No. 70 (2021) POPPY (Cinefest Oz 2021) AUGUST 28th.

 

Film No. 70 (2021)  August 28th.  12:30 PM   Cinema 3   ORANA CINEMAS,  Bussleton   W.A. 

"I'll fix your next car and it's not going to cost you anything because you don't pay me!" (Poppy calls brother Pete out for his lack of financial recompense to his hard working sister).

"Everyone has the right to fulfil their potential," is the catch cry screaming from the screen as POPPY, the story a young lady with downs syndrome, plays out. And the story of Libby Hunsdale playing the lead role is a prime example of the statement itself. Hunsdale wins over her audience in spades and all while learning dialogue and moving within the confines film shoots. She masters each scene like the professional she is becoming.

But more importantly POPPY does in no way try to be anything it is not. It is a sweet dramedy that is contrived in such a way that families,(mainly New Zealand families) can sit and watch a film preaching tolerance. This time not pressing themes of race but rather the issues of people with particular needs finding their way into a life they can enjoy without being treated as "different". Poppy has a passion for fast cars, and mechanical ingenuity. Her attitude is that she has no reason not to excel in her chosen field.    

The clunky storyline is predictable but that's the whole point of a thoughtful film with a simple message. Ari Boyland plays Poppie's stressed brother Dave. He has a young Russell Crowe look about him and an assured presence to match. They form the key partnership here and while the back story to their commitment for one another is unpacked slowly, I did crave more depth to some of the sub-plots.

POPPY has not been bought by a major distributor so far, my bet however is that it will become available on a New Zealand and Australian based streaming network in the months ahead. Writer/Director Linda Miccol has been brave in taking on, as her first feature film, one that likely will have a small audience initially. I think Poppy might just warm enough hearts that word will spread. A Netfix gig might well be beckoning. 8GUMS.

        

  

No. 68 (2021) THE BOWRAVILLE MURDERS. AUGUST 24th.

 

Film No. 68 (2021)  August 24th.  6:45 PM   Cinema 1   LUNA,  Leederville. 

"The police haven't got a single piece of evidence. They haven't got a single piece of forensic evidence to tie me to those murders!" (The explanation prime suspect Jay Ford continually repeats as he protests his innocence).

 

Watching this compelling documentary and being embarrassed as a white, privileged, Australian is simply understating how I actually felt as I walked from the cinema after watching THE BOWRAVILLE MURDERS.

As far as documentaries go, TBM is thorough, incisive, informative and as mentioned previously, compelling. Many countries reflect on multiple cases where injustices to their indigenous population raise questions of incompetence by law-makers, law enforcers, and the onlookers who simply shrug their collective shoulders. The injustices blanketing the families of Colleen Walker (16), Evelyn Greenup (4) and Clinton Speedy-Duroux (16) thirty-one years on from their brutal murders will make your blood boil due to the intimate power of this film.

The Australian newspaper first made the forgotten story of these serial killings public in 2016 through a podcast series by sound technician, turned voice talent, Dan Box . Box is featured here along with detective Gary Jubelin, both are committed white men, who dedicated years of their lives to helping the families of the victims. Their stories and the relationships they built with the embittered Gambaynggirr people of the mission settlement in Bowraville give hope to the idea that bridges can be built in our time.

 

The strengths that lie in the human spirit are exemplified here and there are many reasons to be optimistic. However due to the fact that police in a position to deal with the case at the time did nothing, a prime suspect, Jay Ford, was never investigated thoroughly when the scent was warm.

I had no idea that so many more layers to this story had been revealed since I finished listening to Box's Podcast. The layers will have you in awe of the resilience of the families of Colleen, Evelyn and Clinton. The respect we garner for Detective Jubelin in the second half of TBM is nothing compared to the Gambaynggirr people's love for him. The documentary does what a good doco should do; moves an audience.  11GUMS.

             

 

No. 67 (2021) REMINISCIENCE AUGUST 18th.

