Displaying items by tag: Shirley Henderson

THE MANDALORIAN AND GROGU

US, 2026, 132 minutes, Colour.

Pedro Pascal, Brendan Wayne, Sigourney Weaver, Steve Blum, voices of: Jeremy Allen White, Stephen McKinley Henderson, Shirley Henderson, Martin Scorsese.

Directed by Jon Favreau.

It is 50 years since Star Wars surprised the world, delighted audiences, created a whole new perspective on Galaxy fantasies, some wonderful sequels, characters, laser action, the Force, and John Williams majestic score. The 21^st century, some films, but the more recent emphasis has been the television series, the Mandalorian.

One of the creators of The Mandalorian was actor-director, Jon Favreau. Instead of the fourth in the series, he has opted for the big screen. For audiences who have enjoyed the series, familiar characters and material, action, and an opportunity to see it in a cinema atmosphere.

For audiences not familiar with the series, who hark back to the old days of the trilogies, it is something of a surprise. No opening with the galaxy far far away. No John Williams score. And, there is a rather more serious tone compared with the past, 3 CPO and R2D2, a range of strange characters and creatures, Jabba the Hut, Yoda, and we got to know Luke Skywalker, Princess Leia, Han Solo, Obi Wan Kenobi.

The Mandalorian is played by Pedro Pascal, seen in so many films and television series in recent years. But, he wears armour, is masked. This is something of a barrier to communicating his personality, having to rely on his voice and body language and action (and, in fact, it is Brendan Wayne, John Wayne’s grandson, who is actually in the armour). So no strong personal connection as we used to have with Han Solo.

But, there is Grogu, a diminutive Yoda-like creature, American-cute, but also able to participate in all the action (after he learns to press the right buttons).

But, there is plenty of action, the somewhat brutal introduction to the Mandalorian as a mercenary and his elimination of enemies and the Startroopers. He is employed by Colonel Ward, played by Sigourney Weaver. He has a mission to find the son of Jabba the Hut which leads to a kind of gladiatorial arena fight against monstrous creatures and robots. And, in space, attacks, fights, explosions…

For 21^st-century audiences and series fans, a continuation of what they know. For older 20^th century audiences, not quite what they might have been expecting.

1. 50 years after the beginning of the Star Wars franchise? Through many films, through the Mandalorioan and television series? Continued popularity?
2. The Star Wars Galaxy, the Empire, the Republic, the storm troopers, rebellion, mercenaries and battles? The weaponry, the starships?
3. The continuation of the Mandala and television series? The changes from the original, the different opening, no John Williams score, the more serious tone, the intermittent light touches with Grogu and the small creatures?
4. The hero, armour and masked, the less personalised character, the removal of his mask in the middle of the film, some sense of his humanity?
5. The situation, the Mandalorian and his missions, reputation, for hire, seeing him in action, the fights, the enemy, the board meeting, the pressure of the leader, the subservience of the members, his shooting one of them? The attack by the Mandalorian, the pursuit, the deaths? His return?
6. The importance of Grogu, the foundling, small, American cuteness, Yoda influence? Companion, presence, participating in the action, limited, liked by the audience?
7. Colonel Ward, her control, the mission? The tradition of Jabba the Hut, his son, the twins and their hostility?
8. The Mandalorian and, his mission, wanting the son, the hostility, the situation, the twins, the sinister role of Lord January, his betrayals?
9. The gladiator sequence, creatures, the fights, the Mandalorian and his surrender, the response of the crowds, of Lord Janu?
10. The rescue of the son, the small creatures and their technical skills, chatter, activities?
11. The final flight, the dangers, the attack, explosions, survival?
12. The return, Colonel Ward, her attitudes, to the final mission, Jabba the Hut;s son, final decisions?
13. And the continuity of the story, the characters, the series?

I SWEAR

UK, 2025, 120 minutes, Colour.

Robert Aramayo, Maxine Peake, Peter Mullan, Shirley Henderson, Scott Ellis Watson, Francesco Piacentini-Smith.

Directed by Kirk Jones.

We may think we know what Tourette’s Syndrome is and how it manifests itself – especially the outbursts of bad language. But, there is so much more to the to the physical, emotional and psychological condition that needs so much more understanding from the general public.

I Swear, with its direct title, offers a fine opportunity to be absorbed in the film drama, with comic touches, to appreciate those living with Tourette’s and its effect on their lives.

This is the story of Scotsman, John Davidson. There had been a television documentary on him in 1989 and some news follow-ups. But, for most audiences, this film will be something of a revelation. It starts in a rather cheeky manner with John’s longtime friend and mother-figure, Dottie, urging him to come into the hall, 2019, where Queen Elizabeth is about to present him with a Royal honour. He goes in, reluctantly, a sudden tic and a sudden four letter outburst. And then we go back to appreciate his situation, his life.

