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  93. SIGNIS Film Reviews: October 2014
  94. 20,000 Days on Earth
  95. Advanced Style
  96. Annabelle
  97. The Boxtrolls
  98. Dracula Untold
  99. The Equalizer
  100. The Giver
  101. Gone Girl
  102. The Grand Seduction
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  105. The Infinite Man
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  110. The Judge
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  113. The Little Death
  114. Locke
  115. The Maze Runner
  116. Planes: Fire and Rescue
  117. The Reckoning
  118. Siddharth
  119. The Skeleton Twins
  120. Son of a Gun
  121. Step Up All In
  122. Teenage Mutant Ninja Turtles
  123. Tusk
  124. Wetlands
  125. Wish I Was Here
  126. SIGNIS Film Reviews: Summer 2014
  127. The Hundred Foot Journey
  128. The 100-Year-Old Man who Climbed out a Window and Disappeared
  129. Begin Again
  130. Boyhood
  131. Charlie’s Country
  132. Devil’s Knot
  133. The Expendables 3
  134. Felony
  135. Freedom
  136. Get on Up
  137. God’s Not Dead
  138. God’s Pocket
  139. The Inbetweeners 2
  140. Magic in the Moonlight
  141. Night Moves
  142. Predestination
  143. Snowpiercer
  144. These Final Hours
  145. What We Do in the Shadows
  146. All this Mayhem
  147. And So It Goes
  148. Beatriz’s War
  149. Belle et Sebastien
  150. Bethlehem
  151. Deliver us from Evil
  152. Ernest et Celestine
  153. The French Minister/ Quai d’Orsay
  154. Galore
  155. Guardians of the Galaxy
  156. Hercules
  157. Jersey Boys
  158. The Keeper of Lost Causes
  159. Lucy
  160. The Lunchbox
  161. A Most Wanted Man
  162. Mrs Brown’s Boys, D’Movie
  163. Reaching for the Moon/ Flores Raras
  164. Rio 2
  165. Sex Tape
  166. The Selfish Giant
  167. Still Life
  168. Rising from the Ashes
  169. Transformers: Age of Extinction
  170. Venus in Fur/ Venus a la fourrure
  171. Volcano
  172. Words and Pictures
  173. 22 Jump Street
  174. Any Day Now
  175. Blended
  176. The Face of Love
  177. Edge of Tomorrow
  178. The Fault in our Stars
  179. Frank
  180. Good Vibrations
  181. The Last Impresario
  182. A Million Ways to Die in the West
  183. Omar
  184. Once My Mother
  185. The Rover
  186. The Trip to Italy
  187. X-Men Days of Future Past
  188. Yves Saint Laurent
  189. SIGNIS Film Reviews: June 2014
  190. 52 Tuesdays
  191. The Amazing Spiderman 2: Rise of Electro
  192. The Armstrong Lie
  193. The Babadook
  194. Bad Neighbours
  195. Belle
  196. Blue Ruin
  197. The Broken Circle Breakdown
  198. Canopy
  199. Captain America: Winter Soldier
  200. A Castle in Italy/ Un Chateau en Italie
  201. Chef
  202. Child’s Pose
  203. Divergent
  204. The Double
  205. Fading Gigolo
  206. Faith Connections
  207. Gore Vidal: the United States of Amnesia
  208. Gabrielle
  209. Gardening with Soul
  210. Grace of Monaco
  211. Godzilla
  212. Hannah Arendt
  213. Half of a Yellow Sun
  214. Healing
  215. Heaven is for Real
  216. How to Train Your Dragon 2
  217. Ida
  218. The Invisible Woman
  219. Like Father, Like Son
  220. Living is Easy with your Eyes Closed
  221. Man of Tai Chi
  222. Maleficent
  223. Miniscule: the Valley of the Lost Ants
  224. Missing Picture/ L’Image Manquant
  225. Mr Morgan’s Last Love
  226. Mr Peabody and Sherman
  227. Muppets Most Wanted
  228. My Sweet Pepper Land
  229. Need for Speed
  230. Next Goal Wins
  231. Noah
  232. Nymphomaniac Volume 2
  233. Only Lovers Left Alive
  234. The Other Woman
  235. Out of the Inferno
  236. Pompeii
  237. The Raid 2
  238. Ride Along
  239. Seduced and Abandoned
  240. Sunshine on Leith
  241. Transcendence
  242. Under the Skini
  243. Wadjda
  244. Jeune et Jolie/ Young and Beautiful
  245. The Zero Theorem
  246. SIGNIS Film Reviews: February/March 2014
  247. ’71
  248. Aloft
  249. Beauty and the Beast
  250. The Better Angels
  251. Black Coal, Thin Ice/ Bari Ri Yan Huo
  252. Blind Massage/ Tui Na
  253. Calvary
  254. The Darkside
  255. The Grand Budapest Hotel
  256. Historia do Meida/ History of Fear
  257. Jack
  258. Kraftidioten/ In Order of Disappearance
  259. Kreuzweg/ Stations of the Cross
  260. The Little House/ Chiisiai Ouochi
  261. Love is Strange
  262. Macondo
  263. The Monuments Men
  264. Mo Jing/ That Demon Within
  265. N - Madness of Reason
  266. No Man’s Land/ Wu Ren Qu
  267. Praira do futuro/ Beach of the Future
  268. Stratos/ The Storm Within
  269. Things People Do
  270. The Third Side of the River
  271. To Singapore, With Love
  272. The Two Faces of January
  273. Two Men in Town
  274. Unfriend
  275. Viharsorok/ Land of Storms
  276. Zwischen Welten/ Inbetween Worlds
  277. 3 Days to Kill
  278. 300: The Rise of an Empire
  279. All is Lost
  280. Chinese Puzzle/ Casse-tete chinois
  281. Dallas Buyers Club
  282. Endless Love
  283. The Grand Budapest Hotel
  284. I, Frankenstein
  285. In a world...
  286. The Monuments Men
  287. Non-stop
  288. Nymphomaniac Volume 1
  289. Out of the Furnace
  290. Robocop
  291. Romeo and Juliet
  292. Tracks
  293. Nebraska
  294. Vampire Academy
  295. A Winter’s Tale/ A New York Winter’s Tale
  296. Wolf Creek 2
  297. SIGNIS Film Reviews: Berlinale 2014
  298. SIGNIS Statement: Kreuzweg (Stations of the Cross)
  299. SIGNIS Statement: Calvary
  300. Labor Day
  301. Mandela: Long Walk to Freedom
  302. The Past/ Le Passe
  303. Blue is the Warmest Colour/ La Vie d’Adele - Chapitres 1 et 2
  304. 12 Years a Slave
  305. 47 Ronin
  306. Anchorman 2: The Legend Continues
  307. Are We Officially Dating?/ That Awkward Moment
  308. Drinking Buddies
  309. Free Birds
  310. La Grande Bellezza/ The Great Beauty
  311. Her
  312. Inside Llewyn Davis
  313. Jack Ryan: Shadow Recruit
  314. Lone Survivor
  315. Paranormal Activity: The Marked Ones
  316. Saving Mr Banks
  317. The Secret Life of Walter Mitty
  318. Short Term 12
  319. The Wind Rises/ Kaze Tachinu
  320. The Wolf of Wall Street
  321. 20 Feet from Stardom
  322. Apres Mai/ After May
  323. American Hustle
  324. August: Osage County
  325. Blackfish
  326. Backyard Ashes
  327. The Book Thief
  328. Carrie
  329. Cloudy with a Chance of Meatballs 2
  330. Delivery Man
  331. Fill the Void
  332. Filth
  333. Frozen
  334. The Gilded Cage/ La Cage Doree
  335. The Hobbit: The Desolation of Smaug
  336. Homefront
  337. How I Live Now
  338. Last Vegas
  339. Le Weekend
  340. One Chance
  341. The Railway Man
  342. Si Parla Italiano: Lygon Street
