No. 19. (2020) HONEYLAND March 22nd.

Film No. 19 (2020)  March 22nd.  2:20 PM  LUNA PALACE Leederville. 

"Half for them, half for us." (Hatidze explains the essence of harvesting the honey as a sustainable resource to her new friend, one of the Sam children).

This Oscar nominated doco depicting the human spirit in all its pain and glory deserves all the accolades heaped upon it. I say doco, as the high drama we witness in Honeyland simply couldn't be scripted with the same power.

Our hero is Hatidze Muratova and for 90 minutes we live with her in the rugged plains and hills of Macedonia. She is notoriously the last of the nomadic beekeepers of the land. We walk the range with her as she harvests her honey from the natural cracks and crevices of the rocky outcrops near her ramshackle house. Home to herself and her bedridden mother Nazife. 

A nomadic cattle herding family from hell arrives adjacent to Hatidze's shack. Hussein and Ljutvie Sam support 7 children; they herd, breed and generally mismanage cattle. While existing, all nine of them, out of a dilapidated caravan. Hussein decides to diversify his decrepid enterprise after observing our hero harvest honey in the most meticulous way. She even shows him her techniques, along with giving lessons in sustainability. 

From here our hearts' bleed for this humble, resilient lady. But she is a survivor and streetwise in the best possible way. The National Geographic style of high def. vision, no narration and natural conversation works beautifully here. No surprise that an Oscar nomination was bestowed on Honeyland. Entertainment and enlightenment drips from this beauty. 11GUMS.

        

No. 18. (2020) IN THE NAME OF THE LAND (AU NOM DE LA TERRE) March 16th.

Film No. 18. (2020)  March 16th.  6:30 PM  PALACE Paradiso Northbridge. 

"There is nothing for me there anymore. I want to be home" (Pierre informs his father of his intentions after arriving back home in 1999 from Wyoming U.S. in his early twenties).

I've seen so many powerfully important films recently; Dark Waters the most recent of them. In The Name Of The Land is yet another brilliantly controlled contribution, and once again it relates to big business. This time however bb puts the squeeze on French farmers. The toll is eye-opening and devastating for those families.

In The Name tells one of those devastating stories. We know we are watching a raw narrative because director Edouard Bergeon is telling a very personal story. Bergeon witnessed first hand the demise of his father as debt and corporate greed destroy the family farm. And while the film is told unremarkably in a linear style the passion of Bergeon's message is extremely remarkable. A message the world should note.

In the early scenes meet Pierre and Claire Jarjeau, deeply in love and excited and willing to continue the farming tradition of the Jarjeau family. Pierre does not inherit the farm, he pays a hefty price to his father, Jacques (Rufus) who retires to town, now able to afford a reasonably comfy retirement. As time passes Pierre diversifies (chickens and goats)and accrues debt due to diminishing markets and margins, due mainly to French corporations failing to remain loyal to their own farmers. 

The ending is excruciatingly sad. It will leave you numb, but at the same time in awe of Bergeon. This young man has devoted most of his life to sharing his story firstly through Les fils de la terre (2012) a documentary of his family's story and now this feature film. He loved his dad, he experienced the power corporations had on small business operators and the devastation that occurred when no one was listening. Can you believe every alternate day a French farmer takes their own life? Surely someone is paying attention now. (9GUMS)             

   

No. 17. (2020) THE WAY BACK March 12th.

Film No. 17. (2020)  March 12th.  10:10 PM  UNITED CINEMAS  Rockingham. 

"I know you're suffering. I just want you to be happy again but you're gonna have to want it too." (Jack's wife Angela works on Jack to accept he's going to need to mend his own broken heart).

Since Hoosiers (1986) there hasn't really been a basketball story of the same feelgood quality. Ben Affleck's reforming alcoholic coach Jack, matches the Gene Hackman, Coach Norman Dale, in spades. The Way Back is as good as, if not better than, Hoosiers. A big lay-up I know, but that is how I see it.

Gavin O'Connor (The Accountant, Jane Got A Gun) in arguably his best film, takes a tried and tested formula of downtrodden team overcoming all to succeed, via the gritty viewpoint of Jack (Afflick), a man grieving and using alcohol to cure his state of mind. 

Jack is a basketball legend as an alumni of Bishop Hayes High School. Father Devine (John Aylward) asks Jack to fill an emergency vacancy to coach the ailing school team. A team lacking the success Jack experienced during his hayday. It's Norman Dale all over again but director Gavin O'Connor has given extra emotional gears to Jack. Jack is a good man and some key scenes build our empathy for the effective feel good climax. A climax that is not quite what we bargained for, but just as effective.

This is Ben Affleck's film. Given the issues of addiction he has battled personally in recent times, this project has his full attention. There is a legitimacy about Affleck here. But most importantly The Way Back is entertainment of the colour by numbers type and there's nothing quite like cheering new heroes to victory. 9GUMS.

  

   

     

No. 15. (2020) UNDERTOW March 8th.

Film No. 15 (2020)  March 8th.  4:00 AM  PALACE Paradiso Northbridge. 

"Have you thought about some kind of rebirth?." (A deep question asked of Claire during her counselling sessions).

First time feature director Miranda Nation has created a substantially deep and very meaningful story of women dealing with issues related to loss and male insecurity. Watching films like Undertow on International Women's day further emphasises the power of this small story which hopefully will have an impact.