The year is 1983. John, a wonderful performance from Scott Ellis Watson, is at school, at home with his proud father, his sisters, his ever-concerned mother. He is a young footballer and great expectations, from scouts, from his father. Then, suddenly the tics, the jerking motions, head, arms, and the blurting out of profanities, blunt and coarse subconscious statements, unintended, alarming the family, school authorities, the police… And bewilderment for the young John.

Moving to 1996, adult John, Robert Aramayo convincing in such a demanding role, is beset with the tics, uncontrollable, and even more rough and disturbing verbal outbursts. His mother, played well by Shirley Henderson, still cannot understand. And he is living at home with her. But he meets an old friend, is welcomed into the friend’s family, especially with by his mother, Dottie, a very engaging Maxine Peake, who invites John to live with the family, breaking with his mother, but finding comfort in a family life, Dottie encouraging him that he need not apologise for what he cannot help.

Scots actor, Peter Mullan, has been a longtime screen presence, often a villain, but here a most engaging caretaker of a centre who befriends John, auditioning him, despite the tics and outbursts, and employing him as an assistant at the centre.

The actual John Davidson is the executive producer of this film which means that his collaboration with the writer-director, Kirk Jones, means that what follows is accurate. The challenge to John to communicate to the public about Tourette’s, to engage with others experiencing the syndrome (and a wonderful scene where he meets a young woman with the syndrome with tics having to be seen to be believed and an extraordinary conversation full of blunt outbursts). There is a sequence where he gathered a large number of those with the Syndrome, along with their parents, giving one of those encouraging speeches for appreciation and understanding.

Then back to 2019 and Her Majesty. A public British acknowledgement of his contribution to enabling the public to understand Tourette’s syndrome.

But, the film does not end there. A wonderful postscript. Researchers at Nottingham University in 2023 moving from medical assistance to neurologic solutions, the wearing of devices which may have an effect on the nervous system, controlling the syndrome. And a note that it has had 59% success – and one hopes that this is where progress will develop.

This is a film straightforwardly told, a strong message film, well worth seeing a second time.

1. The blunt title? Introduction to Tourette’s Syndrome? Not just theoretical but with real life people and the syndrome?
2. The prologue, 2019, John dressed up, outside, the Queen, Dottie persuading him to come in, the instant swearing? Setting the tone? And audiences going through the journey to return to the sequence and the honour from the Queen?
3. A Scottish story, Galashiel, the atmosphere of the town, families and homes, school and football? Pubs? The 1980s? The Davidson family, parents, the relationship, John the only son, the daughters? John and his age, school, friends, football, his father’s expectations, the scouts, prospects? A pleasant and genial personality?
4. The emerging of the syndrome, the sudden tics, head movements, jerking, arms? And the verbal outbursts, inappropriate, subconscious themes, almost the opposite of expectations? The effect on John, the football, his mother worried, spitting, sitting him away from the table? His father’s disappointment, exasperation, disappearance? His mother having to look after him? Issues at school, social?
5. Into the 1990s, John and his age, still living at home, the manifestations of the tics, the inappropriate remarks? In trouble, relationship with the police, his future? His weary mother and her exasperation? Not understanding?
6. Dottie, the terminal diagnosis? John meeting Murray, their friendship, acceptance? The invitation to live in the house, the difficulty for his mother, John and his decision? Welcomed into the house, Dottie and her husband, Murray? Dottie’s background as a nurse, her interest, the personal touch, accepting all his tics and outbursts, telling him he did not have to apologise, the humour and pathos of the home sequences? Murray and his friendship, his father and the acceptance, celebrations, meals…?
7. Dottie wanting John to get a job, her approach to Tommy, his work at the centre, needing an assistant, meeting with John, the awkwardness of arriving at the centre, other personnel? The discussions with Tommy, the outbursts, his reactions? The genial Scotsman? Giving Tommy the job, his working at it, effective, enjoying it, the bond between them? Trust? And some amused tolerance on the part of Tommy?
8. The episode at the bar, John enjoying it, his manner, the outburst, the man taking offence, the fight, the police, hospital?
9. The future for John, at the centre, accepted, the work? Tommy and his collapse, the pathos of his death? His house, the arrangement, John to live in his house, the discussions with the authorities about continuing his work, foreboding disappointment, his being accepted?
10. The transition, the bond with Dottie and her family, the mistaken diagnosis? Her continued support?
11. Urging John to share his experiences, the making of contacts, advertising, the episode with the Tourette’s Syndrome girl in the car, her anxious parents, the conversation with all the tics and outbursts? The happy parents? The gathering of all the people with Tourette’s, in the hall, John and his speech, the reactions, the parents?
12. John, becoming a campaigner, finding himself, his ability with people, writing, interviews? The change in his life? The continued difficulty of the relationship with his mother, her not quite understanding, his visits, the meeting with Dottie? Some gradual acceptance?
13. 2019, his achievements, their being recognised, the decoration from the Queen, the applause?
14. 2023, the time of the making and preparation of the film, the news from Nottingham, his going to the interview, the change from medication to neurology, the mechanism, his wearing the device, the tranquil walking through the library, something he had never done, the peace and satisfaction of not experiencing the tics?
15. 59% success with this neurological treatment? In the film opening with an acknowledgement of the UK understanding Tourette’s via John, his achievement, and hopes for the future?

