No. 15 (2022) AFTER LOVE Feb. 23rd.

 

Film No. 15 (2022)  February 23rd.  8:00 PM SOMERVILLE Outdoor U.W.A.                        

"Back then I did something for my husband that no one else could" (Mary tells Genevieve of a sacrifice she made for her husband; the same man Genevieve thought she knew intimately).

Perhaps because of the brilliantly impactful, single shot, opening scene, the remainder of AFTER LOVE, for me, never quite reached the dramatic heights I was expecting. This is not to say I'm shunning the film, I'm not, but the melodrama that unfolded for the next 85 minutes never reached the Ken Loach like qualities depicted in the opening five minutes. 

Aleem Khan is a writer/director to follow. His story of Mary (Joanna Scanlan), a muslim housewife, of English descent, living in Dover and coping with the death of her husband Ahmed (Nasser Memarzia) is original but not without well worn story strands and revelations of  "the husband had a double life".

There are plenty of questions raised by Khan in this, his first feature film. His lead character, Mary, an English woman converted to Islam for love. Her life with Ahmed is not without loneliness as he works away. A single shot of Ahmed, in naval uniform, on the wall in their house, our only clue. Mary adheres to her converted life with a strictness not matched by her husband, a migrant who brought his world to Mary. Khan brings Islamic women's repression issues to the table here. These themes are emphasised more fervently when Mary travels to France to meet Ahmed's second family.

The bulk of the story takes place across the channel when Mary takes the ferry and travels no more that 30 kilometres to where the deception took place. Mary soon realises that Genevieve (Nathalie Richard) and son Solomon (Talid Ariss) have lived a family life with Ahmed and this shatters all comprehension of who she thought her husband was. Mary learns many of her husband's secrets by (in a case of mistaken identity) becoming Genevieve's cleaner. It's here that the film wanes for me. Melodrama and a sense of predictability dilutes the impact I'd hoped AFTER LOVE would have.

AFTER LOVE is however being well received and tells a rich thought provoking story. It's a good film. Khan is a film maker now on my watchlist. This, his first feature is full of merit. The simplicity of his opening sequence and its impactful nature gives him serious cred!  9GUMS. 

          

       

     

No. 14 (2022) CYRANO Feb. 21st.

 

Film No. 14 (2022)  February 21st.  7:15 PM  PALACE Cinema 4,  Raine Square,  Perth City.

 

"My love for you has the strength of Hercules... Hercules, I need something better than that!"(Christian recites Cyrano's words as he serenades Roxanne from under her balcony).

CYRANO is a sweet musical. Well, I say sweet because the well told story of Cyrano de Bergerac from a play first performed in 1897 has very tragic repercussions indeed. I  maintain, this version is more sweet than tragic. In fact I'm surprised at the M rating, it should be PG.

Joe Wright (ATTONEMENT, HANNA) directs for T.V. (BLACK MIRROR) and film with a good eye for how he'd like us to feel about his characters. Here, along with writer Erica Schmidt, he takes Rotand's play and instead of Cyrano having a long nose, he is height challenged, via the brilliant Peter Dinklage. I say brilliant because Dinklage, (along with the odd musical interlude), is a good reason to see CYRANO.

Haley Bennett's, Roxanne fills the screen with a pure, milky skinned beauty that adds to the film's sweet flavour, and Kelvin Harrison Jr as Christian ticks the third box adequately. Other than that, there is Wright's twist using Dinklage. I'm not certain Wright would feel he achieved all  that he set out to. The fact he shot this during COVID, in a bubble, on the island of Sicily mid last year, meant that with limited locations he settled for a more theatrical interpretation. After all, his writer Schmidt created the original Off-Broadway stage musical.

That said, if you love your musicals then CYRANO will satisfy. The soundtrack, the choreography, the images are faultless. Even if, like me, it's not your genre of choice, there is a lot to like here. And Dinklage, he's big (no pun intended) anyway (GAME OF THRONES), I suggest he's about to get even bigger. And the show stopping musical moment for me is, WHERE EVER I FALL; soldiers sharing the deepest feelings in their their hearts before going into battle. I saved it immediately to my Spotify playlist. 9GUMS

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No. 13 (2022) TORN Feb. 15th.

