No. 60 (2022) THE FORGIVEN July 23rd.

 

Film No. 60 (2022)  July  23rd.  10.45 AM   Cinema 1.  LUNA,  Leederville.

 

"It was an accident. He stepped out in front of us. We don't want the police showing up, poking their noses into everything!" (David arrogantly guides friend Richard as to how this "small" speed hump in life should play out).

THE FORGIVEN is a film that comes with Box Office cred, but plays like a richly shot and scripted Art House thriller. And while its plotting is a little uneven and far fetched, the script is invigoratingly edgy. I've not read the Lawrence Osborne novel of the same name, so I had no prior idea of what to expect. 

David (Ralph Fiennes) and Jo (Jessica Chastain) are professionals from London in a marriage neither seems bothered to nourish. Their journey in driving from Morocco to a weekend long party in the Sahara finds them headed for a clash of a cultural and moral nature. As an audience we are set up to watch, open mouthed, the arrogance with which wealthy westerners treat the indigenous occupants of the land. After running over a local boy, by accident, David has some lessons to learn with regards to attitudes and the treatment of others.

Writer/Director John Michael McDonagh (THE GUARD, CALVARY) is a seriously thoughtful, entertaining film maker. So, while THE FORGIVEN is heavy handed on occasions, particularly when emphasising themes of cultural divisions, his writing never labours a point. The script's best lines are delivered by the locals. The anchor point for moral sense as David decides to deal with his mistake comes in the form of Hamid brilliantly played by Mourad Zaoui (THE NIGHT MANAGER), David's designated guide.

The magic of THE FORGIVEN is that we are never quite sure where it is headed. The juxtaposition of the party, with fireworks exploding in the background, as a father, Abdellah (Ismael Kanater) grieves for his son, triggers anger within us at the opulence of the unlikeable Brits celebrating (who cares what) in their enclave. But do we really know what David is headed for when he decides to face the repercussions of his error(s)?

THE FORGIVEN is a fantasy. Its trailer is brilliant and tantalizing to a tee. It's message is strong in relation to family being at the core of what we all have in common. And most of all, it plays as thoughtful entertainment. After all, isn't that the main reason nearly all of us go to the movies? 10GUMS.             

 

      

No. 62 (2022) WHERE THE CRAWDADS SING July 25th.

 

Film No. 62 (2022)  July  25th.  11.00 AM   Cinema 4.  UNITED CINEMAS,  Rockingham.

 

"I feel so invisible. I wonder if I'm here at all." (Kya confides in Tate about her perception of herself in her late teens).

The much awaited film version of the best selling novel by Delia Owens, WHERE THE CRAWDADS SING, is here. It has opened to packed houses and underwhelming reviews but is being well received by the public in general. There is nothing surprising here. It deserves all of the above.

The story of Kia Clark, abandoned in the swamplands of North Carolina by her family and left to deal with and discover life  by herself, from an early age, forms the foundation for a riveting read. The fact that over 10 million copies of the novel sold in three years is testament to the novel's popularity. I've not read the book so I had no vision of what sort of film I was expecting. Describing it as a film to fit neatly in THE NOTEBOOK, DEAR JOHN, MESSAGE IN A BOTTLE stable may be off putting for some. Me, well I enjoyed my 125 minutes with CRAWDADS, more for the company I was keeping (mum and sister) than for the quality of the film's narrative. But that's not to say the film is bad, it's not.

CRAWDADS is cast perfectly. Daisy Edgar-Jones (NORMAL PEOPLE) playing Kya is good reason extra dollars will flow the film's way. Its locations, sets and scenery are immaculately established. Producers knew the film and audience they wanted to attract. It's smart film making. Those who've read the book will come and those who haven't and enjoyed the films of this ilk are certain to turn up, tissues in hand!

So, after all of that would I recommend WHERE THE CRAWDADS SING? Yes, I would. But, put your brain into "sleep" mode. Buy popcorn in a bucket and give yourself over to this lavishly made, soppy, even mushy, drama. Maybe, just maybe, this film represents the perfect post lock-down remedy. 8GUMS.              

