No. 71 (2022) THE QUIET GIRL August 27th.

 

Film No. 71 (2022)  August  27th.  11.00 AM   Cinema 1.  LUNA,  Leederville.

 

"She says as much as she needs to say" (Sean defends Cait's quiet demeanour during a conversation with Eibhlin).

Winner Best Director (Colm Bairead) & Winner Audience Award at the Dublin International Film Festival 2022.

This small story by first feature director (and writer) Colm Bairead, THE QUIET GIRL, moved me greatly. So while the story is small, capturing the entire world of Cait, (brilliantly played by Catherine Clinch) in 92 minutes, with minimal dialogue, it's the quiet moments that work best. Bairead will be noticed from here on!

It's 1981 in rural Ireland. Western farmland, perhaps, but where we meet 9 year old Cait is not important. What is important is that she is a quiet, independent thinker who finds it difficult to connect with family and peers. This disconnectedness, added to family economics, leads parents Athair (Michael Patric) and Mathair (Kate Nic Chonaonaigh) to send Cate to a Waterford dairy farm for the summer. Family cousin Eibhlin (Carrie Crowley) and husband Sean (Andrew Bennett) are affected by tragedy and are welcoming of a distraction, in the form of Cait. 

With every scene, trust, warmth, and a revelation leading to genuine love, melds these perfectly cast characters into a warm family. In the same way, TO SIR WITH LOVE, teaches lessons pertaining to nourishment of the mind via care and respect, THE QUIET GIRL does it with an empathic quality only the likes of Ken Loach (SORRY, WE MISSED YOU) have mastered. 

In the same way an effective road-movie emphasises life lessons, AN CAILIN CIUIN excels. Catherine Clinch is remarkable, and while her Cait is a believable 9, this 13 year old actor elevates Bairead's Gaelic language film onto international screens in a manner not seen since THE WIND THAT SHAKES THE BARLEY. Don't miss THE QUIET GIRL. 11GUMS.

      

          

No. 70 (2022) NOPE August 10th.

 

Film No. 70  (2022)  August 10th.  6:45 PM  HOYTS CINEMAS,  VMax 1   Karrinyup.

"We like to say, from the moment pictures could move, we had skin in the game." Emerald Haywood sells the deeds of her family's ranch, (the first black owned horse wrangling ranch), to the Hollywood boffins before they begin their shoot.

Just when you thought it was safe to go back into cinemas, Jordan Peele is back. And the reason for my opening sentence is my nagging suspicion that Jordan, while not making NOPE as a tribute to Spielberg's JAWS, he is definitely assigning some love to the classic.  

NOPE will be compared to Peele's previous films. GET OUT and US have created a real fascination for what this talented director has to offer. Peele undoubtedly has the ability to turn film goers into film lovers. He has something to say, he laces his films with images and dialogue that audiences will mull over in the days following. While GET OUT is his masterpiece, NOPE is more sophisticated in the smattering of puzzle pieces that need to be placed.

This time Peele delves into UFO territory and while this theme is the vehicle by which he builds his story, his overall NOPE theme, asks questions about man's voraciousness for the mighty dollar. In the same way that Spielberg asks how long can a community turn a blind-eye to a man-eating shark swimming around its popular beaches; Peele asks, what if the shark, in this , is a rogue UFO? 

I hope my interpretation and perhaps the silliness of my analogy, does not dissuade you from buying a ticket to this smart film. The big screen experience via sound, visuals, script, characterization and classic Peele messaging, is well worth the price. The bigger the screen (there are sessions in Imax format) the better. 

I'm light on story re-tell here, but I'm keen to firstly encourage a viewing and secondly allow you to come to your own conclusions. Hey, it's Jordan Peele. It's what Jordan would want.  10GUMS.       

  

     

 

 

No. 69 (2022) BULLET TRAIN August 9th.

 

Film No. 69 (2022)  August  9th.  1.30 PM   Cinema 1.  LUNA,  Leederville.

 

"Every job I do, somebody dies. I'm not that type of guy any more. Why do I require a gun?" (Ladybug, phone firmly to his ear, discusses with Maria Beetle, the job he has just come out of retirement for.)

