that he can finance terrorists to his financial gain.

The gang is a motley crew, international, hackers, safe crackers, and a gentleman who can disguise himself and infiltrate situations, played by Vincent D’Oonfrioi. Part of the enjoyment is their working together, personalities, clashes, expertise, and/or combining to capture the gold.

And, of course, there is a romantic touch because the Interpol agent and the leader had been romantically involved in the past, leading to tensions, and the breakdown of tensions, especially with the success of the mission.

One of those lavishly produced action adventure pastimes.

1. Action entertainment? International, exotic, and impossible highest…?
2. The international cast, Kevin Hart more subdued, criminals, interval, villains?
3. The tone, the sequences in Venice, the introduction to Cyrus, his abilities, artworks, his team, the techniques of stealing?
4. The portrait of the team, international, personalities, talents, seeing them in action, execution of the robberies, the planning and their expertise, the final heist of the gold? Camilla as the pilot, Magnus as the safe cracker, Mi-Sun as the hacker, Denton, the aged gentlemen, his many disguises?
5. Interpol, the organisation, Gladwell and her role, her commitment, Huxley as the boss, Australian accent, demanding, seeing him in pursuit, the chases, failure, his determination, demands on Gladwell?
6. The situation, the arch criminal, wealth, Switzerland, Gold, supporting terrorists, his staff, the range of thugs?
7. The plan, Gladwell to go undercover, her previous relationship with Cyrus, their sparring, her meeting with the various members, reluctance, commitment, the various details of the planning?
8. The flight, arrangements with the plains, hacking, deceptions, alternate plans, hacking, the safe on the plane, getting the gold? The various steps, tensions, action sequences, in the air, on land?
9. The buildup to the confrontation, the criminal, assured, the authorities, the failure of his plot?
10. The group, bonding, the success, Cyrus and Gladwell – and the possibility for sequels?

SIMULANT

US, 2023, 95 minutes, Colour.

Robbie Amell, Jordana Brewster, Simu Liu, Sam Worthington, Alicia Sanz.

Directed by April Mullen.

Stimulants is in the tradition of films with the pursuit of robots in control, Blade Runner being the archetypal film. It is suggested that this story is a variation on the writings of Isaac Asimov.

This is a Canadian production, an interesting cast including Australian Sam Worthington, set in the near future, the vistas of a vast industrial plant as well as of a thriving city.

The film begins with two stories, the marriage of Evan and Faye, his nightmares, a crash, some alienation between the couple, the wife finally revealing that after the accident he became a simulant. Faye cannot relate well with him and urges him to some treatment, a connection with a hacker, Casey.

The other story is that of Kessler, Sam Worthington, officially pursuing simulants, an opening sequence in pursuing a simulant called Esme who is then taken to the laboratories for research and reconstruction.

There are further emotional complications as Evan discovers more of the truth about himself, the Evan inside him but also the simulant and his affinity with the other AI creatures, working with Casey, confronting Kessler, killing Faye, and a sign of the uprising of AI against the humans.

1. The near future? Artificial intelligence? Robotics? Simulants?
2. Canadian production, the settings, the overview of the industrial plants, interiors, modern, laboratories, apartments, swimming pool? The musical score?
3. Two stories in one, Evan and Faye, Kessler and his pursuits? Combining them? Through Casey?
4. Tradition of science-fiction and simulants, Asimov stories, Blade Runner…?
5. Evan and Faye, the marriage, life together, his waking from nightmares, the crash? Puzzling about himself? Faye’s treatment of him? Sense of alienation, the question about the accident, the consequences, the revelation that he was a simulant? The consequences, his relationship, Faye not feeling that he was the same person, the revelation, taking him to Casey? The elimination of memories? The effect on Evan, with Casey, learning the truth, becoming embittered, the escape with Casey, the confrontations, his killing Faye?
6. Faye, the marriage, the crash, her husband coming a simulant, not being able to relate to him, yet the care and concern, the sexual encounter, her swimming, sending him away, his return and her death?
7. Kessler, hunting the simulants, the pursuit of Esme, his powers, the control, capturing her, the laboratory, reworking her, her link with Casey, Kessler and the doctor leaving, Esme ringing, Casey and his escape? Kessler in pursuit? The fight, the shootout?
8. The attitude of the humans, making the simulants, the auction sequence, the robots serving in the house?
9. Casey, hacker, changing people, with Kessler in the apartment, with Evan, with his double? The escape?
10. The change in society, the uprising of AI, the revolution?