No. 7. (2021) PENGUIN BLOOM January 27th.

 

Film No. 7 (2021)  January 27th.  10:20 AM  ACE CINEMAS  No. 3,  Rockingham.

"The weight of the world is on my shoulders, but I know somehow at the end of the day it will ground me, the earth is under my feet" (The opening lyrics to Penguin Bloom's trailer theme).

Let's face it, there isn't much to Penguin Bloom.  With so much in-house collaboration of finance and narrative content (Cam Bloom), there was always the risk that this type of project could end as innocuous drivel. Well, it isn't. It is heart-felt, intelligent family fare, which so happens to be based on an actual Australian family, the Blooms.

Intelligent family dramas are rare "birds" (no pun intended - magpies included). Dramas that subtly explore emotions with thoughtful compassion of the likes of What We Did on Our Holiday (2014) are considered risky, and mostly to be avoided by production houses. Penguin Bloom will certainly earn its keep.

So why does the story of how loving mother, Sam Bloom (Naoimi Watts), rendered a paraplegic due to a holiday accident, then being inspired by her family and a magpie to reach international levels of achievement work? The William Goldman theory I suppose. It just all clicks together, including the visual splendor of the Northern Beaches region of Sydney. 

English actor Andrew Lincoln plays Cam Bloom, Sam's devoted husband brilliantly. The Bloom family is rounded out with smart, unpretentious performances from Griffin Murray-Johnston (narrator; Noah), Felix Cameron (Rueben) and Abe Clifford-Barr (Oli). Jacki Weaver as Sam's widowed mother Jan, sparkled and Rachel House played kayaking mentor Gaye as only Rachel House could. Now throw in a few magpies (Penguin is portrayed by multiple birds) who put the "ute" in cute and the chemistry explodes! 

Director Glendyn Ivin (Last Ride 2009)needs mentioning. Bloom is his second feature in 12 years and both display his ability to bring heart to family stories. I hope a new project is presented to him before another decade passes. 9GUMS.  

 

No. 6. (2021) A CALL TO SPY January 17th.

 

Film No 6 (2021)  January 17th.  1:20 PM  LUNA PALACE Windsor,  Nedlands .

"This will be a rudimentary operation. Women will be more inconspicuous. And make sure they are pretty." (Buckmaster issues his decision to Vera, her initiative to recruit women to the SOE meets his approval).  

A Call to Spy is a wonderful tribute film. A tribute to a few pioneering women who took incredible risks as SOE (Special Operations Executive)operatives, foot soldiers making a difference in the WWII effort to short circuit the Nazi push to rule Europe. 

But as for the film being a gritty account depicting the reality of how women were first recruited into undercover work under the most dangerous of war-time conditions, then A Call To Spy is more of a "girls own" tale than a Tinker, Tailor, Soldier, Spy feature. The sequences of Virginia's 35 day trek over the snow encrusted Pyrenees mountains, protected from the elements by just a blanket over her shoulders was just one example of believability pushed to its limits.  

The film is slick and handsome. The tale, most importantly, recognizes real life heroes Virginia Hall (Sarah Megan Thomas), Noor Inayat Khan (Radhika Apte) and Vera Atkins (Stana Katic); the women called into service as part of Churchill's newly formed SOE unit. These women set a path for others to follow. The intelligence they extracted from war-torn Europe prior to D-Day helped to change the course of WWII. Khan, slight of figure, lugged a heavy wireless set around France, behind enemy lines. I found myself Googling her exploits immediately after the titles rolled. Both Hall and Khan have books written as tributes to their bravery.

Films like A Call To Spy are perfect matinee escape dramas. The screenplay is by Sarah Megan Thomas and Lydia Dean Pilcher directs. Pilcher completed Radium Girls (2018), (also based on true events) in the same style. These stories giving credit to women for their fortitude during dangerous chapters in history are important and they make for entertaining cinema. 8GUMS.

       

 

            

     

No. 5. (2021) MUSIC January 11th.