 

Film No. 13 (2022)  January. 15th.  8.35 PM   DISNEY CHANNEL,  Mt. Hawthorn, West Australia.

 

"Conrad got a phone call, he told me "it has to be him" it was like he came back to life, he showed up." (Jennifer recounts the day she heard the news about her lost husband, coming from the mountains in Tibet).

Alex Lowe was one of the worlds leading adventurers. It was extraordinary to see the lengths he and (often) his best mate Conrad Anker extended themselves to, when it came to human adventure and endeavour. Lowe was paid big money to spend long periods of his life in the Himalayan mountains, leading expeditions. He also had a family. A wife, Jennifer and three young boys. Then, sadly, he perished in an avalanche, his body buried under tonnes of snow. Sad, sad, sad.

Thirty years later Lowe's oldest son Max has created a most personal account, not just of the feats of his father, but mostly about how a family coped through the years. Losing a world renowned adventure icon, but more importantly a husband, father and best friend took its toll. TORN is extremely engaging and heartfelt. 

Max is neither a journalist or professional film maker. Maybe this is the reason the film is so at one with its audience. He doesn't try to document an adventure film about the man who was possibly the greatest mountaineer of all time, he gives a personal account of what life was like without his dad around. He shares his impressions and the trials his heartbroken mum Jennifer faced bringing up three young boys, Max, Sam and Isaac. He challenges his younger brothers to reveal all about coping with that loss as junior school aged kids.

But the real dimension added to TORN comes when we learn of the role Alex's best friend Conrad played in shaping the family's future. Conrad was on the mountain with Alex that fateful day. In Conrad's words "I went left and Alex went right" ..... Conrad escaped, and lived to tell more than just a tale. He did much more!

I hadn't seen a trailer for TORN. I knew nothing of Alex Lowe. My pastimes are not of the adventurer type. Not knowing the story allowed the revelations at key moments enhance an already engrossing story. Most people will have a similar experience to me, I'm betting. TORN is a documentary that will stay with you for some time; Max Lowe's prime objective, no doubt.  10GUMS.            

         

 

No. 12 (2022) C'MON C'MON Feb. 10th.

 

Film No. 12 (2022)  February 11th.  6:30 PM  PALACE Cinema 4,  Raine Square,  Perth City.

 

"Over the years, you will try to make sense of that happy, sad, full, empty, always shifting life of yours."(Johnny reads from a book he and his nephew Jessie often share with one another as they while away time).

Sometimes the most layered and thoughtful films convey the simplest message. C'MON C'MON is a sweet film that works the same way a can opener lifts the lid on a can of contents busting to be exposed; full of wholesome goodness and aromas. This is a coming of age, road-trip film so unlike others, it's hard to believe it could be as good as those that precede it.

After seeing the excellent BEGINNERS eleven years ago I remember thinking director Mike Mills knew how to bring a beating heart to a film. I didn't expect it would take this long to experience his brilliance again. I must say it has been well worth the wait. 

Once again Mills takes us into family. A family crisis requires Viv (Gaby Hoffman) to focus on caring for her mentally ill husband (and father to Jesse) Paul (Scoot McNairy). Viv needs her brother Johnny(Joaquin Phoenix)to take responsibility for Jesse (Woody Norman). Johnny and nine year old  Jesse  are forced to connect meaningfully. Days into the arrangement, Johnny is called to New York and Viv reluctantly gives permission for Jesse to go. From here the film blooms. 

Johnny has audio recording gear at the ready at all times. It's his job; he records the voices of young people. They talk about their life aspirations and observations. These short scenes are woven throughout C'MON C'MON. These grabs, interspersed with the scenes of Johnny and Jesse forming a tender friendship, give us a truly optimistic view of the future. It's invigorating and thoughtful film-making. 

If this sounds a little too experimental for your tastes, go anyway. The performance of Woody Norman as Jesse alone will make it worth your while. Norman is English, he was nine during filming (now eleven) and he pulls off an authentic American accent. You may be witnessing the next big inter-generational star. If you have a son or daughter around the age of Jesse (or older) who loves film, they'll likely get much from C'MON C'MON.  11GUMS. 

        

 

No. 11 (2022) MARRY ME Feb. 9th.