The reviews have been lukewarm for BULLET TRAIN. I'd pre-booked a ticket so I was having second thoughts about the possibility of spending 130 minutes in the company of mediocrity. I needn't have worried, BULLET TRAIN is a blast. A silly, sharply written, live action cartoon feature. I say cartoon, but there is blood. Oodles of blood, sprayed in more directions than I can remember.

It is ultimate popcorn fodder, choc top ice cream mayhem, sweet, soft candy heaven. The premise of the world's leading assassins (unbeknownst to each other) congregating on one bullet train heading out of Tokyo to who knows where smells of popcorn butter, don't you think? Anyway a metal briefcase of US currency is at stake, but that is less of a common denominator than we might first think. These assassin's, assembled connivingly, by White Death (Michael Shannon) have egos the size of small islands. When it comes to assassins proving their worth, we are talking danger.       

Brad Pitt is Ladybug sent on a mission to retrieve the briefcase by Maria Beetle (Sandra Bullock).  But he's not alone, with twins (non-identical, obviously), Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry), schoolgirl, Prince (Joey King), The Elder (Hiroyuki Sanada) and Wolf (Bad Bunny) also in search of the brief case. If there were to be a grand final event, knock-out style for hit-people, this might be it. 

Why on a Bullet Train?  Well, when the novel of the same name is written by Japan's Kataro Isaka, it stands to reason. The theatre of death works nicely in the world's fastest train. And, you know, when a carriage opens up to the elements, and the odd assassin has to hang on for dear-life, at speed - there is excitement. Popcorn fodder, remember.

Brad Pitt earns big money for these roles. He's a money making machine for studios and distributors. He wears us like a glove here, we feel so safe in his company. We have nothing but the best intentions for him. He's the Steve McQueen of our time ... no pun intended (BULLIT).  9GUMS.

         

  

No. 68 (2022) TUESDAY CLUB (Tisdagsklubben) August 8th.

 

Film No. 68 (2022)  August  8th.  6.30 AM   Cinema 1.  LUNA,  Leederville.

 

"I dreamed of working with food but then I got pregnant and family took over." (Karin is seeking a new direction in life, her friend encourages her to reignite her passion for food; cooking classes maybe?).

In a melodrama (which the French and Italians do so well), Swedish director Annika Appelin in her first feature, brings TISDAGSKLUDDEN to the screen. 

Karin (Marie Richardson) is living a secure middle-class life. She is a talented homemaker, devoted to husband Sten, (Bjorn Kjellman)and coping with a daughter, Fredrika, (Ida Engroll) who is frustrated, about to turn 40, and a daddy's girl.  During the celebration of Karin and Sten's 40th wedding anniversary, Karin stumbles upon proof of Sten's  brazen infidelity. This causes her to reassess her life and make some changes. Does she have the courage to consummate a new love interest, stand up to her daughter and also build a small catering business?

The cascading, waterfall of chamber music guides us towards the answer to all those questions. There is Ingela (Maria Sid) the fairy-godmother figure who provides the spice that instils courage within Karin and Fredrika  to double down on life.

TISDAGSKLUBBEN is like a highly competent version of a Hello Fresh meal box; every ingredient placed in perfect order, cooked to a recipe, tasty on consumption, but soon forgotten. But be warned, the sugar content in the end may cause a gagging sensation!  7GUMS.   

 

No. 67 (2022) FULL TIME (A Plein Temps) August 7th.

 

Film No. 67 (2022)  August 7th.  4:00 PM  PALACE Cinema 2,  Raine Square,  Perth City.

 

"Validate my pass with yours"(Julie very inappropriately asks a trainee with much to lose to cover for her, so she can attend a job interview).

Winner Best Director & Best Actor (Laure Calamy) at the inaugural Venice Film Festival Horizon Extra Awards to encourage innovation for film artists developing films of more than 60 minutes in duration.    

This film is such a stressful experience, but brilliant none the less, A Plien TEMPS is going to raise your heart-rate. I doubt director Eric Gravel (CRASH TEST ALGAE, 2017) would make any apologies for such a reaction. After all, my hero when it comes to naturalistic cinema, Ken Loach (I, Daniel Blake) insists that his audience be anxious about the fate of his characters.

Julie (Laure Calamy), a single mum, with the weight of the world on her shoulders, juggles her responsibilities admirably as we get to know her during a week in her life. She lives in a small suburb on the outskirts of Paris  and relies on: a public transport system suffering from union disruption, a tired child carer, and the good will of others, in her role as a chambermaid in a busy 5 star city hotel.