 

No. 61 (2022) COMEDY QUEEN (Palace Aust. Scandinavian Film Festival) July 24th.

 

Film No. 61 (2022)  July  24th.  12.00 PM   Cinema 3.  LUNA,  Leederville.

 

"Number 4, I want to be a comedy queen. My dad cries all the time, I want to see him laugh again." (Sasha makes her final point on her list).

Issues including mental health, teenage anxiety, grief and parental stress to name just a few, are tackled by Swedish director Sanna Lenken in COMEDY QUEEN. The film will cut close to the bone for many, but that is the role of good film making, and COMEDY QUEEN is just that; a good film.

While the strengths are many in COMEDY QUEEN, its standout quality is its casting. The lead needed a quality an audience would latch onto immediately and Sigrid Johnson unleashed a real magnetism as 13 year-old Sasha. She is a young lady dealing with  many demons emanating from the death of her mum and soul mate. Oscar Toringe playing Abbe, Sasha's loving dad, also made for a great casting decision.

Lenke was always taken by the power of the story first told by Jenny Jagerfeld, a once child psychologist, in her book of the same name. It is a richly layered story about a brave girl who wants to overcome her sadness and muddled thoughts by making a list. A 4 point list of things she would achieve to expunge her darkness and alleviate the painful memories of her mum. That may sound bleak on the outside, and her list may shock, all except her 4th point; her aim to be a Comedy Queen.

COMEDY QUEEN gives insight into an aspect of life most of us will avoid, thankfully. The heartfelt nature of its story takes us, ultimately to the 5th and most obvious point Sasha avoided putting on her list. And how does she pull off standing in front of an audience to make them laugh? (Particularly her dad.) Well, that too is marvellously handled by Lenken. Take tissues, you'll need them! 10GUMS.          

  

No. 59 (2022) BASSENDREAM July 21st.

 

Film No. 59 (2022)  July  20th.  6.30 PM   Cinema 1.  LUNA,  Leederville.

 

"It's 40 degrees most days in Bassendean through December and January, so it was really hot. Our cast is young so you can't shoot for long periods. We shot the film over two summers, 2017 and 2018" (Director Tim Barretto talks of the stresses of shooting his beloved project, BASSENDREAM).

BASSENDREAM is for a niche market. People born, raised and who live or have lived in the Perth (Western Australia) suburb of Bassendean in the late 70's into the 80's and even the 90's will find the film amusing, even charming.

 At times during these decades I lived not more than 5km from Bassendean. I understood the film's warm, nostalgic qualities but unfortunately I had difficulty connecting with the themes and mini story lines.   

There is always a risk when using non-professional actors to play characters the film-makers' hope an audience will connect with. Over acting and wooden pre-emptive movement does hamper many scenes in BASSENDREAM.

There is a warm, charm woven into the fabric of BASSENDREAM. The people of this unpretentious, welcoming suburb are loving what the film has to say. It is playing to full-houses in cinemas, halls and open spaces around Perth. All hail to Director Tim Barretto as he generates a following for his first feature.  7GUMS

 

       

No. 58 (2022) OFFICIAL COMPETITION July 20th.

 

Film No. 58 (2022)  July  20th.  6.30 PM   Cinema 1.  LUNA,  Leederville.

 

"And it's not the first time I've worked with an idiot." (Ivan explains the experience he has had as an actor in film, and that working with actors like Felix is a challenge he has overcome previously).

Three of Spain's leading performers strut their stuff in a particularly engaging satire; poking fun at actors, the film industry, and the over indulged. 

The wealth and reputation of Penelope Cruz, Antonio Banderas and the slightly less known Oscar Martinez combine to produce a feature poking fun at themselves as they devised (with the help of writer/directors Cohn and Duprat) a film within the rehearsal of a film.