  343. Adoration
  344. Ain’t Them Bodies Saints
  345. Alan Partridge: Alpha Papa
  346. Austenland
  347. Big Ass Spider
  348. Blancanieves
  349. Captain Phillips
  350. Closed Circuit
  351. The Counselor
  352. Ender’s Game
  353. Enough Said
  354. Escape Plan
  355. The Fifth Estate
  356. Fruitvale Station
  357. The Hunger Games: Catching Fire
  358. Insidious Chapter 2
  359. Jackass Presents: Bad Grandpa
  360. Kill Your Darlings
  361. Machete Kills
  362. Magic Magic
  363. Mary Meets Mohammad
  364. Mr Pip
  365. SIGNIS Statement: "Philomena"
  366. SIGNIS Film Reviews: November/December 2013
  367. Mystery Road
  368. Patrick
  369. The Spectacular Now
  370. Thor: the Dark World
  371. Walesa - Man of Hope
  372. 2 Guns
  373. About Time
  374. The Act of Killing
  375. The Butler
  376. Diana
  377. The East
  378. Fallout
  379. The Family
  380. Gravity
  381. Grown Ups 2
  382. The Human Cargo/ La Nave Dolce
  383. I Am a Girl
  384. In Bob We Trust
  385. I’m So Excited
  386. The Interval/ L’Intervallo
  387. Lasseter’s Bones
  388. Paranoia
  389. Parker
  390. Percy Jackson: Sea of Monsters
  391. Planes
  392. Prisoners
  393. The Red and the Blue
  394. Renoir
  395. Riddick
  396. RIPD
  397. Runner Runner
  398. Rush
  399. Stories We Tell
  400. Thanks for Sharing
  401. Turbo
  402. The Best Offer
  403. Blue Jasmine
  404. Elysium
  405. Gambit
  406. The Gatekeepers
  407. A Hijacking/ Kapringen
  408. Jobs
  409. Kickass 2
  410. Mood Indigo/ L’Ecume des Jours
  411. The Mortal Instruments: City of Bones
  412. Much Ado About Nothing
  413. Pain & Gain
  414. Red 2
  415. Red Obsession
  416. The Rocket
  417. Stoker
  418. The Turning
  419. Upstream Color
  420. V/H/S/2
  421. We’re the Millers
  422. What Maisie Knew
  423. White House Down
  424. The World’s End
  425. You’re Next
  426. SIGNIS Film Reviews: July/August 2013
  427. 100 Bloody Acres
  428. After Earth
  429. The Audience
  430. Behind the Candelabra
  431. Beyond the Hills
  432. The Blind Detective
  433. The Bling Ring
  434. Cloudburst
  435. The Conjuring
  436. Despicable Me 2
  437. Epic
  438. Errors of the Human Body
  439. Everybody Has a Plan/ Todos Tenemos un Plan
  440. Furious 6/ The Fast and the Furious 6
  441. A Gun in Each Hand
  442. Happiness Never Comes Alone/Le bonheur n’arrive jamais a seul
  443. The Heat
  444. The Internship
  445. In the House/ Dans La Maison
  446. Lady in Paris/ Une Estonienne a Paris
  447. The Lone Ranger
  448. Man of Steel
  449. Metro
  450. Monsters University
  451. Now You See Me
  452. One Mile Above/ Kora
  453. Only God Forgives
  454. Pacific Rim
  455. Le Prenom/ What’s in a Name
  456. Reality
  457. Satellite Boy
  458. This is the End
  459. The Way, Way Back
  460. The Wolverine
  461. Still Mine
  462. To the Wonder
  463. World War Z
  464. You Ain’t Seen Nothin’ Yet
  465. The Big Wedding
  466. Broken
  467. The Call
  468. Camille Redouble/ Camille Rewinds
  469. Dead Man Down
  470. Evil Dead
  471. The Great Gatsby
  472. The Hangover Part III
  473. Jagten/ The Hunt
  474. Mud
  475. The Reluctant Fundamentalist
  476. Scary Movie 5
  477. Snitch
  478. Spring Breakers
  479. Star Trek Into Darkness
  480. Adventures in Zambezia
  481. Antiviral
  482. Chasing Ice
  483. Cheerful Weather for the Wedding
  484. The Company You Keep
  485. Drift
  486. Vic and Flo Meet a Bear
  487. Side Effects
  488. Promised Land
  489. Prince Avalanche
  490. Parde (Closed Curtain)
  491. Paradies
  492. Nobody’s Daughter Haewon
  493. Night Train to Lisbon
  494. The Necessary Death of Charley Countryman
  495. La religieuse (The Nun)
  496. Maladies
  497. Lovelace
  498. The Look of Love
  499. A Long and Happy Life
  500. In the Name of...
  501. Harmony Lessons
  502. The Grandmaster
  503. Gloria
  504. Gold
  505. Frances Ha
  506. An Episode in the Life of an Iron Picker
  507. Elle s’en va (On Her Way)
  508. Dark Blood
  509. The Croods
  510. Camille Claudel 1915
  511. Before Midnight
  512. Escape from Planet Earth
  513. First Position
  514. Haute Cuisine/ Les Saveurs de Palais
  515. Identity Thief
  516. Iron Man 3
  517. No
  518. Oblivion
  519. Olympus Has Fallen
  520. The Other Son/ Le Fils de L’Autre
  521. The Place Beyond the Pines
  522. Rust and Bone
  523. Le Skylab
  524. Sleepwalk with Me
  525. Song for Marion
  526. Therese Desqueyroux
  527. Trance
  528. SIGNIS Film Reviews: Berlinale 2013
  529. 21 and Over
  530. Blinder
  531. Broken City
  532. GI Joe: Retaliation
  533. Goddess
  534. A Good Day to Die Hard
  535. Hansel and Gretel: Witchhunters
  536. Hara-Kiri: Death of a Samurai
  537. The Host
  538. Hyde Park on Hudson
  539. The Incredible Burt Wonderstone
  540. In the Fog
  541. Jack the Giant Slayer
  542. Mama
  543. The Paperboy
  544. Performance/ A Late Quartet
  545. Return to Nim’s Island
  546. Underground: the Julian Assange Story
  547. SIGNIS Film Reviews: February 2013
  548. Zero Dark Thirty
  549. Anna Karenina
  550. Compliance
  551. Django Unchained
  552. Flight
  553. Gangster Squad
  554. The Impossible
  555. The Guilt Trip
  556. Last Dance
  557. Life of Pi
  558. Lincoln
  559. Parental Guidance
  560. Rise of the Guardians
  561. Save Your Legs
  562. The Silver Linings Playbook
  563. Wreck-it Ralph
  564. This is 40
  565. 2 Days in New York
  566. 360
  567. Alex Cross
  568. All the Way Through Evening
  569. American Mary
  570. The Angel’s Share
  571. Argo
  572. Bachelorette
  573. Back to 1942
  574. Beasts of the Southern Wild
  575. Breaking Dawn, Part 2
  576. Dangerous Liaisons
  577. Dead Europe
  578. The Do-Deca Pentathlon
  579. Dredd
  580. End of Watch
  581. Fun Size
  582. God Bless America
  583. Hail
  584. Here Comes the Boom
  585. Hitchcock
  586. The Hobbit, an unexpected journey
  587. Jack Reacher
  588. The Intouchables/ Les Intouchables/ Untouchables
  589. I Wish
  590. Killing Them Softly
  591. Lawless
  592. Les Miserables
  593. Liberal Arts
  594. Lockout
  595. Love is All You Need
  596. Lore
  597. The Man with the Iron Fists
  598. The Master
  599. Mental
  600. Miss Bala
  601. A Monster in Paris
  602. Paris - Manhattan
  603. The Odd Life of Timothy Green
  604. People Like US
  605. Pitch Perfect
  606. Paranormal Activity 4
  607. The Perks of Being a Wallflower
  608. SIGNIS Film Reviews: December 2012
  609. Quartet
  610. The Raven
  611. Robot & Frank
  612. Ruby Sparks
  613. The Sessions