 

Film No. 5 (2021)  January 11th.  6:45 PM  EVENT CINEMAS  No. 4,  Innaloo.

"You can't have me unless you love me" (The lyrics of one of Sia's 10 new songs written for Music).

Australian international artist Sia is best known for her 2014 hit Chandelier. She has now created a fascinating small film, Music, which is already creating a large storm even before its major release. The trailer has raised the ire of Autism associations world wide because of the casting of the films co-lead, a dancer, Maddie Ziegler. I've not seen any criticism of Kate Hudson playing Music's detoxed sister and nor should there be. Hudson is amazing considering her 42 years. She could easily be an older sister in her late twenties. 

Surely Sia can do as she pleases. It's her film. Her creation using her finances. The fact that dance sequences in Music form the spine of this visual feast, makes the choice of Ziegler as Music inevitable. The dance routines, depicted in clip form, are the highlight of the film. So, if you are buying a ticket to get a 90 minute feature with a traditional story with all the trimmings, then you may be disappointed.

The premise of the story has substance, only that's not what is fleshed out. The cleverness of the film lies in it being a punchy album of eight or so clips with the continuity being the fact it is told through the eyes of a character with non verbal autism. And it stands up. It just may be that punters will either be disappointed, or pleasantly uplifted by its uniqueness. I was definitely one of the latter. And I feel sure Sia is extremely respectful of the fact anybody has the right to express their opinion, however narrow that view might be.  8GUMS.     

 

No. 3. (2021) AMMONITE January 9th.

 

Film No. 3 (2021)  January 9th.  11:00 AM.  Cinema 1  LUNA Leederville.

"I would pay a premium for a private audience".(Gentleman Roderick Murchison makes an offer to Anning to accept his wife Charlotte as her underling for five, six or even seven weeks).

Mary Anning was indeed a world renowned fossil collector who lived in Lyme Regis during the 1800's. She died before her time of breast cancer in 1847 aged 48. Her finds, mainly of Jurassic fossils, are legendary. Many of her finds are displayed in museums world wide. She did meet Charlotte Murchison, a woman of the landed gentry in Dorset in the 1820's and they struck up a close friendship. These are the facts. 

Writer/director Francis Lee (God's Own Country) has created a controversial view that Mary and Charlotte were lovers. Lee's Ammonite pulls no punches when it comes to the intimacy this relationship. Kate Winslet (Anning) and Saoirse Ronan (Murchison) create two scenes which have made for some uncomfortable viewing for the more prudish cinema goer. The scenes are a legitimate consummation of a touching relationship between our leads. The effectiveness of this original story for the screen is found in the quiet manner in which these two lonely characters find respect, then love for one another.

The re-creation of 1800's Lyme Regis gives the story a dark, wind swept palate to light this fire of love. Winslet and Ronan star in their thick layers of costume. The one dimensional story does however take 124 minutes to unfold, this will test the patience of some punters. If you are a student of paleontology and your view of Anning is (as many of her family attest) that she was not gay, then perhaps Ammonite will disappoint. I enjoyed Ammonite as a quality costume drama which for two air conditioned hours, took my mind off the Perth summer (41C) outside. 9GUMS.

  

                   

 

No. 4. (2021) THE DRY January 9th.

 

Film No. 4 (2021)  January 9th.  3:45 PM.  Cinema 2  LUNA SX Fremantle.

"Luke lied. You Lied. Be at the funeral." (The words on a card Aaron received from Luke's parents days before their son, daughter-in-law and grandson's funeral).

Jane Harper's gripping novel of the same name comes to screen at last. Harper's writing has such a visceral effect on her readers, we feel the heat and dust of remote Australia through her rich, descriptive prose. I for one enjoy her stories of this land I know so well.

So how does a film version of this popular story stand up? Extremely well from where I was sitting. Director Robert Connolly has captured parched Australia perfectly and while some of the storylines are condensed to suit the 2 hour running time, The Dry is a highly gripping, entertaining film. Connolly and co-writer Harry Cripps have mastered the difficult task of adapting an iconic novel seamlessly here.