 

Film No. 67 (2021)  August 18th.  6:45 PM   Cinema 4   GRAND CINEMAS,  Warwick. 

"When the waters began to rise, the war broke out. Nostalgia became a way of life. There wasn't a lot to look forward to" (One of many Nick Bannister voice overs to lead the audience into the experience that is REMINISCIENCE).

There is a strong resemblance to BLADE RUNNER and MINORITY REPORT here in REMINISCENCE. Ambitious to say the least (in my book), but there is a lot to like here. Peppered as it is with a few confusing plot-line issues, REMINISCIENCE is a wholesomely entertaining big screen flick. A film easy to recommend to people who love the cinema but who are particularly discerning about what they see on their 6 to 8 annual visits.     

Hugh Jackman has a reputation for choosing his projects carefully. For Hugh it is all about the script and he does his homework to ensure his next challenge is substantial and entertaining. In REMINISCENCE  he's chosen to work with a rookie director he holds in high esteem, Lisa Joy, and a talented lead in Rebecca Ferguson, an actor he has gelled with previously (THE GREATEST SHOWMAN). It's a shame this big screen crowd pleaser will be viewed by most on a streaming network. To live in Perth, Western Australia during these times is such a privilege.

I try, in this humble blog of mine, to give away less of a film's plot and storyline than its promotional trailer does. I worry when a 3 minute trailer gives so much away about the essence of a film's story that so many who watch it walk away feeling they've seen the film. I'm recommending that if you haven't seen the trailer - don't. 

REMINISCIENCE starts with a BLADE RUNNER type voice-over  (Hugh even sounds like Harrison). We're introduced to a world in the future. Climate change has inflicted havoc on the world, in this case Florida Keys. The rising sea levels are lapping at level 10 of high-rise buildings. Harrison, I beg your pardon, Hugh (Nick) explains his world. With so little to look forward to, memories become a way of life. He's a D.A. with access to the film's smart idea. A pod, where, while partially submerged in water, participants are lulled into reliving memories. These memories would then be played out, theatrically through defused light (hologram-like) onto a podium for onlookers to view.

So what if Nick meets and falls for a memory seeking client, Mae? They fall head over heels in love, then Mae disappears as suddenly as she appeared. Nick cannot accept Mae's disappearance. Nick digs for the truth, the deeper he digs (nostalgia mechanism) the more dangerous his mission becomes. It's tight, it's tense. Hugh drags us along to a climax that cries out for a bit more, but who cares? Not me. Highly addictive entertainment is REMINISCIENCE. But steer clear of the trailer if you can!  10GUMS.

             

 

No. 66 (2021) OLD. AUGUST 16th.

 

Film No. 66 (2021)  August 16th.  4:00 PM  EVENT CINEMAS  VMax  No. 9,  Innaloo.

"We never leave each other, nothing separates us, no matter what". (Maddox reinforces their bond with  brother Trent ).

I'm not sure I look forward to the next M Night Shyamalan project with quite the same enthusiasm as I used to. After THE SIXTH SENSE my enjoyment for his films has gradually waned. OLD has done nothing to change my thinking. M Night  continues to impress with his introduction of new ideas, it's his delivery that grates. In the case of OLD, it's  mostly the clunky script that fails.

So let's start with what is good about OLD; the idea. We are introduced to a family, during their first day on holiday at a tropical resort in an un-named country . They are at odds with each other over how to spend their first day. The resort manager convinces them that a secluded beach nearby, might make for the perfect start to their vacation. The beach is idyllic; the secret to Shyamalan's time alteration concept which takes our collective minds into a new dimension. M Night is always to be commended for the mental challenges he offers his audiences. He says as much when ever he discusses his films.

His camera work is intriguing. Never giving away what the characters are seeing until it's vitally necessary. Part of the M Night  puzzle here lies in the behaviours and characteristics of each player. We know there has to be a reason Dr Charles (Rufus Sewell) is erratic and his wife Chrystal (Abbey Lee) is extravagantly vain. Guy (Gael Garcia Bernal) and Prisca (Vick Krieps) are not happy together and one has a health issue. There is a point to every hook Shyamalan baits. 