  614. Seven Psychopaths
  615. Sinister
  616. Skyfall
  617. Savages
  618. Sound of My Voice
  619. Taken 2
  620. To Rome with Love
  621. Trouble with the Curve
  622. Tu seras mon fils/ You Will Be My Son
  623. The Words
  624. Wuthering Heights
  625. Wunderkinder
  626. "Aristides de Sousa Mendes": The Angel of Bordeaux
  627. On the Road
  628. Looper
  629. Damsels in Distress
  630. Holy Motors
  631. Arbitrage
  632. SIGNIS Film Reviews: September 2012
  633. Lore
  634. Chinese Take-away/ Un cuento chino
  635. Bait
  636. Hotel Transylvania
  637. The Watch
  638. Resident Evil: Retribution
  639. Barrymore
  640. Being Venice
  641. The Bourne Legacy
  642. Bully
  643. The Expendables 2
  644. Hope Springs
  645. Kath and Kimderella
  646. Madagascar 3: Europe’s Most Wanted
  647. Monsieur Lazhar
  648. Moonrise Kingdom
  649. Total Recall
  650. Your Sister’s Sister
  651. SIGNIS Film Reviews: July/August 2012
  652. SIGNIS Film Reviews: June 2012
  653. SIGNIS Film Reviews: May 2012
  654. Beauty/ Skoonheid
  655. The Sapphires
  656. Hysteria
  657. And if we all lived together/ Et si on vivait tous ensemble
  658. The Door
  659. Not Suitable for Children
  660. In Darkness
  661. Magic Mike
  662. The Dark Knight Rises
  663. The King is Dead!
  664. You Instead
  665. The Amazing Spiderman
  666. Where do we go now?
  667. The Three Stooges
  668. I Am Eleven
  669. Polisse
  670. Ted
  671. Ice Age: Continental Drift
  672. Snow White and the Huntsman
  673. Take This Waltz
  674. That’s My Boy
  675. Rock of Ages
  676. Comme un chef/ The Chef
  677. Brave
  678. Marley
  679. The Cabin in the Woods
  680. The Innkeepers
  681. Margaret
  682. What to Expect When You’re Expecting
  683. Elena
  684. Prometheus
  685. Anton Chekhov’s The Duel
  686. Friends with Kids
  687. Get the Gringo
  688. Game Change
  689. Declaration of War/ La guerre est declaree
  690. Men in Black 3
  691. Empire of Silver
  692. Silent Souls/ Ovsyenki
  693. The Dictator
  694. Swerve
  695. Once Upon a Time in Anatolia
  696. Careless Love
  697. Dark Shadows
  698. La Delicatesse/ Delicacy
  699. Iron Sky
  700. Trishna
  701. W./E
  702. 21 Jump Street
  703. Act of Valor
  704. Amour de Jeunesse/ Goodbye, First Love
  705. The Avengers
  706. Battleship
  707. Cafe de Flore
  708. The Deep Blue Sea
  709. Dr Seuss’ The Lorax
  710. The Footnote
  711. Ghost Rider: Spirit of Vengeance
  712. Hotel Lux
  713. The Hunger Games
  714. Irvine Welsh’s Ecstasy
  715. Kongen av Bastoy? King of Devil’s Island
  716. Kid with a Bike/ Le Gamin au Velo
  717. The Lady
  718. Le Havre
  719. The Lucky One
  720. Mirror, Mirror
  721. Les Neiges de Kilimandjaro/ The Snows of Kilimanjaro
  722. Pirates: Band of Misfits!
  723. The Raid
  724. Rebellion/ L’Ordre et La Morale
  725. The Rum Diary
  726. Romantics Anonymous/ Les Emotifs Anonymes
  727. Safe
  728. Salmon Fishing in the Yemen
  729. The Sorcerer and the White Snake
  730. La Source des femmes/ The Source
  731. Spud
  732. This Must be the Place
  733. Tomboy
  734. The Woman in Black
  735. Wish You Were Here
  736. La Femme de Vieme/ The Woman in the Fifth
  737. The Five-Year Engagement
  738. La Fille du Puisatier/ The Well Digger’s Daughter
  739. The Wrath of the Titans
  740. SIGNIS Film Reviews: March 2012
  741. Any Questions for Ben?
  742. 50/50
  743. The Artist
  744. The Best Exotic Marigold Hotel
  745. Buck
  746. Carnage
  747. Chronicle
  748. Contraband
  749. A Dangerous Method
  750. The Devil Inside
  751. Gone
  752. Headhunters/ Hodejegerne
  753. Project X
  754. John Carter
  755. One for the Money
  756. Safe House
  757. This Means War
  758. Tyrannosaur
  759. 1911
  760. 30 Minutes or Less
  761. Apollo 18
  762. A Better Life
  763. Everything Must Go
  764. A Few Best Men
  765. Flypaper
  766. The Grey
  767. Journey 2: The Mysterious Island
  768. J. Edgar
  769. Killer Elite
  770. Like Crazy
  771. Man on a Ledge
  772. My Week with Marilyn
  773. Retreat
  774. Shame
  775. Trespass
  776. The Vow
  777. A Moi Seule/ Coming Home
  778. Aujourd’hui/ Today
  779. Barbara
  780. Bel Ami
  781. Captive
  782. Cesare deve morire/ Caesar Must Die
  783. Cherry
  784. Dictado/ Dictation/ Childish Games
  785. Dollhouse
  786. Don 2: Don Must Die
  787. L’Enfant d’ en haut/ Sister
  788. Extremely Loud and Incredibly Close
  789. Flowers of War
  790. Flying Swords of Dragon Gate
  791. Gnade/ Mercy
  792. Haywire
  793. In the Land of Blood and Honey
  794. Jayne Mansfield’s Car
  795. Keep the Lights on
  796. Just the Wind/ Csalk a Szel
  797. La Mer a L’Aube/ Calm at Sea
  798. Meteora
  799. My Brother the Devil
  800. Postcards from the Zoo
  801. Rebelle/ War Witch
  802. A Royal Affair
  803. Shadow Dancer
  804. Tabu
  805. La Vierge, Les Coptes et Moi...
  806. Was Bleibt/ Home for the Weekend
  807. White Deer Plain
  808. Wilaya
  809. SIGNIS Film Reviews: Berlin 2012 Special Edition
  810. SIGNIS Film Reviews: January 2012
  811. Too Big to Fail
  812. The Descendants
  813. Arietty
  814. Autoluminiscent
  815. Hugo
  816. The Muppets
  817. Young Adult
  818. Sherlock Holmes: A Game of Shadows
  819. The Adventures of Tintin
  820. Waste Land
  821. Happy Feet Two
  822. We Bought a Zoo
  823. Dolphin Tale
  824. Albert Nobbs
  825. Courageous
  826. New Year’s Eve
  827. Restless
  828. The Tall Man
  829. The Skin I Live In
  830. Tower Heist
  831. We Need to Talk About Kevin
  832. Another Earth
  833. The Iron Lady
  834. Jack and Jill
  835. Melancholia
  836. Mission Impossible - Ghost Protocol
  837. The Orator/ O Le Tulafale
  838. The Yellow Sea/ Hwanghae
  839. Yes Madam, Sir
  840. SIGNIS Film Reviews: October/November 2011
  841. Breaking Dawn Part I
  842. Attack the Block
  843. The Debt
  844. Habemus Papam (We Have a Pope)
  845. The Ides of March
  846. Immortals
  847. I Don’t Know How She Does It
  848. The Inbetweeners
  849. Moneyball
  850. Puss in Boots
  851. Toomelah
  852. Machine Gun Preacher
  853. Ages of Love (Manuele d’ Am3re)
  854. Arthur Christmas
  855. Shark Night 3D
  856. L’Amour Fou
  857. Country Strong
  858. Oakie’s Outback Adventure
  859. Surviving Georgia
  860. Cedar Rapids
  861. Our Idiot Brother
  862. In Time
  863. The Cup
  864. Don’t be Afraid of the Dark
  865. Contagion
  866. What’s Your Number?
  867. The Three Musketeers
  868. Midnight in Paris
  869. Higher Ground
  870. The Thing
  871. Project Nim
  872. Footloose