Eighty year old multi billionaire Humberto (Jose Luis Gomez) wants to leave a legacy. Maybe a bridge? What about a film? Yes it will be a film. An adaptation of an award winning book of melodramatic proportions. He employs Lola (Cruz), Felix (Banderas) and Ivan (Martinez). They are the best money can buy. The film will be an award winner; an entry into Official Competition.  

We witness nothing of the film's shoot, for good reason (the film's conclusion) but only the bizarre, indulgent, nature in which Zola directs her players (Banderas and Martinez) through the rehearsal process. The images and the tussle between over-indulged egos highlight an entertaining feast for the mind and the eye.  10GUMS.

      

No. 57 (2022) JUNIPER July 19th.

 

Film No. 57 (2022)  July  19th.  6.30 PM   Cinema 5.  LUNA,  Leederville.

 

"Most people like the Sunset. I like the sunrise." (Ruth talks of yet another example of how she feels different to others).

This oddly named N.Z Production could easily have been titled THE TROUBLE WITH SAM. Writer/Director Matthew Saville tells an intimate story based on his own family experience.  

Part coming of age, part family repatriation drama, JUNIPER lovingly takes us into the mind of a grieving (recent death of his mother) teenager Sam (George Ferrier) as he discovers new, nourishing sides of life when forced to care, part-time, for his estranged grandmother, Ruth (Charlotte Rampling).

While films like MARLEY AND ME presents a life lesson drama more smoothly with four times the budget, JUNIPER lays out a similar, "how great is it to live life to the beat of your own drum and still be loved and cared for?" lesson.

Sam and Ruth form a bond in the beautiful, northern farmlands (Coatesville) of northern New Zealand. And while uneven from a storytelling POV, JUNIPER has us liking the characters. Each scene adds up, eventually, to a unique loyalty they hold for one another. You'll get a warm feeling after the 90 minutes you spend with Sam and Ruth. 8GUMS.  NB There are themes of suicide depicted in JUNIPER.

Of Interest ... How did Writer/Director Saville convince U.K./French dame Rampling to New Zealand?  

  

No. 56 (2022) THE PASSENGERS OF THE NIGHT (Revelation Film Festival, Perth W.A. 2022) July 16th.

 

Film No. 56  (2022) July 16th.  7:00  PM  LUNA  Essex Cinemas,  Fremantle.

"You're like a little bird. Did anybody tell you?" (Elisabeth makes the analogy while in deep conversation with Talulah).

A whimsical love letter to his home city. Mikhael Hers captures Paris in the 80's through the eyes of Elisabeth (Charlotte Gainsbourg) and her devoted family, as they deal with a series of life challenges including: recovery from breast cancer, unemployment, and a messy divorce. But it is never bleak.

The travails of the Davies' are told over a decade. Gainsbourg plays Elisabeth with a unique charm and quietness as she finds a low paid but fulfilling job at the control desk of a public radio station. She welcomes the listeners (Passengers of the Night) to the talk-back format of late evening. Her relationship with son Mathias (Quito Rayon Richter) daughter Judith (Megan Northam) takes on another dimension as she "adopts" fragile street-girl Talulah, played beautifully by Noee Abita. Is Talulah simply a fragile bird who can return to a fulfilling life?

A non-mainstream delight for cinema lovers looking to appreciate competent film-making of a quiet style. Director Hers was both bowled over and chuffed at his film's nomination for a Golden Bear gong at the most recent Berlin Film Festival. I thoroughly enjoyed being marinated in the juices that LES PASSENGERS steeped me in. 10GUMS.

   

    

   

No. 55 (2022) SUNDOWN July 15th.

 

Film No. 55 (2022)  July  15th.  6.50 PM   Cinema 6.  LUNA,  Leederville.

 

"You left me with all of our problems. You're hiding!" (Alice reminds Neil of their predicament and her perception of his role thus far).