With so much information and a time trope which means physical change has to affect the actors at regular intervals, was there too much information? And how could a satisfactory ending evolve when so many loose ends need tying together? There is a clever twist in the tail but the tale overall didn't satisfy my tastes. I'm not an M Night tragic, however, the devotee should definitely check out what M Night Shyamalan has to offer up in OLD. 8GUMS.

PS. It cannot be forgotten that a high profile film-maker who stumps up his own money, shoots and releases a film (OLD) all the while with COVID hanging over the world, deserves to be commended. All cinema lovers salute M Night Shyamalan.            

 

         

  

No. 65 (2021) ANNETTE AUGUST 10th.

 

Film No. 65 (2021)  Aug 10th.  6:30 PM   Cinema 1   LUNA,  Leederville. 

"The first time I fell in love, I woke up next to the girl and escaped fast and far." (The voice over of tragic hero Henry as he introduces us to his deeply troubled thought bank).

Cinematic Opera is the best way to describe the genre that ANNETTE explores. It is a very specific type of film, one that I have little knowledge or expertise of. Director Leos Carax explored similar themes in HOLY MOTORS (2012) and considering the box office debacle of this unconventional film I have to admire his persistence, with the help of Amazon Prime, in returning 9 years on, with this lavish parade of colour and music.

Watching a couple of my favourite performers in Adam Driver (Henry) and Marion Cotillard (Ann) play lovers in a tragedy of these epic proportions was a unique experience. They look great together but because I can't comprehend this cinematic context I have to admit to looking forward to their teaming together for a more conventional film. A Steven Soderberg, atmospheric piece perhaps!

Sorry, I'm not willing to try to sway you either way here. I sat back and soaked in the sounds (Sparks Bros), the colour, energy and little Annette in all her forms. I'm not sure I wasn't convinced that there wasn't examples of self indulgence but I didn't totally get the point of ANNETTE. Then, who am I to comment? A critic out of his depth, that's who. NEUTRAL ON THE GUMS.  

    

 

No. 64 (2021) DATING AMBER AUGUST 9th.

 

Film No. 64 (2021)  Aug 9th.  1:15 PM   Cinema 1   LUNA,  Leederville. 

"You're the only boy in the world I'm glad I dated." (Amber reinforces the depth of her friendship to Eddie on one of their fun excursions to Dublin).

DATING AMBER deals with sensitive subject matter, if you don't mind; Teenagers coming to grips with their sexual preferences in conservative, outer suburban Dublin in the mid-nineties. This would have caused many an adolescent a sleepless night or two. So why is this small film gaining kudos for its entertainment value? Because it's pretty dammed entertaining, that's why!

Don't be put off by the sometimes overly earnest nature of this film. David Freyne's (Writer/Director) fresh approach to bringing young actors into the world of cinema through colourful costuming and smart, tight dialogue, is invigorating. Eddie (Fionn O'Shea) and Amber (Lola Petticrew) are cast perfectly as the troubled pair. Their uncomplicated outer masks hide their complicated inner selves. They team up as "young lovers" to ward off their prying peers who play more like comic book characters.

Amber is an only child to single mum, Jill (Simone Kirby). Her father's sudden death years before weighs on Jill but Amber can't be restricted by the past. She is the positive rock Eddie can lean on as he grapples with his sexuality while Amber becomes comfortable with who she is. There's also the delightful Jack, Eddie's younger brother who steals some of the film's best lines while showing genuine sibling love. Look out for the name Evan O'Connor in years to come.

Yes, Sharon Horgan (CATASTROPHE)is there as Eddie's loving mammy. She loved the script, supported Freyne on a beer budget and surprisingly took out Best Supporting Female at the IFT Awards. Horgan is always charismatic on screen.