  873. Take Shelter
  874. Crazy, Stupid, Love.
  875. The Whistleblower
  876. Monte Carlo
  877. Spy Kids 4: All the Time in the World
  878. Submarine
  879. The Eye of the Storm
  880. Fire in Babylon
  881. Tabloid
  882. Snow Flower and the Secret Fan
  883. Red State
  884. Real Steel
  885. Johnny English Reborn
  886. The Hunter
  887. Fright Night
  888. Abduction
  889. 13 Assassins
  890. Guilty Pleasures
  891. Client 9: the Rise and Fall of Eliot Spitzer
  892. Colombiana
  893. Zookeeper
  894. Final Destination 5
  895. The Change-Up
  896. Face to Face
  897. Win Win
  898. The Rise of the Planet of the Apes
  899. Horrible Bosses
  900. Hobo with a Shotgun
  901. The Help
  902. Conan the Barbarian
  903. Chalet Girl
  904. Beastly
  905. Priest
  906. The Woman
  907. The Greatest Movie Ever Sold
  908. Friends with Benefits
  909. Secuestrados (Kidnapped)
  910. Jane Eyre
  911. Big Mamma’s Boy
  912. Cowboys & Aliens
  913. Green Lantern
  914. Senna
  915. Tucker and Dale vs Evil
  916. The Illusionist
  917. The Conspirator
  918. Love Crime
  919. Captain America, the First Avenger
  920. Precious Life
  921. Bad Teacher
  922. The Eagle
  923. Five Days of August/ Five Days of War
  924. Mars Needs Moms
  925. Stake Land
  926. Beautiful Lies (De Vrais Mensonges)
  927. Meek’s Cutoff
  928. Cars 2
  929. The Last Circus (La Balada Triste de la Trompeta)
  930. Kung Fu Panda 2
  931. Harry Potter and the Deathly Hallows Part 2
  932. Larry Crowne
  933. The Trip
  934. Transformers: Dark of the Moon
  935. Special Treatment (Sans Queue ni Tete)
  936. Mr Popper’s Penguins
  937. Mozart’s Sister
  938. Love and Other Impossible Pursuits/ The Other Woman
  939. All Good Things
  940. Crazy on the Outside
  941. The Tree of Life
  942. SIGNIS Film Reviews: May/June 2011
  943. Faith, Fraud + Minimum Wage
  944. Super 8
  945. Blame
  946. Bridesmaids
  947. Little White Lies
  948. Here I Am
  949. X Men: First Class
  950. The Tunnel
  951. Babies
  952. The Hangover Part II
  953. Carlos
  954. Oceans
  955. Angele et Tony
  956. Soul Surfer
  957. Julia’s Eyes
  958. Mrs Carey’s Concert
  959. Pirates of the Caribbean: On Stranger Tides
  960. SIGNIS Statement: Oranges and Sunshine
  961. Burke and Hare
  962. Water for Elephants
  963. Hanna
  964. Source Code
  965. Hoodwinked Too: The Battle Between Hood and Evil
  966. Fast Five/ The Fast and the Furious 5
  967. Diary of a Wimpy Kid: Rodrick Rules
  968. Your Highness
  969. Thor
  970. Something Borrowed
  971. Snowtown
  972. Scream 4
  973. Rio
  974. La Rafle/ The Round Up
  975. Le Quattro Volte
  976. Paul
  977. Oranges and Sunshine
  978. Murundak
  979. Main Street
  980. Mad Bastards
  981. The Lost Bladesman
  982. Insidious
  983. Incendies
  984. The Human Resources Manager
  985. Get Low
  986. Catfish
  987. Arthur
  988. SIGNIS Film Reviews: March/April 2011
  989. Hop
  990. Sucker Punch
  991. Potiche
  992. Goethe!
  993. The Day I Wasn’t Born (Das lied in mir)
  994. Limitless
  995. Haevnen (In a Better World)
  996. A Heartbeat Away
  997. The Lincoln Lawyer
  998. The Reef
  999. Red Riding Hood
  1000. The Company Men
  1001. Battle Los Angeles
  1002. Just Go With It
  1003. Howl
  1004. The Girl Who Kicked the Hornet’s Nest
  1005. Almanya - Willkommen in Deutschland
  1006. Ausente (Absent)
  1007. Cave of Forgotten Dreams
  1008. Come Rain, Come Shine
  1009. Coriolanus
  1010. Dance Town
  1011. The Devil’s Double
  1012. Les Femmes du 6eme Etage (Women of the 6th Floor/ Service Entrance)
  1013. The Forgiveness of Blood
  1014. The Future
  1015. Griff the Invisible
  1016. The Guard
  1017. If Not Us, Who (Wer Wenn Nicht Wir)
  1018. Invisible (Lo Roim Alaich)
  1019. Late Bloomers
  1020. Margin Call
  1021. Mein Bester Feind (My Best Enemy)
  1022. Un Mondo Misterioso (A Mysterious World)
  1023. Nader and Simin: a Separation
  1024. Odem (Lipstikka)
  1025. SIGNIS Film Reviews: Berlinale 2011 Special Edition
  1026. Our Grand Despair
  1027. Pina
  1028. El Premio (The Prize)
  1029. Romeos
  1030. Schlafkrankheit (Sleeping Sickness)
  1031. Swans
  1032. Tambien la lluvia (Even the Rain)
  1033. Tropa de Elite 2 (Elite Squad 2 - The Enemy Within)
  1034. True Grit
  1035. Unknown
  1036. Utopians
  1037. Vampire
  1038. V Subottu (Innocent Saturday)
  1039. Wind and Fog
  1040. Yelling to the Sky
  1041. The Rite
  1042. La Tete en Friche (My Afternoons with Margueritte)
  1043. Rango
  1044. SIGNIS Statement: The Rite
  1045. The Way Back
  1046. Wasted on the Young
  1047. Secretariat
  1048. Season of the Witch
  1049. No Strings Attached
  1050. Never Let Me Go
  1051. Nenette
  1052. A LIttle Bit of Heaven
  1053. Inside Job
  1054. I Am Number Four
  1055. Hall Pass
  1056. Gnomeo and Juliet
  1057. Conviction
  1058. Big Momma. Like Father Like Son
  1059. The Adjustment Bureau
  1060. Rabbit Hole
  1061. Hereafter
  1062. SIGNIS Statement: Brighton Rock
  1063. Barney’s Version
  1064. The Green Hornet
  1065. The Next Three Days
  1066. Ramona and Beezus
  1067. SIGNIS Film Reviews: January 2011
  1068. The Mechanic
  1069. How Do You Know
  1070. The Romantics
  1071. 127 Hours
  1072. Black Swan
  1073. The Fighter
  1074. Burlesque
  1075. The Dilemma
  1076. Takers
  1077. Stone
  1078. Arctic Blast
  1079. Out Of The Silence
  1080. Helen
  1081. Morning Glory
  1082. Yogi Bear
  1083. Korkoro
  1084. Unstoppable
  1085. Tangled
  1086. The Tourist
  1087. Sarah’s Key (Elle s’appelle Sarah)
  1088. Gulliver’s Travels
  1089. Little Fockers
  1090. Love and Other Drugs
  1091. SIGNIS Film Reviews: December 2010
  1092. The King’s Speech
  1093. Heartbreaker (L’Arnacoeur)
  1094. Somewhere
  1095. Desert Flower
  1096. Tron: Legacy
  1097. Megamind
  1098. The Chronicles of Narnia: Voyage of the Dawn Treader
  1099. Devil
  1100. Rare Exports - A Christmas Tale
  1101. The Last Exorcism
  1102. Due Date
  1103. SIGNIS Film Reviews: October/November 2010
  1104. SIGNIS Film Reviews: September 2010
  1105. Beneath Hill 60
  1106. Monsters
  1107. Harry Potter and the Deathly Hallows Part I
  1108. Machete
  1109. Sisters of War
  1110. Wild Target
  1111. Skyline
  1112. The American
  1113. Winter’s Bone
  1114. The Loved Ones
  1115. Paranormal Activity 2
  1116. Saw 3D (Saw VII)
  1117. The Social Network
  1118. Gainsbourg
  1119. Detective Dee and the Phantom Flame
  1120. You Don’t Know Jack
  1121. Life as We Know It
  1122. Made in Dagenham