Have you ever been completely beguiled by a film? You've loved that film because of it's unique quality, but know that there are few people to whom you could recommend it as a must-see? For me, SUNDOWN is that film. The realism depicting 3 weeks in the life of a man we will find difficult to connect with doesn't sound like a great way to spend 105 minutes in a cinema. Put simply, it's not a terribly appealing premise, I agree, but if you stick with it you might be surprised; I was.

Tim Roth fans, I'm sure, will be keen to catch SUNDOWN. Hopefully you won't be there because of your love for the way Roth deliverers dialogue. He does little of that. It's all a part of the mystery that surrounds Neil. Director Michael Franco (NEW ORDER 2020) is the master of introducing audiences to mysterious characters. In APRIL'S DAUGHTER (2017) he gave us a pregnant teenager hell-bent on keeping her condition secret. Here, in Neil, he presents another polarising character. 

So what is it with Neil? With every scene Franco cleverly unveils clues as to the predicament of our mystery man.

The short time we holiday with him in Acapulco will have you guessing from the very first image (freshly caught, gasping fish) to the final wide shot of a wind-swept Pacific ocean meeting the shore. The film's promotional blurb suggests no two people will interpret SUNDOWN the same way. The film stimulated me enough to think about Neil, this shell of a man that was Neil Bennett, for days afterwards.  10GUMS.   

    

 

No. 54 (2022) NAVALNY (Revelation Film Festival July 10 -17 Luna, Perth W.A.) July 13th.

 

Film No. 54 (2022)  July  13th.  6.20 PM   Cinema 6.  LUNA,  Leederville.

 

"If I want to be the leader of a country, I have to organize people. I do not want Putin to lead my country anymore!" (Alexei Navalny answers the question about what he needs to do if he is to have influence).

Walking from this riveting, revealing documentary, I felt embarrassed  that, prior to entering the cinema, I didn't know Alexei Navalnys current situation. I vaguely remember his return to Russia after recovering from an attempt on his life (poisoning) months prior, but then I lost interest. Now that I know (along with the reasons that he is where he is) I'm embarrassed I have not paid more attention to a man who should be placed in the same bracket as Nelsen Mandela for the human rights issues he stands for.

 Navalny tells the story of a man who set out to uncover the corruption and suppression Vladimir Putin inflicts upon Russian society. It's a crime story, shot over 3 years, uncovering the bumbling methods Putin used to try to kill his enemy (Navalny). It also profiles Alexei, his clean-cut and loyal family, and the clever investigators who dedicate their minds and resources to him. Christo Grozev, an investigative reporter for Bellingcat, is particularly beguiling. 

When it comes to the film's structure, Director Daniel Roher (GHOSTS OF OUR FOREST), takes an approach more akin to the set up for an intriguing podcast with pictures. This is in no way a criticism, because the key to film's mesmeric quality is wrapped around the man, his family, his entourage and the crime (his attempted assassination). Roher is never intrusive with his questions or his camera. He cleverly intersperses grabs from an interview he conducts with Alexei immediately after his recovery and just prior to his return to Russia. It keeps the substance of the fly on the wall investigative scenes more intriguing. These scenes are so confidential at the time that the people in the room must remain silent until the comprehensive, worldwide release of how the crime went down. 

So what now? Navalny's story, in many ways, is only just the beginning. Considering the actions of Putin on Navalny's return to Russia, and the complete lack of trust younger Russians have for Putin, Navalny won't be forgotten in a hurry. The hate for Putin is increasing in numbers, particularly among the Gen Y's. 

It's sad Navalny and his loving family have to sacrifice so much, but the final image of a shaven Navalny says so much. I'll be paying particular attention to his plight after this brilliant and most important feature.   11GUMS.   

  

 

         

No. 52 (2022) LOST ILLUSIONS July 4th.

 

Film No. 52 (2022)  July. 4th.  10.00 AM   PALACE,  Kino Collins St. Melb. City,  Victoria.

 

"You enlighten people about art, the world." (Luciene naively describes to Lousteau his view of the role of newspapers in Paris society).

