Displaying items by tag: Sigourney Weaver

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?

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?

MASTER GARDENER

US, 2023, 111 minutes, Colour.

Joel Edgerton, Sigourney Weaver, Quintessa Swindell, Esai Morales.

Directed by Paul Schrader.

A reassurance for those who feel set up by the title of the film: there are many beguilingly beautiful close-ups of flowers during the opening credits, wonderful vistas of flowers, geometric French gardens, natural British gardens, wild gardens, after the reassurance, an alert that we begin to see fewer and fewer flowers, rather more human thorns. While this is a drama about an expert gardener, and many explanations of seeds, growth, flowers, it is more a drama about human nature.

And a message, that whatever the destruction, natural, all with human malicious motivation, rejuvenated regrowth is always possible. This is a Paul Schrader film. Schrader has been writing strong, often grim movies (Taxi Driver, Raging Bull, Last Temptation) for almost 50 years as well as directing many films, quite a wide range of themes, more recently on significant male loners (First Reformed, The Card Counter). With his name, we can expect serious themes, sadness and violence.

This is a drama about Norval what Roth, played intensely by Joel Edgerton, a sombre master gardener in the spacious grounds of a Louisiana mansion, presided over by a bitterly rich dowager owner, Norma, played imperiously and often impetuously by Sigourney Weaver. She has had a long family tradition with the gardens, quite a local reputation, and has her gardener obedient to her beck and call. He is a respectful loner, a mysterious background, gradually revealed, a far different life, a far different ideology, a history of violence.

Into the mix comes Norma’s grandniece, Maya (Quintessa Swindell), Norma agreeing to take her in as an apprentice to Normal, but disdain for Maya’s mother, keeping her distance, some dastardly unpleasant eventual encounters.

After the serious exhilaration of life and work in the gardens, Norval and his relationship with his enthusiastic staff, instructing, training, appreciating the floral results, the drama intensifies with Maya and her increasingly bitter grand aunt, something of what we might have been expecting, especially Norval’s fascination with Maya, his being upset when she is beaten by her drug dealing boyfriend, his connecting with his parole officer trying to get some justice, and then his own moral decisions.

Apart from the beauty of the flowers, this is a rather sombre drama, becoming evermore sombre as the flowers disappear.

1. The title, the emphasis on expertise, Norval as a master gardener, in action, in theory, study, achievement?
2. Paul Schrader film, audience expectations about a lone male, the past, drama, violence? The imagery and symbolism of the garden in flowers? Bloom, destruction, regrowth?
3. The Louisiana setting, the mansion, the beauty of the grounds, the gardens in flowers, the greenhouse? The mansion, interiors, wealth? The contrast with the streets, homes, drug dealers? Diners and police meetings? The countryside, the open road? The musical score?
4. The credits, the beauty of the flowers, close-ups, the different gardens, French geometric, and British nature, wild gardens, the visuals, the workers, the greenhouse, feeling the soil, smelling the soil, notions of seeds, growth, the range of staff, their enthusiasm, their tasks, Norval and his books, his knowledge about seeds?
5. Norval, his keeping the journal, his commentary, about gardens, about Norma, about himself in the past, about Maya? The journal important in the past, meeting of Maya, the relationship with her, the journal no longer necessary?
6. Norval, his appearance, overalls and jacket, in the greenhouse, with the staff, in the garden? The audience seeing him with his shirt off, the tattooed is, the swastikas? The contrast with his dressing up to go to the main house with Norma? The contrast with the revelation in the flashbacks, the Neo-Nazis, racists, thick hair and beard, seeing him in violent action, the shootings?
7. Norval, accepted by Norma, on parole, the meetings with his officer? Her attitude towards him, Sweet Pea? Inviting me to the house, the housekeeper, Ronnie and the drinks? The expectations, the sexual encounter? Giving him information about Maya? To be an apprentice, and not wanting to see her? The history of her mother?
8. Maya, her age, arrival, meeting Norval, explanations, working in the garden, the uniform, smiling the soil, working with the other members of the team, her learning? And not seeing Norma, puzzled?
9. The encounter with Norma, the new dress, the tea, the lunch, Norma in overalls, to work in the garden? The discussions, misinterpretations, clashes, Norma walking out?
10. Maya, being beaten, her boyfriend, drug dealing? Norval and his reaction, the appointment with his officer, their discussions, memories of the past, the officer retiring, a replacement? The information about the dealer and Norval expecting some action?
11. The encounters with Maya, the attraction, his advance and drawing back, her response? Being together, his letting her see the tattooed is? Her questions? His reaction to Norma’s treatment of her?
12. Maya getting things, to go into hiding, staying with Norval? His taking the time, confronting the boyfriend and the others, the threats? Their retaliation, the destruction of the gardens?
13. The new parole officer, Norval testing him out? His decision to take action, confronting the two, breaking their knees? Norval and Maya in the car, feeling free, yelling out the windows?
14. Decisions, his memories of his wife and his disappeared daughter, change of life, confronting Norma, living with Maya? And the reconstruction of the garden?