  1123. Red
  1124. Let Me In
  1125. The Town
  1126. Resident Evil: Afterlife
  1127. Copacabana
  1128. La Danse
  1129. The Human Centipede (First Sequence)
  1130. The Clinic
  1131. Eat Pray Love
  1132. Buried
  1133. Legend of the Guardians. The Owls of Ga’hoole
  1134. Dinner for Schmucks
  1135. The Least of These
  1136. The City of Your Final Destination
  1137. Sagan
  1138. Summer Coda
  1139. Diary of a Wimpy Kid
  1140. Cats and Dogs: the Revenge of Kitty Galore
  1141. I’m Still Here
  1142. The Other Guys
  1143. The Last Airbender
  1144. Easy A
  1145. Tomorrow When the War Began
  1146. Despicable Me
  1147. Letters to Father Jakob (Postia poppi Jaakobille)
  1148. The Sorcerer’s Apprentice
  1149. Salt
  1150. The Girl Who Played with Fire
  1151. Piranha 3D
  1152. Vampires Suck
  1153. Matching Jack
  1154. SIGNIS Film Reviews: Summer 2010
  1155. Cairo Time
  1156. Peepli [Live]
  1157. The Expendables
  1158. Second Hand Wedding
  1159. Splice
  1160. Step Up 3D
  1161. Scott Pilgrim vs. the World
  1162. The Special Relationship
  1163. South Solitary
  1164. Killers
  1165. Leaving (Partir)
  1166. Inception
  1167. Tinker Bell and the Great Fairy Rescue
  1168. Boy
  1169. The Waiting City
  1170. Knight and Day
  1171. L’Herisson (Hegehog)
  1172. The Runaways
  1173. Predators
  1174. The Karate Kid
  1175. Eclipse (The Twilight Saga: Eclipse)
  1176. Toy Story 3
  1177. New York, I Love You
  1178. The A-Team
  1179. Get Him to the Greek
  1180. Accidents Happen
  1181. L’Affaire Farewell
  1182. Animal Kingdom
  1183. City Island
  1184. Le Concert
  1185. I Love You Too
  1186. The Kings of Mykonos
  1187. Letters to Juliet
  1188. Mademoiselle Chambon
  1189. Mother and Child
  1190. Shrek Forever After
  1191. Valhalla Rising
  1192. SIGNIS Film Reviews: Cannes 2010 Special Edition
  1193. Abel
  1194. Les Amours Immaginaires
  1195. Another Year
  1196. Aurora
  1197. Biutiful
  1198. Blue Valentine
  1199. Burnt by the Sun 2: The Exodus
  1200. Carancho
  1201. Chonqing Blues (Rizhao Chongqing)
  1202. Copie Certifie (Certified Copy)
  1203. Des Hommes et des Dieux (Of Gods and Men)
  1204. Fair Game
  1205. Hahaha
  1206. L’homme qui crie (A Screaming Man)
  1207. Hors-la-loi (Outside the Law)
  1208. The Housemaid
  1209. Kaboom
  1210. Life, Above All
  1211. Lung Boonmee Rachuak Chat (Uncle Boonmee who can Recall Past Lives)
  1212. Marti, Dupa Craciun (Tuesday after Christmas)
  1213. My Joy
  1214. La Nostra Vita
  1215. SIGNIS Statement: "Des hommes et des dieux" (Of Gods and Men)
  1216. Octubre
  1217. Outrage
  1218. Poetry
  1219. La Princesse de Montpensier
  1220. Robin Hood
  1221. Rebecca H. (Return to the Dogs)
  1222. Route Irish
  1223. Simon Werner e Disparu... (Lights Out)
  1224. The Strange Case of Angelica
  1225. Szerid Teremtes - A Frankenstein Terv (Tender Son - the Frankenstein Project
  1226. Tamara Drewe
  1227. Tournee (On Tour)
  1228. The Tree
  1229. Wall Street: Money Never Sleeps
  1230. You Will Meet a Tall Dark Stranger
  1231. SIGNIS Film Reviews: April/May 2010
  1232. Brooklyn’s Finest
  1233. Tooth Fairy
  1234. Sex and the City 2
  1235. The Losers
  1236. Rec 2
  1237. Prince of Persia: the Sands of Time
  1238. Gentlemen Broncos
  1239. Cop Out
  1241. Hot Tub Time Machine
  1242. A Room and a Half
  1243. Psych 9
  1244. A Nightmare on Elm Street
  1245. Furry Vengeance
  1246. Four Lions
  1247. The Backup PLan
  1248. Iron Man 2
  1249. Revanche
  1250. The Last Song
  1251. The Disappearance of Alice Creed
  1252. SIGNIS Statement: Agora
  1253. SIGNIS Statement: The Calling
  1254. The Joneses
  1255. Dogtooth
  1256. Centurion
  1257. It’s a Wonderful Afterlife
  1258. Cherrybomb
  1259. Date Night
  1260. Io Sono L’Amore (I Am Love)
  1261. Pazar (The Market - a Tale of Trade)
  1262. City of Life and Death
  1263. Cemetery Junction
  1264. Ghost (The Ghost Writer)
  1265. Dear John
  1266. Repo Men
  1267. Crying with Laughter
  1268. Boogie Woogie
  1269. Donne-moi La Main (Give Me Your Hand)
  1270. Shelter
  1271. The Infidel
  1272. Whip It
  1273. I Know You Know
  1274. SIGNIS Statement: Lourdes
  1275. SIGNIS Statement: No Greater Love
  1276. Shank
  1277. How to Train Your Dragon
  1278. Clash of the Titans
  1279. Remember Me
  1280. Kick Ass
  1281. Nanny McPhee and the Big Bang
  1282. The Blind Side
  1283. I Love You, Phillip Morris
  1284. The Bounty Hunter
  1285. My Last Five Girlfriends
  1286. The Spy Next Door
  1287. Sons of Cuba
  1288. Salvage
  1289. The Scouting Book for Boys
  1290. House of the Devil
  1291. Green Zone
  1292. Hachi: a Dog’s Tale
  1293. Shutter Island
  1294. The Girl with the Dragon Tattoo
  1295. The Kreutzer Sonata
  1296. The Father of My Children (Le Pere de Mes Enfants)
  1297. Chloe
  1298. Battle for Terra
  1299. The Wolfman
  1300. Oorlogswinter (Winter in Wartime)
  1301. Valentine’s Day
  1302. Solomon Kane
  1303. Powder Blue
  1304. The Crazies
  1305. Case 39
  1306. Anonyma
  1307. Alice in Wonderland
  1308. Percy Jackson and the Olympians: the Lightning Thief
  1309. Ondine
  1310. Micmacs
  1311. Legion
  1312. Leap Year
  1313. From Paris with Love
  1314. Extraordinary Measures
  1315. Everybody’s Fine
  1316. Crazy Heart
  1317. SIGNIS Film Reviews: Berlin 2010 Special Edition
  1318. SIGNIS Film Reviews: January/February 2010
  1319. L’Arbre et La Foret (Family Tree)
  1320. L’Autre Dumas (The Other Dumas)
  1321. Bal (Honey)
  1322. David Wants to Fly
  1323. Exit Through the Gift Shop
  1324. En Familie (A Family)
  1325. Father of Invention
  1326. Die Fremde (When You Leave)
  1327. Greenberg
  1328. Jud Suss: Rise and Fall
  1329. The Kids are All Right
  1330. The Killer Inside Me
  1331. Mine Vaganti (Loose Cannons)
  1332. My Name is Khan
  1333. Na Putu (On the Path)
  1334. Otouto (About Her Brother)
  1335. Please Give
  1336. Red Hill
  1337. Shahada (Faith)
  1338. Son of Babylon
  1339. Submarino
  1340. When I Want to Whistle, I Whistle
  1341. A Woman, A Gun and a Noodle Shop
  1342. Invictus
  1343. The Book of Eli
  1344. Astro Boy
  1345. Youth in Revolt
  1346. Up in the Air
  1347. Tony
  1348. A Single Man
  1349. Romeo and Juliet (Indonesia)
  1350. Holy Water
  1351. Exam
  1352. It’s Complicated
  1353. 44 Inch Chest
  1354. Nine
  1355. St Trinians: the Legend of Fritton’s Gold
  1356. Ninja Assassin
  1357. Daybreakers
  1358. Armored
  1359. Edge of Darkness
  1360. Motherhood