Gravel does not waste a scene as we will Julie on. The movie plays more like a 88 minute distance running race than a naturalistic portrait of a mum doing her darndest, through ingenuity, love and dedication, to fulfil her responsibilities. The tension is real from the first close up of Julie suddenly wakening to the sound of her alarm. With each scene there after, her week is like a sprung coil, gradually tightening.

It's a smart film that winds its audience around its little finger. An hour into TEMPS your hopes are beginning to get dark for Julie ... I so wanted her to win through. A late scene at her local railway station is brilliantly built by Gravel. And then there is the conclusion. Predictable? maybe, but realistically what are the alternatives? 

This is Eric Gravel's second feature. He writes and directs this tense thriller without a weapon, a murder, a courtroom or a wide-eyed detective. His hero is a mum navigating life where she faces moment after moment of split second decision making, each playing as a sliding door moment. A PLEIN TEMPS is an example of tight, intelligent film making.  11GUMS.

    

        

   

No. 65 (2022) GOOD LUCK TO YOU, LEO GRANDE July 30th.

 

Film No. 65 (2022)  July  30th.  10.45 AM   Cinema 1.  LUNA,  Leederville.

 

"My husband would roll on top, do the business, roll off, put his pyjamas back on and go to sleep." (Nancy responds to Leo's question as to what she was used to when it came to bedroom etiquette).

Emma Thompson playing a stuffy, retired, teacher taking a walk on the wild-side; namely sharing intimacy with a sex-worker, is surely a new challenge for an actor of her standing. I have to say I was entertained, but while Thompson was, as expected, classy, it was Daryl McCormack as sex worker Leo Grande who stole the show.

Backed by the streaming network HULU, LEO GRANDE is an example of the fruits of an industry trying to create product during lockdown, 2020. The film presents as a play for the screen, but I'm not disdainful of that fact. Director Sophie Hyde (ANIMALS) stamps her fresh approach to film-making, bringing creator, Katy Brand's (GLUED) script to life cleverly within the confines of the 4 walls of a four star hotel room for 95 minutes.

 

Entertaining an audience, in feature length terms, in the confines of one space, is no trivial matter. It takes skill, a good script and the charismatic performances of two actors who are poles apart when it comes to their pedigree. It is the early scenes where McCormack makes his mark. His poise relaxes not just Thompson's Nancy but the audience as well. He removes the potential for cringe in those early scenes. 

Nancy and Leo meet in this hotel room for a purpose. Nancy wants to get laid, but then, when it all is about to come to pass, cold feet are the order of the day. We know she will eventually come around, and that is where the potential for shallowness of this drama exists. Nancy and Leo form a bond. Each have unresolved family issues which would be not uncommon to any mother or son. The script cleverly melds these strangers together through intelligent thoughtful conversation. While seemingly a risqué theme (for those who have seen the trailer), it is a pleasant, safe, thought provoking drama.  9GUMS. 

      

  

No. 66 (2022) EDWARD AND ISABELLA August 2nd.

 

Film No. 66 (2022)  August  2nd.  6.45 PM   Cinema 5.  LUNA,  Leederville.

 

"I want to know if I want to get out." Isabella discusses  her reasoning for taking a trip away with Edward with a faceless councillor.

A writer/director better be "on their mettle" if they decide to risk their artistic integrity and use their worldly fortune ($15,000) to make a feature film (and an intimate love story at that!). Rookie feature writer/director Adam Morris has poured passion and resource into EDWARD AND ISABELLA and while I have some minor reservations about the film, overall I found it captivating.

Script and cast are key to why Edward and Isabella held me in its spell. The audience is taken on a journey that will ring true for so many. Many of us have fallen in love and, if that love is of the head-over heels variety, questions about self worth can arise. Will the slightly irritating aspects of your partner grow to be an unbearable burden? Morris gently leads us without fear or favour.    

We meet Edward and Isabella as they share time together on holiday in the beautiful surrounds of Albany, Western Australia. They're in love but have reservations. We learn more of their feelings (mainly Isabella's) for one another via interludes of conversations they have with their counsellor  prior to going on holiday (strangely, they share the same counsellor), he's faceless and appears in the credits as simply The Dr. For me, these static, mostly wooden scenes were the only "potholes" in an otherwise meaty script. 