Sweeping tales on screen of love, lust, loss and the path to a more resilient life dominated Picture Houses for two decades (60's & 70's). They were events. A night out that began with a newsreel, the film, an interval then the film's final stanza. LOST ILLUSIONS is one such epic drama  which would have fitted the mould for those times. Thankfully this French concoction is in the present. It's a mini masterpiece. All be it intact with a slightly annoying story teller (voice over) to take us by the hand for 150 minutes.  

Lucien Chardon (Benjamin Voisin) is a young man, printer by trade, living in small town Angoulerne in south/west, post revolution, France. He has the doe-eyed look of a young man who is destined to be noticed. He writes poetry for his lover Madame Louise (Cecile de France), a woman already married into entitlement. The impossibility of their love ever being consummated comes to the fore when they elope, separately, to Paris. Lucien's station in life soon leaves him marooned, penniless, loveless in a city in no mood to wait. A chance meeting with a brash Lousteau (Vincent Lacoste) and a career in journalism beyond his humble dreams awaits him.  

There is a scene which captures the immaculateness with which LOST ILLUSIONS was made. Lucien crosses a busy Paris street. It's important to remember that this scene is being shot on 2021. The 20 second scene captures a busy Paris street, an extremely busy high street, with horses, carriages, buggies, wagons and people flowing along in numbers that are mind-boggling. This is serious, well tuned film-making by a production company dedicated to capturing a time and place.

Lucien gains fame as a writer. His newspaper does deals with agents and theatres to gain favourable press, so that plays, musicals and/or melodramas will get a following. Lucien reviews in a way that reflects the quality of the deal (shareholders included) rather than the excellence of performance. He finds true love in Coralie (Salome Dewaels), a player in a musical he writes favourably about. Then, as with most dramas of this epic nature, young ambitious people edging beyond their station; those mean and nasty enough to take them down do just that.

If you find the retelling of a sweeping Shakespearean tragedy unenticing, well go see the film for its production and costume design. Riton Dupire-Clement and Pierre-Jean Larroque may just inspire a new generation of cinema artists in these fields. If you simply have not been getting your fill of epic dramas in these times of cinematic naturalism then don't miss LOST ILLUSIONS. 7 gongs at the most recent Cesar (French Oscars) awards attests to the admiration it has attracted.  10GUMS.    

                        

 

 

No. 53 (2022) THE BLACK PHONE July 11th.

 

Film No. 53  (2022)  July 11th.  6:45 PM  EVENT CINEMAS,  Cine 6,  Innaloo.

"I had a dream about it. He was taken by a man with black balloons?" (Gwen is discussing her dream, and describing details of the abduction that only the police know).

Ethan Hawke plays nasty here in an interesting career choice. But he does it in full mask so maybe we don't really see this narcissistic brute as anything resembling nice guy Hawke. It is the young cast of BLACK PHONE who elevate it to a level that will please the lovers of the Hostage/Terror genre. There is even a touch of the Coming of Age theme.

Finney (Mason Thomas) and Gwen (Madeleine McGraw) are a brother and sister with a strong alliance. In the care of their loving, but abusive father Terrence (Jeremy Davies) they insulate each other from a sadness in their house. So  these two are our heroes and their town is gripped by the deeds of a serial killer, named The Grabber (Hawke). He lives amongst them. Finney, yes you guessed it, is grabbed and will be No. 6 unless all that has gone before doesn't fit into place like a 500 piece jigsaw.

So where does the black phone fit in? Easy, there is a disconnected black phone attached to the wall of the dank cellar where Finney is being held hostage. He gets calls from The Grabber's earlier victims. One in particular is a friend, Robin (Miguel Cazarez Mora). The details in the calls represent puzzle pieces. If you truly, really have bought in, the silliness of the activities Finney carries out in the cellar won't matter. Oh! I nearly forgot, Finney's sister has dreams. The dreams of a clairvoyant. Police have her as their go-to informant, that's how good Gwen is at dreaming.

