No. 95 (2021) BENEDICTION Nov. 22nd.

 

Film No. 95 (2021)  November 22nd.  6.30 PM   Cinema 1.  LUNA,  Leederville. 

"Duty, well that word covers a multitude of sins. In the face of such slaughter one cannot order ones conscience"(Siegfried sits at his court-martial, answering questions about the reasons for his objections to the War).

 

Did writer/director Terence Davies see something of himself in war poet Siegfried Sassoon when it came to his interpretation of an under-recognised artist? Davies recently spoke about being an outsider, and he saw Sassoon in the same light. Davies understanding of Sassoon was that he died feeling very unfulfilled, his film gives a powerful insight into that lack of fulfilment.

Davies is not a film-maker who deals in the trivialities of language. Every word is written with great purpose and every scene plays like a stage play. This won't be to everyone's liking. But if you liked THE HOUSE OF MIRTH (2000), another of Davies's under valued classics, then BENEDICTION will, I believe, be to your tastes. 

BENEDICTION, plays out in three acts. Sassoon, played by Jack Lowden, establishes himself as the film's centrepiece in a tight, sharp and very witty opening stanza. He is secure about who he is. His objections to the war are strongly played out. He's committed for psychiatric treatment and while we feel no-one could be more sane, he becomes less sure of himself. His path through early manhood as a homosexual sees him becoming subservient to two of his lovers; Ivor Novello (Jeremy Irvine) and Stephen Tennant (Calam Lynch). The war, falling in love with a fellow poet, Wilfred Owen (Matthew Tennyson) and life in hospital seem to sap his self-esteem. He even gets married to the beautiful and loving Hester Gatty, (Kate Phillips) who becomes his life partner. 

The third act has us flicking between post WWII, (with Sassoon now played by Peter Capaldi) , and the Lowden era. Sassoon is the complete embodiment of an embittered genius. Hester mkII (Gemma Jones) and son George (Richard Goulding) are good, loyal people, but Siegfried "bubbles away" in silence. The Sassoon we first meet is not the Sassoon we farewell as the screen turns to black.

The film is good. One of Davies' best. The history lesson via Google later, gave me a wonderful insight into why Davies interpreted Sassoon via BENEDICTION as he did. Seventy six year old Davies, like Sassoon, could well be suffering similar artistic ailments! 10GUMS.              

 

  

No. 76 (2021) MISS. SEPT. 25th.

 

Film No. 76 (2021)  September 25th.  11:00 AM   Cinema 1   LUNA,  Leederville. 

"To be someone!"(Alex answers the question, "Why do you want to be Miss France?" and follows her answer with a warm sensuous smile).

It's hard to know exactly what this lavish, overlong, feel-good film is saying. Follow your dreams is certainly one of the strands developed but because Alex (Alexandre Wetter) is a male trying to win the Miss France beauty pageant there are themes of feminist resilience and recognition but I didn't feel confident it's message had substance.

Director Ruben Alves is better known in France as an actor/writer (THE GILDED CAGE), generally playing minor roles in French T.V. series. MISS is his first feature film. Made for $12M U.S. MISS is a clean cut, pretty film. Wetter is the beauty on screen that gives MISS that shiny look. But Alves uses every cliché available to him while never deviating from the formulaic path already paved so many time before.

Alex is a boy brought up in foster homes his parents having been killed in a car-crash. As an adult he lives in a household of misfits in a suburb of Paris. This loving adopted family support his every decision, for better or worse. When he decides his dream is to win Miss France, in the same way Rocky Balboa wanted to be world champ, all stops are out to get Alex over the line. Everything you see in MISS, other than Wetter's unique beauty, you've seen before.

The French mainstream, film loving public, are loving MISS and while I have my reservations, I get why it has a following. France, is exiting from it's COVID hangover and a  flagship film or two on hand to attract the masses back to the cinema can't be bad for the industry. MISS is one such film. That's got to be a plus.  7GUMS.

             

 

No. 94 (2021) BEST SELLERS. Nov. 15th.

 

Film No. 94  (2021)  November 15th.  6:30 PM   Cinema 1.  LUNA,  Leederville. 