Eric Bana could not be more suited to the Aaron Falk role. Handsome, quietly astute federal cop Falk is forced from high-rise Melbourne back to the small town of Kiewarra for the funeral of his boyhood mate, Luke. The story surrounding Luke and his family's slaughter is shrouded in dust and doubt. A parallel story depicting the death of Luke's friend Ellie (BeBe Bettencourt) surfaces as a distraction as Aaron decides he needs to stick around to uncover some truths. The Ellie mystery plays in flashback through the eyes of Aaron, it is a highlight of The Dry.

Genevieve O'Reilly wears the important Gretchen role like a pair of soft leather R.M. William's boots. O'Reilly matches Bana's charisma with ease, so important to the film's backstory. There is not a cast member out of place here. High praise for a character driven drama with over 25 players.

As legendary screen writer William Goldman said, "Not one person in the entire motion picture field knows for a certainty what's going to work. It's all down to luck and getting the right mix of people". The Dry works, and for me it nearly matches the pleasure I got from Harper's novel, even though I was aware of the twist in the tale.  10GUMS.  

      

 

No. 2. (2021) HIGH GROUND January 6th.

Film No. 2 (2021) January 6th.  8:00 PM SOMERVILLE Outdoor U.W.A.                        

"If we're going to work together then you should learn to shoot". (Travis decides Gutjat should learn a skill which will prove to become significant in his role as assitant protector).

High Ground tells a captivating Australian story from the past. A past drenched in injustices and atrocious violence. High Ground gives us a peek, particularly in the opening and closing scenes, of how the aboriginals were treated (slaughtered) by colonial rule in the 19th century. Some scenes in High Ground are very confronting but these scenes are in no way gratuitous.

Our hero is Gutjuk (Jacob Junior Nayinggul) a survivor (aged 6) of the opening stanza's massacre. Travis (Simon Baker) saves Gutjuk and feels partially responsible for the mayhem that should never have happened. Skip 12 years on, and Baywarra (Sean Mununggur),  Gutjuks uncle, seeks retribution for the loss of his family. Gutjuk, now a young man living in a white-man mission has memories indelibly printed on his mind. Would this be a major advantage to Baywarra in seeking revenge? What feelings of loyalty will he hold for his white mentor and carers?

Director Stephen Johnson has cleverly contrasted the beauty of the Northern Territory, Kakadu in particular, with this dark tale of intolerance. The drone vision of the lush wetlands gives the film a unique aesthetic. The title High Ground has particular significance to the story; it's poignant, so many drone shots give the audience exactly that.

It's great to have Simon Baker making local stories. His Travis character gives High Ground a legitimate "good-guy", a necessary but fragile link, as white man tries listening to a black man's peace proposal. We watch on, hoping forces will compromise and see reason. It's only a hope.  

So while the film has flaws, Johnson's message is brilliantly impactful and should be seen.  9GUMS.      

 

                                

 

No. 1. (2021) THE FURNACE January 4th.

 

Film No. 1 (2021)  January 4th.  1:45 PM.  Cinema 2  LUNA Leederville.

"This land has taken all I had. I will not go back empty handed".(Hanif explains to Mal why taking his share is important to him as he plans to eventually return to Afghanistan).

This fictionalized western, depicting a time in Western Australia's little known past is low key and yet quite captivating. I say quite because there was one plot hole which baffled me slightly.   

Just prior to the turn of the century, the only way larger goods could be transported in the barren, gold encrusted regions of W.A. was by camel. The British enticed Indians, Iranians and Afghanis along with their camels to the parched land to move the goods. We meet Hanif (Ahmad Malek) an Afghan camel handler. He is our hero in every sense, but we soon learn he will carry a heavy weight both physically and emotionally due to unforeseen circumstances which occur in the opening scenes of The Furnace.

A key circumstance during the time Hanif is adjusting to his changed world comes as he stumbles across a wounded Mal (David Wenham). Mal is a rogue transporting stolen gold to Kalgoorlie, for smelting. He is the only survivor of an attack on his party. Hanif decides to help Mal without fully comprehending that Mal's promise of a share in his spoils is laden with complications. 