 

Film No. 11  (2022)  February 9th.  6:45 PM  EVENT CINEMAS,  Cinema 9  Innaloo.

"Dad, you haven't had any fun since Mum left. Say yes!" (Charlie's daughter Lou lays it on the line to convince him to come to the concert with Parker and her. He'd be crazy not to. The film wouldn't have much of a story if he didn't).

Universal  has likely backed a winner here in MARRY ME, having a world wide release, 5 days prior to Valentine's Day, of a film that's not in the league of PRETTY WOMAN or NOTTING HILL, but it has its moments. Enough moments that it will likely recoup its budget, in this, its opening week. 

Like its higher profile predecessors, Marry Me is relevant to contemporary times. The prevalence of social media as a key to highlighting image, dominates the film. Particularly the image of Kat, a world renowned singer and dancer with a profile comparable to the star who plays her, Jennifer Lopez.

The film is based on a graphic novel by Bobby Crosby. Kat is on the verge of marrying Bastian (Maluma), a male star of equal international profile. At their upcoming concert Kat and Bastian will launch their new single, Marry Me. They will then exchange vows and the world will watch and share the pageantry of their marriage ceremony along with the live audience. It's a promoter's dream, and Kat thinks it's her dream as well. 

So what has an everyday, single dad named Charlie (Owen Wilson) got to do with Kat's dream? Lots as it turns out. He's in the audience, near the front, when Kat has second thoughts. Bastian has been filmed being a cad earlier that day. Kat is humiliated and wants instant revenge. From the stage, dressed to wed, Charlie is in her eyeline and you can guess the rest. Silly isn't it? PRETTY WOMAN was a fairy-tale and so is MARRY ME. They rely on the chemistry of the performers to get us invested in the ridiculousness of it all. 

Lopez and Wilson connect well and their side kicks are a scream, particularly Charlie's teacher buddy Parker (Sarah Silverman). There are the usual life lessons along the way; social media appropriateness, stopping to smell the roses, and the importance of family. You've seen it all before, but you'd be disappointed if you didn't see it again in a film like MARRY ME.  8GUMS. 

          

    

No. 10 (2022) HERE OUT WEST Feb. 8th.

 

Film No. 10 (2022)  February 8th.  6:15 PM  EVENT CINEMAS, Cinema 9  Innaloo.

"We've been together for five years and you still don't care enough to learn his name". (Angel argues with her mother about imminent changes she wishes to make in her life).

With so much negative publicity attached to the suburbs of Western Sydney, HERE OUT WEST encourages a more compassionate view on life in a less trendy region of Australia's largest city. I highly recommend HERE OUT WEST as a feature film, with a flaw or two, but with a beating heart that will take you through the full spectrum of emotions.

It's a mainly female driven project made up of 8 new writers, combined with 5 experienced directors, to form a film most thematically aligned to family, with a rich multi-cultural nourishment. We get a look into the way each new generation of mixed race Australians deal with the ongoing tasks they need to complete in everyday life. Each of the eight stories passes on new insights into the challenges life unearths, most often randomly . 

BROTHERHOOD (story 2) gives a good example of the intertwining nature of the stories in the the film. Our three characters (a Bengali, an Arab and a Nigerian) are mates, but they are at odds with one another over a girl. Suddenly they become heroes (no spoilers) linked to story 4, which occurred as an offshoot of story 1, which smoothly blends into story 3. It's seamless and meaningful at all times. You have to take my word that you'll be carried away in the emotion of it all. 

There is nothing "sexy" about HERE OUT WEST. It will not attract a mainstream audience. I sat in a 250 seat Event Cineplex with 3 other punters. We stood afterwards and talked glowingly of what we had just seen. I notice there are no more big screen showings here in Western Australia. Our national broadcaster the A.B.C. played a part in the film's origins; a national release will take place on its streaming service IVIEW. Thank goodness for our ever evolving digital formats. Compassion and tolerance can continue to seep into the consciousness of society. Films like HERE OUT WEST ensure that will happen.  9GUMS.

 

   

No. 9 (2022) MURINA Feb. 3rd.

 

Film No. 9 (2022)  February 3rd.  8:00  PM SOMERVILLE Outdoor U.W.A.                        

"You'll just wear what ever he tells you to wear anyway!" (Julija responds to her mother, Nela's, plea for help in choosing a party outfit).