"We at Stanbridge publishing believe that is your signature, so you owe us a book"(Lucy reminds tired, cranky, washed up author Harris Shaw of his obligations).

I'm not sure what it is about films being shot during the COVID pandemic, but there is something distinctive about the unevenness of narrative. BEST SELLERS fits this bill wholeheartedly. It's a film that splutters along. I referred to my watch 3 or 4 times. Yes, you know what I mean. That type of spluttering!

Lucy Stanbridge (Aubrey Plaza) and Harris Shaw (Michael Caine) give this film credible chemistry. Both are terrific actors from comedy roots. Their poise and timing captured in the opening scenes set BEST SELLERS on the path to a dramedy worth recommending. Then the script loses its funny bone. Plaza and Caine are made to change gear and turn their relationship into a cliched, symbolic grandfather and long lost granddaughter, finding each other via a road movie trope. 

Shaw is introduced to us as being alcohol dependent, unhinged and seemingly in no position to produce a novel still owed to Standbridge Publishing (Lucy). Then 30 minutes in, he has unearthed a manuscript from a "top drawer" which becomes the centre piece for a Lucy/Harris road trip. So does the trip become the vehicle to maintain the comic punch of earlier scenes? Or is it a chance to devise a pseudo grandfather/granddaughter discovery of respect for another trope?

Unfortunately, first time feature director Lina Roessier (Mustard Seed (short)) takes the latter path. The comedy dissolves and we are expected to fall into the arms of our leads and become reflective as they open their hearts. Because Plaza and Caine are in charge they get part way there ..... in a cinema however, I'm looking for more. The happy ending tinged with great sadness had more people, at my screening, looking at their smart watches than reaching for tissues. 7GUMS.                   

 

No. 93 (2021) OPERATION MINCEMEAT. Nov. 14th.

 

Film No. 93 (2021)  November 14th.  1:45 PM.  Cinema 2  LUNA SX Fremantle.

"The plan is highly implausible. So when can it be ready? When can we start?" (Churchill gives his approval to a sceptical now surprised Admiral Godfrey).

The story behind the largest piece of wool ever pulled over the eyes of The Nazis' in the heat of WWII (1943) is told in this, tick all the cinematic boxes, piece of story telling. OPERATION MINCEMEAT is prosaic, but a fun watch; perfect for the streaming market where, let's face it, it will be watched most prolifically.

The first 5 minutes establishes a scene we re-visit later. It is tense. Characters we will meet and get to know  (Ewan Montagu (Colin Firth), Charles Cholmondeley (Matthew Macfadyen), Jean Lesley (Kelly Macdonald) and Hester Leggett (Penelope Wilton) wait, praying that good news will arrive via telegraph tape. What is the news? Well, the screen goes to black and the words 6 months earlier appear. You know the drill!

The story of how England hoodwinked the Nazis' into believing English forces intended to land on Greek soil to gain a foothold in Europe in mid 1943, (when in reality the shores of Sicily was their real focus) unfolds in this very handsome film. Handsome as only the the Brits could frame it. That doesn't tell you much I know! But a major part of the intrigue is the stranger than fiction sting. It involves a dead body being set-up with a military identity and a briefcase containing VIP letters and papers, then being planted in the ocean off Spain (neutral territory). The hope being, the contents of the briefcase would surely leak into German hands? Thus unfurling another intriguing aspect to the story.

 

The players, mentioned earlier, colour the film with their backstories, agendas, determination to succeed against adversity and even Macdonald's Jean steaming up the lens as she decides if having eyes for Firth's Montagu is wise. After all Charles (Macfadyen) is a bit keen on Jean himself. Director Madden (MRS SLOAN) is the conductor of these, fictionalised sub-plots to give us better connection to the main players. It works.

 

OPERATION MINCEMEAT is an attractive, lavish, well told, old-fashioned war story.  9GUMS.

               

 

 

No. 91 (2021) NO TIME TO DIE. Nov. 11th.

 

Film No. 91 (2021)  November 12th.  8:30 PM   Gold Lounge   GRAND CINEMAS,  Warwick. 