As well as the pursuing police posse, Mal has a mysterious  pursuer that is never fully fleshed out. What is the story behind this lanky, angular man? This triviality aside, Roderick MacKay has burst on the scene with a debut feature film of substance. A Western Australian artist unafraid to bring his state to the world with such visual and narrative brilliance is to be commended. See The Furnace on a great big screen if you can, that is where you'll experience the full effect. 

Further research beyond the rolling titles suggests Mackay has also made an eloquent statement about tolerance and multiculturalism which further questions the thoughtless manner in which the British Empire invaded this land. 10GUMS.

   

          

No. 83. (2020) NOMADLAND December 28th.

 

Film No. 83 (2020)  December 28th.  4:00 PM.  Cinema 1  LUNA Leederville.

"No, I'm not homeless I'm just houseless, not the same thing right?".(Fern explains her predicament to a close friend's child she has taken a liking to).

This slice of American life called Nomadland is no easy watch, but it is certainly captivating and highly relevant to our times. The U.S. of A is a declining empire in the eyes of many and Nomadland paints yet another picture reflecting that decline. 

Frances McDormand plays Fern and there isn't a scene shot without her. She and David Strathairn (Dave) ply their craft as actors amongst amateurs  living the life Fern has only recently been forced into. The naturalism captured in Nomadland by Chloe Zhao (The Rider) takes us on a year long road trip with a grieving central character who is rudderless after the loss of her husband, home and income all within months.

Zhao's backdrops of incredible scenery give Fern's journey solid grounding as she wends her way from one menial seasonal job to another. Fern, is a good person, ready to help her new "road friends" in a thrice. This new lonely life is growing on her but there is a test along the way. It comes in the form of Dave (Strathairn). It's a low key, undramatic test; but she'll need to make a decision.

Perhaps the real stars of this film are the everyday folk who come with no acting craft but with plenty of life skills and experience. Fern's new mates Gay, Linda, Carl and Doug (along with many others) play themselves. it's here that McDormand's Fern gains her legitimacy.

 

The story of how ordinary people living an alternative life mixing it with acting royalty would be a fascinating tale in itself.  11GUMS.

            

 

No. 84. (2020) PROMISING YOUNG WOMAN December 29th.

 

Film No. 84 (2020)  December 29th.  1:40 PM.  Cinema 2  LUNA Leederville.

"Good god all mighty. They put themselves in danger, girls like that. You think you’d learn by that age." (A man comments to his male friends as they observe Cassie drunkenly slumped on a seat in a nightclub).

 

I wasn’t sure what I was in for when I went to see this film. What I got were elements of comedy, thriller, romance and drama all entwined, following an unbelievable but highly effective storyline. It is crafted in a way to deliver a strong message about rape culture and in doing so empowers women and challenges the idea of slut shaming.

Carey Mulligan delivers a stunning performance as Cassie, a single 30-year-old medical school drop-out who is highly disturbed by an event from her past. From the perspective of others, Cassie is not living up to her promise for success. Instead she works in a coffee store by day and by night she seeks revenge on men who take advantage of drunk women in night clubs. As an audience we are introduced to Cassie’s strange obsession straight away and are intrigued as to how this has come about. When Cassie unexpectedly reunites with Ryan (Bo Burnham), one of her old classmates from medical school, the traumatic details from Cassie’s past are slowly revealed, keeping us on the edge of our seats right until the very end.

As a female on the verge of 30, I was highly moved by this film having witnessed how some alcohol fuelled fun can quickly turn into regret if a man (who claims to be a ‘good guy’) takes advantage of the situation. The film challenges the view that women who drink themselves into a vulnerable position are at fault for what happens to them and the message is highly convincing. I don’t think you have to have had any personal experience with its themes to take something away from Promising Young Woman. At the very least, I guarantee entertainment for the entire 113 minutes and would be surprised if you were not left thinking about it for days or weeks to come.  12GUMS.

Sarah Greenwood