ELIO

US, 2025, 98 minutes, Colour.

Voices of: Yonas Kibreab, Zoe Saldana, Remy Edgerly, Brandon Moon, Brad Garrett, Jameela Jamil, Young Dylan, Shirley Henderson, Kate Mulgrew.

Directed by Adrian Molina, Madeleine Sharafian, Domee Shi.

Over the decades, in many of its animated films, the Pixar Studios have focused on young boys. This was the case with the Toy Story series. There was also Luca, Onward, not that Pixar neglected young girl central characters, think the Inside Out series.

This time the young hero is Elio, American, Hispanic background, grieving the death of his parents, not responding well to the care from his aunt who is in space military, supervising space travel. Elio loves space and explorations, eager for contact with aliens. His room at home is covered with posters, photos, all kinds of space paraphernalia. And he works with his radio connections. But, he is bullied at school, gets into trouble with the authorities. And, on visits to the military bases, his curiosity gets him into all kinds of trouble including failures and typing out an appeal message for any creature in space to respond.

While audiences will be sympathetic to Elio in his sadness, they will (at least many of the parent generation will) feel very annoyed with him at times, his wilfulness, stubbornness, and his inability to respond to his aunt’s care.

But, that is the background! Most of the action actually takes place in space. And, for anyone in the young audience, boy or girl, there is the fascination of imagining what it might be like to find oneself in space, with all the technical know-how, to find all kinds of friendly alien creatures, share language with them, make friends – and, especially for Elio, to be thought of as the leader from his planet.

So there are many comic touches with the creatures on the planet he arrives at, and a large group of cultured representatives from various planets. And Elio discovers a special creature, Glordon, who looks and sounds cute and cuddly! But, Glordon’s father is an aggressive warlord, in huge threatening armour, glowering with a whole platoon of similarly fearsome troops. And he has territorial ambitions.

So, a young boys’ fantasy, Elio asserts himself as the leader from earth, confronting the warlord. There is a nice dramatic device where a clone can be made both of Elio and Glordon, clone Elio coming to earth and being absolutely charming and cooperative with his aunt to her shock. The cloned Glordon coming to the warlord and agreeing to be his aggressive successor.

Elio does have success, is also captured, but is well advised and is able to use the real Glordon a bargaining chip for the warlord’s surrender and Elio’s release.

Of course, the final question is whether Elio will want to stay in space. The clone has enabled his aunt to travel to the planet. Will he stay or will he find love and affection and want to go home?

So, apart from Buzz Lightyear in space, this is a different Pixar story, not one of the greatest, but entertaining in its way.

1. The popularity of Pixar films. The place of this film in its catalogue? The target audience, younger audiences, the young hero, a boy, his ambitions, space exploration, aliens?
2. The imagination of the film, the young boy, the death of his parents, super version by his aunt, his age and grief, assertiveness, intolerance? Bullied at school? His fascination with space technology, the decorations in his room, his creating his own language, his radio and technology?
3. The aunt, military service, and space travel supervision? Love for her nephew, strict, difficulties in communicating with him? His getting into trouble, her having to rescue him? At the base, going into the laps, interfering, disasters? Her job?
4. With the boys, the friend, the bullying boy, the fight, the principal and the two boys reprimanded? The effect of the bullying boy, the technology, contact?
5. Elio, at the base, sending out a message, its being transmitted?
6. The Joy of the space contact, his going into space, the planet, the mentally of creatures, their appearance, their voices, their intellect, culture? His being seen as a rescuer? The leader from his planet? The effect on him, his costume, his speeches, his hopes?
7. The Lord Grigon, his appearance, armour, voice, his military? Ambitions, takeover, threats to the planet, the inhabitants gathering for culture, not for combat? The assumption that Elio was leader?
8. The appearance of Glordon, voice, appearance, the father, the ability to talk and communicate, games together, happy possibilities? The appearance of Glordon, his father, demanding on Glordon?
9. The device of the clones, clone Elio going to earth, the opposite of the real Elio, collaborating with his aunt, conversation, work, diligent? The hair, coming alive, the aunt looking beneath the eyepatch, realising he was a clone?
10. Cloning Glordon, a tough clone and, the armour, going back to Grigon, Grigon’s delight?
11. Grigon, the confrontation with Elio, the truth about him, dominating, the surrender, the effect on the community on the planet?
12. Elio and his plan, Glordon as a bargaining chip, the father wanting his child back, the confrontation, the negotiation, Grigon out of his armour, soft and cuddly, embracing Glordon? Peace for everyone?
13. The clone of Elio, the bond with the aunt, in the base, getting the equipment, the discovery of the capsule with Glordon? The two clones and then disappearing?
14. The aunt in space, the reconciliation with Elio, the peaceful situation, Elio and leadership?
15. The return to Earth, on the beach with its memories, the reconciliation with his friend, the bonding with his aunt, a happy life?