"When your secret finds its way out, it will be the death of you." (Blofeld finally meets with Bond and his words spark a slight vulnerability in James's demi nor).

Daniel Craig's swansong is all you would expect from a Bond 007 flick. I have been a Bond enjoyer, rather than lover or devotee through the years, with CASINO ROYALE my favourite of Craig's five efforts. ROYALE remains my fav after this overly long, rollicking ride around the world in 164 minutes.

But don't get me wrong. NO TIME TO DIE delivers everything anyone would expect from a landmark chapter, considering Craig's exit from the franchise. It actually delivers in spades! 

So where did we leave off when last we travelled with Bond (SPECTRE)? While I've not seen SPECTRE I've been told NTTD is a sequel. I picked up enough along the way see this version as a stand-alone, but it may help to watch Craig's second to last effort. Arch nemesis Blofeld (Christopher Waltz) heads the terrorist organization Spectre and if anyone could place the world's head into a noose, then Blofeld is your man. Come NTTD, the present, and Blofeld is in captivity but obviously still doing his deeds from within, Hannibal Lecter (not very effectively) style. 

We catch-up with Bond, a softer Bond, in retirement in the West Indies. Yes, he needs to come out of retirement because of love, intrigue and another agent (Nomi played by Lashana Lynch) accepting the mantle of 007. Besides a new terrorist threat has emerged in the form of Rami Malek (Lyutsifer) with Blofeld still breathing oxygen better suited to other people.

 

But Bond is all about action. Is the action any good? There is nothing new, but yes, the action scenes are great. The violence is metred out John Wick-like, choreographed to within an inch of the bloodless mayhem. No, there is never much blood in Bond flicks. It's part of the shtick.

How does the Craig era end then? With a twist, and anyone reviewing NO TIME TO DIE is sworn to secrecy. If there is anything Craig has brought to the character, it is shades of humility and kindness. He's got to be pleased with that legacy!  9GUMS.         

 

 

No. 92 (2021) FALLING FOR FIGARO. Nov. 13th.

 

Film No. 92 (2021)  November 13th.  8:20 PM  PALACE Cinema 8,  Raine Square,  Perth City. 

"Oh grow up. Start again, bar 32."(Meghan reacts to Millie's vision of grandeur; her playing out a dream of being a success on the opera stage).

FALLING FOR FIGARO is one of those films that promises much and delivers so little, you might wish 100 minutes of your time could have been spent doing something else. Movies can do that to you! The trailer made me think this romcom might just have the magic to melt the heart at all the right moments. Joanna Lumley is featured heavily in promotions but now, I'm surprised she accepted the role, considering the script. 

Australian Ben Lewin (THE SESSIONS, a deeply affecting film) is in charge here. His writing and direction is so safe, he's obviously decided on his audience, but surely he knows that romantic comedy, (while popular from a demand POV) is extremely hard to get right if the delivery is both safe and flat. Don't get me wrong, his cast is great. Lumley, Hugh Skinner as Max and Danielle Macdonald as Millie are fine but the old analogy that you can't make a silk purse out of a sows ear rings true here.

Two young, raw talents, Max and Millie seek training with Meghan Geoffrey-Bishop (Lumley) to become opera singers in rural Scotland. Their aim is to win Singer of Renown, the T.V. show that gives the winner access to a leading opera company. Do they compete against each other or do they work together? They are both young and attractive. Will they build chemistry while they battle the "treat them mean, keep them keen" mentality of coach Lumley? See, I told you it was safe. But there are likeable aspects to FIGARO. The scenery will get potential tourists to the area. The cast look great and the odd one liner will trigger a burst of laughter. That's about it really. Oh, and we were out with friends who quite enjoyed FIGARO, I don't really want the 100 minutes back!  7GUMS.

      

 

No. 90 (2021) THE POWER OF THE DOG. Nov. 11th.

 

Film No. 90 (2021)  November 11th.  11.00 PM   Cinema 7.  LUNA,  Leederville. 

"It's just a man. Only another man"(Rose responds to son Pete's query about what ails her).

