No. 91. (2019) Working Woman. October 15th.

Film No. 91 (2019) October 15th.  10:20 AM PALACE CINEMAS Kino Collins St. Melb.

                        

"Orna is an asset for anyone who wants to hire her." The statement Orna reads from her CV (which she wrote herself) that she  now requires her boss Benny to sign, as reinforcement to all she committed to his business.

A sterile but effective Israeli cinematic contribution to the #MeToo phenomenon. Orna (Liron Ben-Shlush)needs to return to the workforce because the lack of turnover in the restaurant she and her husband, Ofer (Oshri Cohen), opened is financially crippling them. Orna can hardly believe her good fortune as Benny (Mesashe Noy), her new boss, showers bonuses and a promotion upon her as she proves herself to be an astute international sales executive for his upmarket apartment complex. Or is Benny just infatuated with Orna's professional demeanor, accentuated by her good looks? He simply won't take no for an answer as he continually makes advances on Orna, seemingly during her most vulnerable moments. Directed by Michal Aviad (Invisible) Working Woman hardly wastes a scene and in 93 minutes she makes her point and reminds the world that real equality in every workplace is something we should all strive for. 9GUMS.

            

No. 90. (2019) Ad Astra. October 13th.

Film No. 90 (2019) October 13th.  12:45 PM PALACE CINEMAS Kino, Collins St. Melb.

                        

"He was a hero. He gave his life in the pursuit of knowledge" (Roy responds to a question relating to the legacy that remained of his father's deeds).

Another intergalactic indulgence right up there with Interstellar and Gravity, but this time with old fashioned mystery and a hero only Brad Pitt could bring to life with legitimacy. 

Pitt plays Roy McBride, an astronaut with a distinguished career who is currently in command of a unit working from a structure rising from earth into the stratosphere. (Jack and the Beanstalk was before it's time!). The opening scenes are stunning. Atmospheric power surges are killing hundreds of people and threatening intergalactic progress. Evidence is uncovered; McBride's father H.Clifford (Tommy Lee Jones), a legendary space hero (thought lost 16 years earlier) is operating a rogue vessel off Neptune and initiating the surges. Roy is sent on a billion mile trek to uncover the mystery and save earth, so to speak.

It all sounds simplistic, and it is, but the power of the images and the atmospheric sound track along with Pitt's film star poise, propel Ad Astra into a stratosphere of its own.  9GUMS.

          

No. 89. (2019) Judy. October 9th.

Film No. 89 (2019) October 9th.  6:45 PM EVENT CINEMAS Innaloo.                        

"Do you mean I have to leave my children to make enough money to be with with them?" (Judy weighs up her options after being offered a lucrative deal to sing for 5 weeks at The Top of The Town night club in London).

Judy is an interesting take on the phenomenon that was Judy Garland. Renee Zellweger plays the diva to absolute perfection as stage director Rupert Goold (MacBeth) turns his hand to film and pays a fitting tribute to an icon who is more remembered for her unfortunate demise than for her talent and pure love of her children. Goold and screenwriter Tom Edge give Judy a real stage flavour spending 70% of the film capturing the 5 week stint, her second last major public appearances, performing at Top of The Town night club in London during 1968. Zellweger gives us a Garland we all want to love. Her skill in mixing unhinged pill-popping, unabated devotion to her children Lorna (Bella Ramsey) and Joey (Lewin Lloyd) with performing with a voice of pure velvet will definitely secure many major awards. It is widely reported that the greatest pleasure Renee has gained from this project came from delivering a wonderful tribute to a diva worth remembering. 

There is background, somewhat cliched, as to why Garland had such emotional instability. These flashbacks refer to her studio contract under the care of Louis B Mayer in the 40's. The Mayer family will undoubtedly have less glowing accolades for the film! There must, however, be some truth in the depictions. Also the scene bringing Garland and daughter Liza Minnelli together is necessary and sweet  but fleeting, it forms an interesting side-track. 

The talented Irish rose, Jessie Buckley (Wild Rose) appears but unfortunately does not sing this time. Her role as Judy's London chaperone does not lead to her grabbing a mic, unfortunately. Buckley does have a fetching screen persona and adds plenty to the scenes she has with the unpredictable Judy. It is however Zellweger's film; an entertaining and most of all compassionate monument to the great Judy Garland. 9GUMS. 

                  

No. 88. (2019) Joker. October 7th.

Film No 88 (2019) Oct. 7th.  7:00 PM  EVENT CINEMAS Gold Class, Whitfords. 

"People expect you to behave as if you don't" (One of Joker's scribbled jottings in his often referred to notebook).