My favourite film this year so far is HERSELF. A more serious jab at constraints in Irish  domestic life. In Dating Amber, Freyne takes another jab. A jab using lighter tones but with no less strength of message. DATING AMBER won't break box-office records, but it will continue to push that barrow called tolerance. 9GUMS. 

     

       

No. 63 (2021) BEWARE OF CHILDREN (BARN) Palace; Scandinavian Film Festival AUGUST 3rd.

 

Film No. 63 (2021)  August 3rd.  11:00 AM.  Cinema 2  LUNA SX Fremantle.

"We are talking about a thirteen year old girl, who accidently caused someone's death." (Liz tries to bring her staff to think realistically about how Lykke should be treated).

BARN highlights new techniques in film making, mainly because it plays as a theatrical drama, but its characters are written specifically for screen. I was a teacher in another life. I was rivetted to the subject matter here. Many, I fear, may find the 157 min run time a little wearing.

Norwegian novelist/director Dag Johan Haugerud writes a layered story sparked by a sliding door moment where an innocuous incident in a school yard leads to a child's death. From here we live in the pockets of people most affected by the incident, but mainly with the school's principal, Liv (Henriette Steenstrup), after all, it is she who will need to juggle most emotional balls in this dialogue driven morality play. It's an effective perspective to pursue.

Haugerud has great interest in his fellow country person's (Norwegian) psyche. His observations of everyday people facing testing situations, either domestically or in a work setting, gives him a springboard into his art. He was once a mild mannered librarian. After watching BARN, I believe his observational notes on human behaviour must be extensive. 

Liv is a socialist who cares for those she leads. She keeps secret her relationship with right winged Per Erik (Thorbjorn Harr). But when the victim is Erik's son she is torn between head and heart decisions. She and her family have strong roots in this suburban community. Liv's brother, Anders (Jan Gunnar Roise) is on her staff. He should have been on duty when, and where, the incident took place. 

There is nothing sinister about any of the drama. 13 year old Lykke (Ella Overbye) has to live with the impulsive movement she made which caused the tragedy. Something happened, people become embroiled as the repercussions for that moment are played out. Some may find that the film's  run-time wearing. Not so for me! 9GUMS.

 

    

  

 

No. 62 (2021) THE COUNTY (HERADID) Palace; Scandinavian Film Festival JULY 31st.

 

Film No. 62 (2021)  July 31st.  4:15 PM   Cinema 5   LUNA,  Leederville. 

"You will all know I wrote an article the other day about corruption in the CO-OP." (Inga addresses the committee of farmers about addressing issues related to the cooperative they all depend upon).

The Icelandic Writer/Director Grimur Hakonarson, who brought us RAMS (2015), brings into focus, once again, the cold starkness of a wind-swept farming landscape. This time his theme centres on people banging heads over issues of moral rights and wrongs. HERADID has less of the pig-headedness of the RAMS script and focuses more on the resilience of the human spirit.  

Dairy farmers Reynir (Hinrik Olafsson) and Inga (Arndis Hronn Egilsdottir) work to live. The local district Co-op controls their income. They fit in with the status quo. It's what they've always done. So when tragedy strikes and Inga is left to cope with the financial mess that is their farming business, she has the will and temperament to seek change. That change, she hopes, will be for all the farmers of her County.

Hakonarson does not cut any new ground here, but he does give an insight into another country's business edict. In the same way unions became a force for workers to gain better conditions for workers, Co-ops in the farming counties of Iceland were formed to give fair prices to farmers for their produce. Over time Co-ops gained power beyond their station. They forgot who they really worked for. They systematically screwed farmers down on margin.

Inga is "David" and the Co-op "Goliath". And while there are outcomes to this battle that are predictable, Inga's final destiny is realistically inevitable. She is our hero and Hakonarson treats her with absolute dignity. HERADID is realism played out on the farming plains of Iceland. The story is worth telling and the message is strong. I enjoyed the trip into a farming culture I knew nothing about. 9GUMS.    