Jane Campion's THE POWER OF THE DOG is a wonderful film depicting Montana cowboy country in the 1920's, where loneliness was as much an epidemic as it is for those living urban lives amongst millions of people. I say wonderful in the full knowledge that not all film goers are going to find affecting, introspective films to their liking, no matter how well they are made.

Phil Burbank (Benedict Cumberbatch) and brother George (Jesse Plemons) are wealthy cattle ranchers on the rich plains of Montana. They are forced to work together. The family tradition locks them into a world they wouldn't necessarily have chosen. To the plains they are born. Enter Kirsten Dunst as Rose Gordon, a widowed inn owner. Her son Pete, a sensitive, intelligent, gangly young man becomes a part of the Burbank world when George marries Rose, more to alleviate each others loneliness than for love.

Told in chapters, Campion weaves her magic as a form of cinematic hypnosis.  Scene after scene gradually builds on the complications we need to understand about each of the four leads. Nothing is predictable. We are always on alert for a scene we have pre-empted in our own minds, but it never unfolds that way. It's what makes this film such a revelation. Cumberbatch and Dunst are hardly in a scene together but the steam that hisses from every moment they exchange a glance or word heightens an uncomfortable edginess.

However the key relationship here is the one Phil builds with Peter. Peter seems such a vulnerable young man in the company of Phil. But is Pete far more in touch with who he really is? Most of all, he is not tied to a future like Phil is. Phil sees something of himself in Pete. Does he fight it or does he nurture it? And what is it about the title of this powerful film? Will it matter if you aren't a dog lover?         

Campion has returned to her PIANO roots here. I think THE POWER OF THE DOG is better but I was less mature as a cinema lover 28 years ago. I can now appreciate JC's insight into the frailties of the human spirit via THE POWER OF THE DOG better. And the biggest twist of all? Well that comes when you find out the filming location. Where else would Campion have filmed THE POWER OF THE DOG?  11GUMS.

 

     

No. 89 (2021) THE DUKE. Opening Night of British FF Perth W.A. Nov. 3rd.

 

Film No. 89 (2021)  November 3rd.  6:30 PM  PALACE Cinema 6,  Raine Square,  Perth City. 

"We are convinced that The Goya has been stolen by a highly professional, international criminal gang."(The words of The Commander of police operations during a press conference announcing a major art heist in London).

What ever you do, that is if you don't know the name Kempton Bunton and you're keen to see THE DUKE, don't research Mr K Bunton of Newcastle U.K. The subtle twists to his story will lessen the endearment you'll have for this crowd pleaser of a film. I walked away with "buckets" (in-joke) of love for THE DUKE.

Roger Michell (NOTTING HILL, MY COUSIN RACHEL) is always looking to create interesting, generally amusing films. NOTTING HILL will stand as a classic, when it could easily have been ridiculous, pat and wet. In THE DUKE he has presented Jim Broadbent with a character and script which, too, could easily have missed the mark. It does not. So much so it could well be a best-ever for both Michell and Broadbent. Considering their resumes, I may be going too far, but not from my POV. 

Kempton (Broadbent) is a loveable eccentric. A man of the people and while he can talk, he acts on his talk. But it is not lost on us that he would be difficult to live with. Wife Dorothy (Helen Mirren) is at her wits end, what with his theories on bureaucracy (owning of a T.V. licence here), but it's more the fact he can't hold down a job as he's always preoccupied with fighting a good fight. And all this is played out as a 60's Ealing Comedy full of minor slapstick movement, split screens and one-liners. Don't be put off by this. The style is Ealing, the delivery is agelessly whip-smart.

Mirren has none of the lines Broadbent has, so while the poster would suggest they share the billing, make no mistake, Mirren is along for the ride here. Broadbent is the centrepiece. So if you are coming, just to see H.M. shine, then you'll be disappointed. 

THE DUKE is about a man and his family, a family to warm one's heart. The Australian classic THE CASTLE came to mind as the titles rolled. THE CASTLE was pure fiction with a lovable patriarch, Darryl Kerrigan. Kempton was real. His story is no less far fetched and just as amusing.  11GUMS.