  1361. Brothers
  1362. Breathless
  1363. Bran Nue Dae
  1364. All About Steve
  1365. The Princess and the Frog
  1366. Talentime
  1367. Troubled Water (De Usynlige)
  1368. Extract
  1369. Shrink
  1370. Sex & Drugs & Rock & Roll
  1371. Diamant 13
  1372. Old Dogs
  1373. Did You Hear about the Morgans?
  1374. Mao’s Last Dancer
  1375. Sherlock Holmes
  1376. The Lovely Bones
  1377. Prime Mover
  1378. The Brothers Bloom
  1379. Avatar
  1380. SIGNIS Film Reviews: October/November/December 2009
  1381. The Other Man
  1382. Post Grad
  1383. Unmade Beds
  1384. Where the Wild Things Are
  1385. Planet 51
  1386. Only When I Dance
  1387. Nowhere Boy
  1388. The Merry Gentleman
  1389. Me and Orson Welles
  1390. The Girlfriend Experience
  1391. Le Premier Jour du Reste de ta vie (The First Day of the Rest of Your Life)
  1392. The Descent: Part 2
  1393. Cracks
  1394. The Box
  1395. Nativity!
  1396. Paranormal Activity
  1397. Law Abiding Citizen
  1398. Bunny and the Bull
  1399. Machan
  1400. The Boys are Back
  1401. New Moon (The Twilight Saga: New Moon)
  1402. Glorious 39
  1403. A Serious Man
  1404. Examined Life
  1405. Un Barrage Contre le Pacifique (The Sea Wall)
  1406. Harry Brown
  1407. Amelia
  1408. 2012
  1409. The Fourth Kind
  1410. An Education
  1411. A Christmas Carol
  1412. The Men Who Stare at Goats
  1413. The Cove
  1414. The Horseman
  1415. Jennifer’s Body
  1416. Fantastic Mr Fox
  1417. Saw VI
  1418. Coffin Rock
  1419. Dead Man Running
  1420. Stone Bros.
  1421. Disgrace
  1422. My Year without Sex
  1423. This Is It
  1424. Blessed
  1425. Cirque du Freak: the Vampire’s Assistant
  1426. Cedar Boys
  1427. Beautiful Kate
  1428. 9
  1429. Pontypool
  1430. Couples Retreat
  1431. Halloween II
  1432. Ong Bak: the Beginning
  1433. Zombieland
  1434. Capitalism: A Love Story
  1435. The Informant!
  1436. Pandorum
  1437. My Life in Ruins (Driving Aphrodite)
  1438. Surrogates
  1439. The Invention of Lying
  1440. Whiteout
  1441. Sorority Row
  1442. The Soloist
  1443. Management
  1444. Julie & Julia
  1445. Jack Said
  1446. Gamer
  1447. The Firm
  1448. Fame
  1449. Dorian Gray
  1450. The Crimson Wing
  1451. Creation
  1452. Cloudy with a Chance of Meatballs
  1453. Blind Dating
  1454. Away We Go
  1455. Adventureland
  1456. SIGNIS Film Reviews: Summer 2009
  1457. District 9
  1458. (500) Days of Summer
  1459. The Red Baron
  1460. Sztuczki (Tricks)
  1461. Shorts
  1462. Funny People
  1463. The Time Traveler’s Wife
  1464. A Perfect Getaway
  1465. I Love You, Beth Cooper
  1466. The Final Destination
  1467. Dance Flick
  1468. Bandslam
  1469. Aliens in the Attic
  1470. Orphan
  1471. Adam
  1472. GI Joe: The Rise of Cobra
  1473. Home
  1474. The Ugly Truth
  1475. G-Force
  1476. The Taking of Pelham 123
  1477. Land of the Lost
  1478. Crossing Over
  1479. Mad, Sad and Bad
  1480. Coco Avant Chanel (Coco Before Chanel)
  1481. The Limits of Control
  1482. The Hurt Locker
  1483. Villa Amalia
  1484. Antichrist: An Essay/Review
  1485. The Proposal
  1486. Just Another Love Story
  1487. Charles Dickens’ England
  1488. Soul at Peace (Pokoj v Dusi)
  1489. Bist (Twenty)
  1490. Un Age a la Mer (Angel at Sea)
  1491. Tutta Colpa di Giuda
  1492. Swinki (Piggies)
  1493. Goodbye, Solo
  1494. Moon
  1495. Martyrs
  1496. The Informers
  1497. Lake Tahoe
  1498. Harry Potter and the Half-Blood Prince
  1499. Frozen River
  1500. Cold Souls
  1501. Bruno
  1502. Red Mist
  1503. Public Enemies
  1504. Ice Age 3: Dawn of the Dinosaurs
  1505. Shirin
  1506. Blood: the Last Vampire
  1507. My Sister’s Keeper
  1508. Sunshine Cleaning
  1509. Rudo y Cursi
  1510. Sin Nombre
  1511. Year One
  1512. The Last Thakur
  1513. The Last House on the Left
  1514. Doghouse
  1515. Everlasting Moments (Maria Larsson’s Everlasting Moments)
  1516. Telstar
  1517. Gigantic
  1518. Red Cliff
  1519. Helen
  1520. The Hangover
  1521. O’Horten
  1522. The Children of the Silk Road (The Children of Huang Shi/ Escape from Huang Shi)
  1523. Sex Drive
  1524. Terminator Salvation
  1525. Tormented
  1526. Sugar
  1527. Pour Elle (Anything for Her)
  1528. Max Manus
  1529. Last Chance Harvey
  1530. The Hide
  1531. Awaydays
  1532. Angels & Demons
  1533. Fighting
  1534. Drag Me to Hell
  1535. Night at the Museum: Battle for the Smithsonian
  1536. Endgame
  1537. Obsessed
  1538. Viva
  1539. French Film
  1540. Das Weisse Band (The White Ribbon)
  1541. Visage
  1542. Vincere
  1543. Vengeance
  1544. Up
  1545. The Tsar
  1546. The Time that Remains
  1547. Thirst: Ceci est mon Sang
  1548. Tales from the Golden Age
  1549. Taking Woodstock
  1550. The Silent Army
  1551. Samson & Delilah
  1552. Un Prophete
  1553. Precious
  1554. Police, Adjective
  1555. Nobody Knows About Persian Cats
  1556. My Neighbour, My Killer
  1557. Mother
  1558. Map of the Sounds of Tokyo
  1559. Manila
  1560. Looking for Eric
  1561. Jaffa
  1562. Kinatay
  1563. Irene
  1564. Inglourious Basterds
  1565. Independencia
  1566. The Imaginarium of Doctor Parnassus
  1567. La Fille du RER (The Girl on the Train)
  1568. Fish Tank
  1569. Eyes Wide Open
  1570. Enter the Void
  1571. Demain des L’Aube
  1572. Coco Chanel & Igor Stravinsky
  1573. Chun Fen Chen Zui De Ye Wan (Spring Fever)
  1574. Cendres et Sang (Ashes and Blood)
  1575. Bright Star
  1576. L’Armee du Crime
  1577. A L’Origine
  1578. Los Abrazos Rotos
  1579. SIGNIS Film Reviews: Cannes 2009 Special Edition
  1580. SIGNIS Statement: Angels and Demons
  1581. Good
  1582. Coraline
  1583. Star Trek
  1584. Wolverine: X Men Origins
  1585. SIGNIS Film Reviews: April 2009
  1586. Is Anybody There?
  1587. Momma’s Man
  1588. Shifty
  1589. Seraphine
  1590. Villa Jasmin
  1591. Snow (Snijeg)
  1592. Four Nights with Anna
  1593. Fermat’s Room (La habitacion de Fermat)
  1594. Wrong Rosary
  1595. Tear This Heart Out (Arrancame la vida)
  1596. Skin
  1597. Si Puo Fare (We Can Do It/ It Can Be Done)
  1598. Scratch (Rysa)
  1599. Hannah Montana: the Movie
  1600. Blue Eyelids (Parpados Azules)
  1601. Crank: High Voltage
  1602. The Empty Nest
  1603. The Market - a tale of Trade
  1604. Rain
  1605. The Necessities of Life (Ce qu’il faut pour vivre)
  1606. State of Play
  1607. Observe and Report
  1608. Outlander
  1609. Hassan and Morkos
  1610. Departures (Okuribito)
  1611. Dansen (Dancers)
  1612. Blind Sunflowers (Los Girasoles Ciegos)
  1613. 35 Rhums (35 Shots of Rum)