 

I'm being flippant, I know, but the film is fun. The violence is gratuitous but the same could be said for the odd Hanna-Barbera cartoon!

           

There are holes galore in plot, script and design here, but BLACK PHONE does not pretend to be anything other than a low budget ($18M) horror flick. Take your seat, be prepared to buy into all that Scott Derrickson (DR STRANGE, SINISTER) serves up, and strap up for the ride. Do that and you'll be "grabbed" for the 95 minute run time. Guaranteed!  8GUMS.

 

  

No. 51 (2022) TO CHIARA June 28th.

 

Film No. 51 (2022)  June. 28th.  4.20 PM   NOVA,  Lygon St. Carlton,  Victoria.

 

"The less you know the better." (Chiara's father emerges from the fog and challenges his daughter to fall into line, with his hopes for her future).

The passion of a director to live in a region (Calabria), with an idea for a film, then write, produce and direct that film using (mainly) a family of locals, as talent, is an example of passion, indeed. Jonas Carpignano (A CIAMBRA, MEDITERRANEA) continues his passion with this unique form of realism depicting a warts and all, regional Italian tale.

A CHIARA continues Carpignano's dedication to tell stories about the struggles of everyday people facing extra-ordinary situations where their decisions will set the blueprint for their path in life. Chiara is one inquisitive, thoughtful 15 year-old. She loves her family, in particular the steady hand her father offers in steering this seemingly happy unit. It's via her inquisitive nature that we journey with Chiara.

On the outside, Carpignano depicts an innocuous seaside city, Reggio Calabria, through the eyes of a seemingly happy family, the Guerrasios. So what is there to see here? What story is there to tell here? Well it is all about revealing the underbelly of such a city.  Chiara is our passport to understanding what choices lie ahead for her. If ever we meet a girl who has the potential to have a brilliant career, Chiara is such a girl. But as she makes her life changing discoveries, the question's are, how will she react and what decisions will she make?    

We witness a girl's coming of age, so uniquely told that you'll be exhilarated, that such a well loved genre could be taken to such heights. The ending is both surprising and sublime.  11GUMS.          

  

 

No. 50 (2022) THE TENDER BAR June 24th.

 

Film No. 50 (2022)  June. 24th.  7.35 PM   NETFLIX,  Mt. Hawthorn, West Australia.

 

"You read enough of these, then maybe you'll become a writer." (Uncle Charlie introduces J.R. to a closet of books, most unread, in the family home).

The Tender Bar was just what I needed this relaxing Friday eve, lying on my couch with two comfortable cushions behind my head. Two cushions is dangerous because if the film fails the engagement test .... you guessed it, I'm snoozing.

George Clooney directs here and while he doesn't reach the heights of THE IDES OF MARCH or GOODNIGHT AND GOOD LUCK it is a whole lot better than THE MONUMENTS MEN. 

So, if you like, good, tick the boxes coming of age flicks then the THE TENDER BAR will be for you. Tye Sheridan and Daniel Ranieri play sweet versions of JR. A kid with potential and a mom (Lily Rabe) who only wants the best for her son and is a persistent encourager in the hope he will be happy. The family unit is a loving one. It is made up of J.R.'s grandparents (Sondra James and Christopher Lloyd) and aunts and uncles, with Uncle Charlie (Ben Affleck) becoming the mentor JR thrives with. It's the love of Charley and the lack of care shown by The Voice (Max Martini), his dad, that draws us into investing in J.R.'s happiness.

Amazon marketed THE TENDER BAR as one of their blockbuster streaming releases in 2022. They have invested millions contracting William Monahan (THE DEPARTED) to adapt the popular real-life autobiographical account of J.R. Moehringer's early life under the artistic guidance of George Clooney. The word is, they are pleased with their investment. If this is the sort of feel-good fare Amazon is keen to produce, then they are bound to win over new subscribers.