Described as a gritty coming of age drama, Murina should not be confused with any other film of this genre. A genre that most often builds warmth and wisdom into the key characters you've spent screen time with. This film has uncomfortable, nasty undertones, but our hero, Julija is one special person. Gracija Filipovic has delivered a character of such strength and resolve, MURINA will remain in your thoughts for days afterwards.

Shot on the rugged rocks of southern Croatia around the island of Kolocep (near Dubrovnic) MURINA is layered with a juxtaposition of the rugged beauty of the coastal setting, and the softer, attractive images of Julija and her mother Nela (Danica Curcic), both trapped into lives they have next to no control over. As father and husband, Ante (Leon Lucev) is an A Grade narcissist. He controls "his" women, they are his property. 

Enter Javier (Cliff Curtis), a friend of Ante's from past sailing days. Javier was in love with Nela before she became Ante's lover and property. Javier is back to talk deals with Ante, who wants to expand his minor hospitality enterprise on the island. Well, that's what we are led to believe.

Javier offers (certainly in Julija's eyes), a way out. He talks to her of her potential, and the possibility of new horizons. Suddenly she has a father figure she can trust and who she can believe in. Nela? well, we are never certain of what she really thinks or the secrets she holds.

There are holes in the narrative. First time feature director Antoneta Alamat Kusijanovic has layered a series of mysterious scenes which allude to past relationships between Ante, Nela and Javier. She issues them as if  they will be resolved by film's end. These distractions take us from the real focal point, Julija.  

Julija will have you mesmerised by films end. Coming of age this film may be, but we have great admiration for a girl who should have had all her self-esteem eroded through her teens, yet is a tower of strength. There is not a young character I have wanted more to see revisited in 20 years time than Julija. Given the power of film, I hope there are young people, who see MURINA and feel a greater resolve about who they are, and where they are headed, no matter their family or social circumstances.  10GUMS. 

      

       

No. 8 (2022) DELICIOUS (DELICIEUX). Jan. 30th.

 

Film No. 8 (2022)  January 30th.  5:00 PM  PALACE Cinema 2,  Raine Square,  Perth City. 

"Gourmet cuisine is not for the common man. I demand you close this dump."(Le duc de Chamfort decides his station in life allows him to rule over which enterprises function and which don't).

Deliciously fictional, but who knows? Maybe the beginnings of restaurant dining and the sorts of ructions occurring amongst the everyday folk just prior to the Storming Of The Bastille really did play out like director Eric Besnard (SENSE OF WONDER) would have us believe. Who cares! DELICIOUS is pure entertainment and people all round the globe are loving it. 

DELICIOUS is a bit like those wholesome, well made, Disney films from our past. Pierre Manceron (Gregory Gadebois) is a cook (chef in these times) for the ages. He serves the Duke of Chamfort. He oversees the royal kitchen and creates food of the utterly mouth-watering kind. We meet him as he is creating a new, innovative sensation. Dare he build a pastry delight from the downtrodden potato? The visiting gentry belittle him and his food and he is asked to apologise for it. He won't. He's out on his ear!

We know that The Duke will pay eventually. Pierre is a good man. He's only worked for "the man". On returning to his dilapidated family property he mopes. He doesn't want to cook. He lacks desire to create food until the mysterious Louise (Isabella Carre) appears and wants to learn from him. The best moments in DELICIOUS come when Gregory and Louise create food. The images and their chemistry add up to relaxing, easy going entertainment. The alliance Louise forms with Gregory's late-teen son Jacob (Christian Bouillette) adds dimension to the budding enterprise (restaurant on a main coach route) Gregory gradually warms to.

The French, along with the Spanish & Italians, make a sumptuous costume drama look so seamless and uncomplicated. As a film lover, I'd love to witness first hand how labour intensive a production such as DELICIOUS must be. The images washing the screen here, with a smidge of CGI fudging I dare say, are a good reason people continue to pass through the box office.

 

But don't go to DELICIOUS expecting an earthy truth about French history during a very tenuous time. Maybe the world's first restaurant did spark rumblings that led to The French Revolution, but I seriously doubt it. Oh, and don't eat before hand. You'll have all sorts of ideas about sating your hunger by the time the titles roll.  9GUMS.