This Australian story carries international themes told through the eyes of two women Claire, (Laura Gordon) who has just suffered the loss of her first child (still-born) and Angie (Olivia De Jong) reluctantly pregnant to (Claire's husband Brett's (Rob Collins) best friend) AFL football star Brett, (Josh Helman). The emotional fragility of both women collide through, quite literally, a sea of images and emotions.

The beautiful southern coastline of Victoria provides the raw setting for this emotional drama and while the story is thin, the themes of vulnerability leading to temptation of the drastic kind are heartfelt. Nation's budget would have been threadbare here. Her eye for detail is exquisite. I'll be looking out for her next project. 9GUMS.

     

No. 16. (2020) MILITARY WIVES March 9th.

Film No. 16. (2020)  March 9th.  6:40 PM  PALACE Paradiso Northbridge. 

"If you think singing with a pole up your arse is what these women want, then you're more out of touch than I thought." (Lisa offers some advice to the more uptight Kate about her approach to their new pastime).

The promo suggested I'd be on my feet cheering and crying. I definitely wasn't doing either of those as the titles rolled for Military Wives but I admit to enjoying the flick in the same way I'd scoff a kebab, laced with garlic and mint sauce, late on a Saturday eve. Military Wives hits the spot.

More importantly the film stands as a monument to the women involved with serving soldiers world wide who found a way to pass the anxious days and months apart from their loved ones who are overseas at war. In 2010 a group of women at Catterick Army Base in North Yorkshire formed the first choir. From there, soon after, two bases in Devon created theirs. Now there are are 2,000 singers in 74 choirs in British bases worldwide.

Military Wives does not pretend to retell the Catterick story although you get the impression this is where it all began. Peter Cattaneo has created his best film since the Full Monty bonanza in the form of a dramedy using a hybrid of stories from choirs over the last ten years in the shell of the Catterick story. If you liked last year's Fisherman's Friends then you'll love Military Wives.

The talented Sharon Horgan (Catastrophe) steals the show as Lisa the base's new social organiser. Recently heartbroken, Kate (Kristin Scott Thomas), plays the antagonist who you know will soften as the "virus" of song takes hold. Gaby French as Jess has a couple of show stealing moments (the cave scene in particular) as "The Voice" of the troupe. In short, there's lots to like about Military Wives; even if you have seen this ilk of cinema before. 9GUMS.          

    

No. 14. (2020) MOTHERLESS BROOKLYN March 2nd.

Film No. 14 (2020)  March 2nd.  10:30 AM  PALACE Paradiso Northbridge. 

"What happens to poor people in this neighbourhood wasn't news yesterday and won't be news tomorrow." (Laura tells Lionel how it is in Brooklyn as the black population eek out a life).

Edward Norton has adapted this Jonathan Lethem novel for the screen. Our Edward (I'm a fan), as well as writing the screenplay, stars as central character Lionel, the Tourettes (an unnamed condition in that era) suffering gumshoe, who is up to his hat in murder and intrigue.

Don't misinterpret Motherless as something it is not. Norton has created a B grade noir film in the mold of The Maltese Falcon or The Big Sleep complete with oily voice-over and classic jazz, highlighted by saxophone. Lionel is a good person who wants only to avenge the death of his boss Frank (Bruce Willis). So in the traditional manner but as an unconventional gumshoe, he's led to a dame, Laura and the plot gets thick and of course there's a twist. Race relations in the 30's forms the backbone of the narrative. 

The noir genre is rarely tackled in these times of stories based of actual events. L.A. Confidential is a classic and Motherless, while it doesn't quite match the slickness of L.A., will please the crowd of devotees. Norton is no Bogart but then again Bogart with Tourettes would have been absurdly ridiculous. Bit parts played by actors of the calibre of Alec Baldwin, Brooklyn power broker Mosses Randolph and Willem Dafoe as the downtrodden Paul excel.  But it's Lionel who's our hero here and Norton has us rooting for him all along the way. 9GUMS.

  

      

No. 13. (2020) DARK WATERS February 25th.

Film No. 13 (2020)  February 25th.  6:45 PM  PALACE Raine Square, Perth City. 

"Well now you can defend me." (Wilbur Tennant won't take no for an answer after Rob tells him that he is a lawyer who defends big companies).

Inspired by the news article The Lawyer Who Became DuPont's Worst Nightmare, Dark Waters tells the story of how Rob Bilott went from litigator sub-contracting to the "big boys" to litigator who has, and still is, bringing one of those "big boys", namely DuPont to their knees.

It would seem the film is due in no small way to Mark Ruffalo's anger stemming from the article. Anger with himself for not knowing anything of this story, anger with DuPont for their dishonesty, anger at professionals (vets and scientists) who immorally devised reports to suit the needs of DuPont, and anger at the fact Ron Bilott doesn't have worldwide recognition as a hero.

In making Dark Waters, Ruffalo (producer and star), wishes to stand alongside the dogged, determined Bilott, and bring the story of how DuPont poisoned waterways in the farmlands of West Virginia to develop the toxic chemical PFOA in their relentless ambition to produce teflon, yes teflon, thus exposing 99% of the world's population to its toxicity. Did I mention the one billion annual profit? It's a conspiracy of the magnitude of big tobacco and what executives knew before The Marlboro Man died of lung cancer in the 60's.

Most importantly Todd Haynes has directed an entertainment deserving our attention. He has balanced the human elements with the drier scientific (110,000 pages of research) factors with great dexterity. Ruffalo always saw himself in the lead role and he is exquisite. Wife, Sarah, played by Anne Hathaway needed more fleshing but an extra 15 minutes on an already longish film (126 mins) may have been a distraction. 10GUMS as a film. 12GUMS for its message.