   

No. 61 (2021) GAMES PEOPLE PLAY (SEURAPELI) Palace; Scandinavian Film Festival JULY 27th.

 

Film No. 61 (2021)  July 27th.  6:30 PM   Cinema 1   LUNA,  Leederville. 

"A comedy about the tragedy of being forever young." (Promo tag selling this Scandi film to an English speaking market).

Did THE BIG CHILL (1983) start the 'Friends Reuniting' genre in contemporary cinema? No, Australian film Don's Party (1976) came before, but CHILL made the style famous.  Done well it is social drama fuelled by alcohol, reflection, lost love, sex, regrets and 'such as life' resolutions familiar to us all. SEURAPELI brings a Finnish take on the genre. 

Eight friends gather at an idyllic seaside villa to celebrate Mitzi's (Emma Parviainen) birthday. It's high Summer, so the long weekend has endless brightness, typical of the Scandinavian weather  around the time of a midnight sun. These hip thirty somethings take us on an alcohol fuelled ride into their past. Six characters, family, friends, and two outsiders.

Mitzi is temperamentally unpredictable, the gathering is partly a surprise. Her best friend and wanna-be high flyer  Veronika (Laura Birn) generally gets what she wants and flies in (sea-plane) with her actor boyfriend Mikael (Christian Hillborg). Gradually the past for each of the others is revealed and analysed with forensic detail depending on which alcoholic mixture fuels the thoughts of the protagonists.

Was SEURAPELI (Finland 2020) a post ANOTHER ROUND (Denmark 2019) where we gain further insight into the Scandinavian drinking culture? Or does it explore the frailties of the human condition and regrets related to either past loves and / or career choices. 

We watched this with friends. It's a good flick to watch with friends. For us the discussion revolved around who of the eight we most saw through, or conversely related to. We are in our sixties, we were frivolous in our discussion. Thirty/Forty somethings may be more serious with their interpretations considering their stage of life. The promo tag that this is a comedy about the tragedy of being forever young sits well here.  9GUMS.

            

 

No. 60 (2021) HOPE (Hap) Palace; Scandinavian Film Festival JULY 25th.

 

Film No. 60 (2021)  July 25th.  1:30 PM  PALACE Cinema 3,  Raine Square,  Perth City. 

"I often say you should give children 10% more hope than you have yourself."(Anja's consulting surgeon discusses techniques for breaking bad news to family).

HAP is all about the "B's" of cinema. Brilliant but Brutal. So be warned. Many people have existed in the 9 day vigil Anja (Andrea Braein Hovig) and Tomas (Stellan Skarsgard) take us on in this 'life is so fragile' journey. Director Maria Solahl gave us Sonia in LIMBO ten years ago, a Scandinavian woman having to adapt to a new culture (West Indian). Now she introduces us to Anja a woman suddenly faced with her mortality.

The stark naturalism Solahl uses to take us into Anja and Tomas's world gives us a depth about how much family means to them both. But mostly we get to experience the fear that comes with a dire prognosis, that of brain tumour growing in Anja. In these nine days, we learn of Anja's prior concern about her health. Her diagnosis just reinforced her fear. Then there is a proposal put to her by husband Tomas. A proposal that only goes to heighten her anxiety. 

This film belongs to Hovig. She commands our attention for the full two hours. Nine days compacted (chapter like) into 120 minutes over a Christmas into New Year, heightens the emotion for the characters and audience alike. Imagine nine defining days in ones life where so many unresolved issues loom. The fear of facing the truth about, mainly family matters, which fade to zero compared to facing death. 

I write this post as a critic who appreciates true power when a strong theme with a message appears on screen. I've not been faced with a crisis like Anja's. I never want to, but so many brave people have. Please be warned this film could not be recommended as entertainment. But then again, there may be a few who will find the themes and how well they are depicted partially therapeutic. I'll leave it with you.  10GUMS.