  1614. In the Loop
  1615. Not Easily Broken
  1616. Five Minutes of Heaven
  1617. Let the Right One In
  1618. I Love You, Man
  1619. Fifty Dead Men Walking
  1620. Dragonball: Evolution
  1621. 17 Again
  1622. Fast and Furious
  1623. Tony Manero
  1624. Race to Witch Mountain
  1625. SIGNIS Film Reviews: March 2009
  1626. SIGNIS Statement: Religulous
  1627. Cherry Blossoms (Kirschebluten/Hanami)
  1628. Monsters Vs Aliens
  1629. The Boat that Rocked
  1630. I Can’t Think Straight
  1631. The World Unseen
  1632. Religulous
  1633. The Uninvited
  1634. Little Ashes
  1635. The Haunting in Connecticut
  1636. Knowing
  1637. The Life Before Her Eyes
  1638. Traitor
  1639. Genova
  1640. The Damned United
  1641. Duplicity
  1642. Diminished Capacity
  1643. Paul Blart: Mall Cop
  1644. Lesbian Vampire Killers
  1645. The Age of Stupid
  1646. Flash of Genius
  1647. Bronson
  1648. Hush
  1649. The Great Debaters
  1650. The Young Victoria
  1651. Wendy and Lucy
  1652. Watchmen
  1653. Reverb
  1654. A Short Stay in Switzerland
  1655. Flammen & Citronen (Flame & Citron)
  1656. The Burning Plain
  1657. American Teen
  1658. SIGNIS Film Reviews: Berlin 2009 Special Edition
  1659. Yarwng (Roots)
  1660. The Crew
  1661. He’s Just Not That Into You
  1662. Push
  1663. Confessions of a Shopaholic
  1664. SIGNIS Film Reviews: February 2009
  1665. The International
  1666. New in Town
  1667. The Unborn
  1668. Franklyn
  1669. Cadillac Records
  1670. Hotel for Dogs
  1671. Friday the 13th
  1672. Gran Torino
  1673. All About Elly (Darbareye Elly)
  1674. Alle Anderen (Everyone Else)
  1675. An American in New York
  1676. Ander
  1677. Beast Stalker
  1678. The Bone Man (Der Knochenmann)
  1679. Burrowing (Man Tanker Sitt)
  1680. Cheri
  1681. The Countess
  1682. Deutschland 09
  1683. Eden a L’Ouest (Eden is West)
  1684. End of Love
  1685. The Fish Child (El Nino Pez)
  1686. Forever Enthralled
  1687. Gigante
  1688. Happy Tears
  1689. John Rabe
  1690. Just Walking (Solo Quiero Caminar)
  1691. Katalin Varga
  1692. Letters to the President
  1693. London River
  1694. Mammoth
  1695. The Messenger
  1696. Milk of Sorrow (La Teta Asustuda)
  1697. My One and Only
  1698. Pedro
  1699. The Private Lives of Pippa Lee
  1700. Rage
  1701. Ricky
  1702. Ruckenwind (Light Gradient)
  1703. Storm
  1704. Tatarak (Sweet Rush)
  1705. Welcome
  1706. Winterstilte (Winter Silence)
  1707. Notorious
  1708. The Pink Panther 2
  1709. The Spirit
  1710. The Square
  1711. Bottle Shock
  1712. Bolt
  1713. JCVD
  1714. Cronoscrimines (Time Crimes)
  1715. Valkyrie
  1716. Nick and Nora’s Infinite Playlist
  1717. Henry Poole is Here
  1718. The Broken
  1719. Battle in Seattle
  1720. Underworld: The Rise of the Lycans
  1721. Tokyo Sonata
  1722. The Punisher: War Zone
  1723. Who Killed Nancy?
  1724. My Bloody Valentine 3D
  1725. SIGNIS Film Reviews: January 2009
  1726. My Mom’s New Boyfriend
  1727. Lucky Miles
  1728. Marley and Me
  1729. Gabriel
  1730. Bride Wars
  1731. Monkey PUzzle
  1732. Doubt
  1733. Frost/Nixon
  1734. Defiance
  1735. Revolutionary Road
  1736. Roman de Gare
  1737. The Sisterhood of the Travelling Pants 2
  1738. Seven Pounds
  1739. Transsiberian
  1740. Garbage Warrior
  1741. Yes Man
  1742. The Grocer’s Son
  1743. Slumdog Millionaire
  1744. The Reader
  1745. Far North
  1746. Bedtime Stories
  1747. Beverley Hills Chihuahua
  1748. Newcastle
  1749. Fugitive Pieces
  1750. Gonzo, the Life and Times of Dr. Hunter S. Thompson
  1751. The Wrestler
  1752. A Bunch of Amateurs
  1753. Twilight
  1754. The Tale of Despereaux
  1755. Milk
  1756. The Curious Case of Benjamin Button
  1757. Australia
  1758. SIGNIS Film Reviews: December 2008
  1759. The Church in Transition: Doubt
  1760. Faintheart
  1761. Dean Spanley
  1762. Trade
  1763. The Stone of Destiny
  1764. Nordwand (North Face)
  1765. Love and Honour
  1766. Inkheart
  1767. The Day the Earth Stood Still
  1768. Choke
  1769. Madagascar Escape 2 Africa
  1770. My Best Friend’s Girl
  1771. The Secret Life of Bees
  1772. Quarantine
  1773. Summer
  1774. Julia
  1775. Four Christmases
  1776. Il Vento Va il Suo Giro (The Wind Blows Around)
  1777. Un Poco de Chocolade (A Little Bit of Chocolate)
  1778. Transporter 3
  1779. The Girl in the Park
  1780. Les Lignes du Sang (Rivals)
  1781. Bonneville
  1782. The Children
  1783. The Express
  1784. Lakeview Terrace
  1785. SIGNIS Film Reviews: October-November 2008
  1786. Body of Lies
  1787. The Oxford Murders
  1788. Flawless
  1789. Dialogue avec mon Jardinier (Conversations with My Gardener)
  1790. The Warlords
  1791. Easy Virtue
  1792. Fine, Totally Fine
  1793. Max Payne
  1794. Pride and Glory
  1795. Zach and Miri Make a Porno
  1796. Choking Man
  1797. The Baader Meinhof Complex
  1798. Scar 3D
  1799. W
  1800. Kit Kittredge: An American Girl
  1801. Quantum of Solace
  1802. High School Musical 3: Senior Year
  1803. Incendiary