Todd Phillips has created a disturbing interpretation of The Joker's (Batman antagonist) back story. I say disturbing because while there is much hype about the film, the underlying theme, mental illness in modern society, is a serious theme indeed. The hype is aligned to the entertainment value of Joker but I found it far from a fun experience. Joaquin Pheonix, as Joker, in close-up for the main, occupies every scene as an unhinged loner carrying the weight of all the burdens society can heap on him. Dreams sequences take us on sub-plots that have us wondering whether we are in fact in real time. We soon learn that his fantasies and the unique mental condition (pseudobulbar effect) he endures, take him to the edge. So while the film gives Phillips' a platform to interpret the origins of one of Batman's antagonists, it is more an insight into an illness of the mind and how society's ambivalence to those who suffer may  mean we pays a price. There is so much more to Joker, and my interpretation may well be off the mark in the eyes of many. Maybe that is what makes Joker so brilliant, but I didn't like the way it made me feel. 10GUMS.

        

No. 87. (2019) The Portal. October 5th.

Film No 87 (2019) Oct. 5th.  11:00 AM  LUNA PALACE Leederville. 

"What would happen if 7 billion people all meditated? Could it shift the trajectory of the planet?" (The question asked on the posters of The Portal to promote a film that tests it's audience's psyche).

Mindfulness is a buzzword in modern society at the moment. The Portal encourages rather than educates it's audience in the practical advantages in taking care of oneself psychologically in relation to living a less stressful life. Six people (including an artificial intelligence robot) become the vehicles for these lofty aims. All of the human subjects have experienced different but stressful events in their lives and each has dealt with those stresses using similar methods. Taking time out to go within (psychologically), then in more practical terms reaching out to others to do good is a common behaviour. While this first feature by Jacqui Fifer has a big heart I'm not sure there is a plethora of new material, after all Buddhism is a life choice so many of the world's population has already adopted. The one fascination however was "Sophia the Robot" who was programmed to only exude love and goodwill. Unfortunately it was the subject least explored in The Portal. The film does serve as a healthy life-lesson reminder to the limited audience this film is likely to reach. 8GUMS.       

No. 86. (2019) Slam. September 30th.

Film No 86 (2019) Sept. 30th.  6:45 PM  LUNA PALACE Leederville. 

"Muslim girls just don't go missing" (A throw away line from a nameless detective discussing the disappearance of Ameena Nasser).

A drama with an ironic twist which asks questions about western prejudices when a missing person report is made but the missing person is a first generation Australian of Islamic decent with a propensity to talk publicly (Slam) about her beliefs. Slam quintessentially defines the meaning of the term Islamophobia. And to good effect, might I say. Our focus is with Ricky Nasser (Adam Bakri) as he learns from his frantic mother, that his sister Ameena is missing. Ameena is an articulate advocate for her faith and gaining equality in her society. Ricky is thrown into a nightmare of emotions. He's frantic for the health of his sister but in these times of threats to national security and the sensationalization of media outpourings, he is the definition of "man in a mess" because of his conflicting loyalties. Excellent performances, from the very talented Rachel Blake (Lantana) as a compassionate police officer dealing with her own demons and Rebecca Breeds (3 Summers) as Ricky's devoted wife, give Slam polish. I really hope Partho Sen-Gupta gets the audience, internationally, he totally deserves for this break-out film. 10GUMS.

       

 

 

   

No. 85. (2019) Ride Like A Girl. September 21st.

Film No 85 (2019) Sept. 21st.  11:00 AM  LUNA PALACE Leederville. 

"It's such a chauvinistic sport, a lot of the owners wanted to kick me off. Everyone else can get stuffed who think women aren't good enough " (Michelle Payne talks to cameras immediately after becoming the first female jockey to win the Melbourne Cup).

One of the great feel good stories from Australia's rich, rich sporting past. Actor Rachel Griffiths became so inspired immediately after watching the running of the Melbourne Cup 2015 when jockey Michelle Payne became the first female jockey to win the 150 plus year old race she, rang prospective producers, from the race course, in a determined effort to bring Michelle's inspirational story to screen. 4 years on, Ride Like A Girl is screening all over Australia to warm applause. Griffiths set out to create a film that would bring a tear to the eye of men who, rarely sit in a cinema (her words). So far she is succeeding in her quest. 

Like so many true stories brought to screen, if you didn't actually know the tale of Michelle Payne it might be scoffed at as too far-fetched. So while there is a short-cut or two to embellish matters, Griffiths had Michelle and brother Stephen (who plays himself) by her side throughout the production. Teresa Palmer plays Payne perfectly, as does Sam Neill as her legendary horseman father. Stephen steals scene after scene and there is hardly a moment the three are not featured. There is nothing new in this recipe for feel-good screen drama. We know where it's going, it's riddled with cliches, and the script is clunky; but try ripping your eyes from the screen. Payne and Griffiths dare you. I couldn't, and yes I had a lump in my throat as the titles rolled. Ride Like A Girl is a rollicking good yarn. 9GUMS.