           

No. 88 (2021) THE MANY SAINTS OF NEWARK OCT. 28th.

 

Film No. 88 (2021)  October 28th.  6:45 PM  EVENT CINEMAS, Cinema 1  Innaloo.

"I wanna get to college, I can't get caught with shit like this". (Young Antonio tells his uncle where life is at for him in relation to stolen goods being offered to him. It is a major turning point in where Tony Soprano is headed).

This film is going to be loved, more by devotees of the famed SOPRANOS HBO T.V. series. I am one of those who worshipped said series and it remains in my five best box-sets of all time. More importantly however, THE SAINTS will stand alone as a highly entertaining, thrilling gangster film in the realms of MILLER'S CROSSING or GOODFELLAS but never quite rivalling them.

But what is so clever about THE MANY SAINTS is the sparks which ignite the issues which slowly bubble and brew through the 86 episode dramas. Racism, mental illness, loyalty leading to treachery, violence against women, family values and the emotional claustrophobia of being trapped in a life. Young Anthony (two phases) is an onlooker for the most part of THE MANY SAINTS but there is little left to the imagination as to how he becomes the beast so easily recognised on the small screen.

Ray Liotta playing twin brothers Hollywood Dick and Sally Moltisanti along with Michela De Rossi as Dick's much younger wife are crucial to the layering of THE MANY SAINTS. Both give highlight performances and represent every spectrum of Antonio's destiny.  

And then there is the greatest example of what lies at the seat of who Tony becomes. For those enjoying the film without prior knowledge, the last 5 minutes (the reveal) is simply a twist. For us, it is a gobsmacking, jaw-dropping event.

The film plays out like a couple of T.V. episodes. Anthony's Uncle Dickie runs the gang and Anthony is mapping his every move. Dickie is thrilled by the birth of his only son Christopher but it is nephew Anthony he sees as the inheritor of all his "gifts". So the first half of THE MANY SAINTS (Episode 1) depicts Tony as an early adolescent and the second, late teens. 

David Chase (Sopranos creator) announced the idea of a prequel in 2017. Most series lovers were underwhelmed, me included. We really should never have doubted him. For me, THE MANY SAINTS OF NEWARK gives new meaning to the masterpiece that is THE SOPRANOS.  11GUMS.

           

   

No. 87 (2021) ZOLA OCT. 26th.

 

Film No. 87 (2021)  October 26th.  6:30 PM   Cinema 1.  LUNA,  Leederville. 

"From here on, watch every move this bitch makes" (a part of the voice narration overlay which gives clues to the story we are told we wanna hear!).

I won't beat around the bush here; ZOLA is not a film I liked, but it will have its fans. It is, however, imaginative in its structure and the idea of devising a story not from a memoir, or a biographical outpouring, but from a series of tweets is innovative. The tweets are from a girl, Zola (24ish) who became caught up in a bizarre life experience she would have preferred never to have become entangled in! 

So the positives are: 1. The performances of Taylour Paige (Zola) and Riley Keogh (Stefani). Paige has already gained work (BROTHERS; in pre-production) from this lead performance. Keogh; well who better to play an unhinged pole dancing wild-thing with so so many more services to offer? 2. A film style to reflect the digital, social media generation. ZOLA is a high octane, anti-social stream of consciousness that is meant to shock an older generation and entertain the young. 3. Another angle, effectively blaring a signal at a much maligned Florida underbelly.

The negatives, well I suppose, one from the keyboard of a 60's something film-lover is, WHO CARES? Plenty of another generation of film goer, that's who. The scenes of Stefani making the money Zola believes she deserves seemingly exist to reinforce the porn industry, so easily accessible to all and sundry in today's world. And the peripheral characters tacked onto the ill-fated road-trip are so unlikeable it's not surprising Zola has not a word of compassion coming her way. There is an emptiness in the film, I still haven't been able to tie down exactly what it is!

Anyway, enough said. If Zola appeals to a new selection of film goers, particularly if they decide on sitting in front of a big-screen then "hats off" from me. I hope they love Zola. Lots will.  6GUMS.