Then there is the lovely pickled eggs scene. No words are spoken. Both love-birds work as one to fill the jar. Is this the cornerstone scene that cements a fulfilling relationship?   

My understanding is, Morris couldn't believe his luck when Chloe Hurst answered a facebook post as he began his casting process. Hurst happened to be back from her usual base of Los Angeles, staying with family in COVID safe Western Australia.  She was looking for artistic stimulation. Morris's script appealed and Chloe said "pick me". It's Isabella who carries this film. Her character has the most to gain and lose in this relationship. The casting of Hurst was a masterstroke.  The chemistry she generates with Daniel Barwick (Edward) is full of legitimate appeal. Film lovers on the lookout for new and stimulating thought journeys should seek out EDWARD AND ISABELLA.  9GUMS              

  

No. 64 (2022) NORDIC BY NATURE July 27th.

 

Film No. 64 (2022)  July  27th.  6.15 PM   Cinema 3.  PALACE,  Raine Square,  Perth City.

 

"Seaweed is almost a staple at Koks. Only the finest strands, klumps or bunches are picked for consumption here"  (Part of the narration used by the Faroes to promote tourism to the region).

Here is a thoroughly interesting film focusing on the world renowned Koks (2 X Michelin Star) restaurant which sits in the windswept wilderness of the Faroe Islands, a remote Danish territory. 

I say interesting because to eat at Koks you likely need a small bank loan (approximately $1000 Aus. a couple) and  have no ethical views on how the food gets to your plate. Each morsel is sourced from the ocean, fields and skies of The Faroes. We're talking whale, fish, seabirds, grasses (field and ocean) all creatively fashioned for eating under the careful eye of chef Poul Andrias Ziska. 

NATURE plays as a 65 minute feature. Zista, over 18 months, takes us on a journey showing ancient traditions and modern practices in sourcing local produce. A scene on a local craft, trawling the ocean's surface for local gulls, is fascinating and something I've not witnessed or heard of before.    

Wine lovers and foodies alike will love the visuals of each dish as it is harvested, caught, prepared, served and then described on screen. Travellers will love the environs the camera captures and then there is the ethical procedures Poul insists upon to get the food to plate. It is all a part of the traditions that links The Faroe's to nature. 

The film suffers because of the obvious pause that COVID inflicted on filming in 2020. There is the odd loose end that's never resolved but it never overstays its welcome (65 minutes). All in all, there is a fascination with what is on the menu here. 8GUMS.

            

No. 63 (2022) THE PHANTOM OF THE OPEN July 26th.

 

Film No. 63 (2022)  July  26th.  1.15 PM   Cinema 3.  LUNA WINDSOR,  Nedlands.

 

"I didn't choose golf, it chose me. It was my destiny." (Maurice talks of his exploits to an interviewer as a prelude to the film before his extraordinary story unfolds).

Hot on the heels of THE DUKE comes, THE PHANTOM OF THE OPEN. If you loved THE DUKE then you will likely be equally entertained by PHANTOM. I guarantee it!

The thing is, if the same film appeared in cinemas but played as piece of fiction; a figment of someone's imagination, I'm not sure it would be drawing the same crowds. This man actually existed, he pulled the wool over the eyes of The Royal and Ancient Golf Club for 5 years. The story is stranger than fiction. THE PHANTOM OF THE OPEN is a fitting, entertaining tribute to Maurice Flintcroft. An ordinary, middle aged, family man who brought great mirth to the sports (mainly golf) following public, world wide.

In 1976 Maurice Flintcroft, staring redundancy in the face, decided that winning 10,000 quid as a professional golfer at The British Open golf tournament seemed like an easy way "to keep the wolves from the door". It takes blind faith or complete ignorance to think it possible considering he'd never played golf, or even belonged to a club. 

Mark Rylance (Maurice) and Sally Hawkins (Jean Flintcroft) are stars; they have been more brilliant in better films but their class elevates PHANTOM exponentially. Their artistic commitment to real-life people who play more like comic book characters is fun. Simon Farnaby first wrote the book of the same name, his research impeccable, he's done a great job with this screenplay.  9GUMS.