  1804. Of Time and the City
  1805. Le Ring
  1806. A nyomozo (The Investigation)
  1807. Rumba
  1808. Saw V
  1809. Un Coeur Simple (A Simple Heart)
  1810. Non Pensarci (Don’t Think About It)
  1811. Eagle Eye
  1812. Igor
  1813. The Rocker
  1814. Free Jimmy
  1815. Young @ Heart
  1816. La Zona
  1817. Rachel Getting Married
  1818. Bigga than Ben
  1819. Vinyan
  1820. Nights in Rodanthe
  1821. City of Ember
  1822. Mirrors
  1823. Brideshead Revisited
  1824. Mutant Chronicles
  1825. The House Bunny
  1826. Fly Me to the Moon 3D
  1827. SIGNIS Statement: Brideshead Revisited and its Catholicism
  1828. SIGNIS Film Reviews: September 2008
  1829. Tropic Thunder
  1830. 88 Minutes
  1831. How to Lose Friends and Alienate People
  1832. Good Dick
  1833. Die Welle (The Wave)
  1834. Rocknrolla
  1835. Redbelt
  1836. Righteous Kill
  1837. The Foot Fist Way
  1838. Death Race
  1839. Bangkok Dangerous
  1840. Appaloosa
  1841. The Women
  1842. Taken
  1843. Eden Lake
  1844. Babylon AD
  1845. Live!
  1846. Burn After Reading
  1847. The Boy in the Striped Pyjamas
  1848. Disaster Movie
  1849. Myrin (Jar City)
  1850. Partition
  1851. The Strangers
  1852. Step-Brothers
  1853. SIGNIS Film reviews: August 2008
  1854. Puffball
  1855. Times and Winds (Bes Vakit)
  1856. The Wackness
  1857. Wild Child
  1858. Shoot on Sight
  1859. Daylight Robbery
  1860. El Cantante
  1861. Somers Town
  1862. You Don’t Mess with the Zohan
  1863. Get Smart
  1864. Ben X
  1865. College Road Trip
  1866. Hellboy II: the Golden Army
  1867. Man from Plains
  1868. Three and Out
  1869. Vexille
  1870. Angel
  1871. The Clone Wars
  1872. Miss Pettigrew Lives a Day
  1873. The Karamazovs
  1874. SIGNIS Statement: The X-Files: I Want to Believe
  1875. The Mummy: Tomb of the Dragon Emperor
  1876. CJ7
  1877. Make it Happen
  1878. Tropa de Elite (Elite Squad)
  1879. Renard et L’Enfant (The Fox and the Child)
  1880. The Love Guru
  1881. Cidade dos Homens (City of Men)
  1882. The X Files: I Want to Believe
  1883. Married Life
  1884. Cass
  1885. Blindsight
  1886. Paris
  1887. Before the Rains
  1888. Angus, Thongs and Perfect Snogging
  1889. Elle s’appelle Sabine (Her Name is Sabine)
  1890. Buddha Collapsed out of Shame
  1891. The Dark Knight
  1892. Baby Mama
  1893. Meet Dave
  1894. WALL.E
  1895. Donkey Punch
  1896. SIGNIS Film Reviews: July 2008
  1897. Journey to the Center of the Earth 3D
  1898. Mamma Mia
  1899. The Forbidden Kingdom
  1900. SIGNIS Film Reviews: June 2008
  1901. La Romance d’Astree et Celadon
  1902. Mad Detective
  1903. Mes Amis, Mes Amours
  1904. Kung Fu Panda
  1905. In Memory of My Father
  1906. Adulthood
  1907. El Bano del Papa (The Pope’s Toilet)
  1908. My Winnipeg
  1909. Les Femmes de l’Ombre (Female Agents)
  1910. Prince Caspian
  1911. Hancock
  1912. Wanted
  1913. Cassandra’s Dream
  1914. The Ruins
  1915. The Edge of Love
  1916. The Waiting Room
  1917. In Search of a Midnight Kiss
  1918. The Happening
  1919. The Incredible Hulk
  1920. Hors de Prix (Priceless)
  1921. Teeth
  1922. SIGNIS Film Reviews: Cannes 2008 Special Edition
  1923. The Escapist
  1924. Kamikaze Girls
  1925. Persepolis
  1926. Mongol
  1927. Ostrov (The Island)
  1928. Taxi to the Darkside
  1929. Balls of Fury
  1930. Mad Money
  1931. Anamorph
  1932. Filth: the Mary Whitehouse Story
  1933. Welcome Home Roscoe Jenkins
  1934. Sarkar Raj
  1935. Harold and Kumar Escape from Guantanomo
  1936. Caramel
  1937. Prom Night
  1938. Superhero Movie
  1939. Chemical Wedding
  1940. Indiana Jones and the Kingdom of the Crystal Skull
  1941. Sex and the City
  1942. Timber Falls
  1943. 24 City
  1944. Adoration
  1945. A Festa da Menina Morta (Dead Girl’s Feast)
  1946. Afterschool
  1947. Los Bastardos
  1948. Blindness
  1949. The Chaser
  1950. Che
  1951. Un Conte de Noel
  1952. Delta
  1953. Il Divo
  1954. Entre les Murs (The Class)
  1955. The Exchange (formerly Changeling)
  1956. La Frontiere de l’Aube (The Dawn Shore)
  1957. Gomorrah
  1958. The Good, the Bad and the Weird
  1959. Hunger
  1960. Johnny Mad Dog
  1961. Leonera (Lion’s Den)
  1962. Linha de Passe
  1963. Milh Hadha Al-Bahr (Salt of this Sea)
  1964. La Mujer sin Cabeza
  1965. My Magic
  1966. Ocean Flame
  1967. Versailles
  1968. De Ofrivilliga (Involuntary)
  1969. Palermo Shooting
  1970. Sanguepazzo (Wild Blood)
  1971. Serbis
  1972. Le Silence de Lorna (Lorna’s Silence)
  1973. Soi Cowboy
  1974. Surveillance
  1975. Synecdoche, New York
  1976. Tokyo!
  1977. UC Maymun (The Three Monkeys)
  1978. Ting Chi (Parking)
  1979. Tulpan
  1980. Two Lovers
  1981. Vicki Cristina Barcelona
  1982. La Vie Moderne
  1983. Waltz with Bashir
  1984. What Just Happened?
  1985. Wolke 9 (Cloud 9)
  1986. Bienvenue chez les Ch’its (Welcome to the Sticks)
  1987. The Black Balloon
  1988. Charlie Bartlett
  1989. Shutter
  1990. Tovarisch, I Am Not Dead
  1991. La Question Humaine (Heartbeat Detector)
  1992. Cashback
  1993. XXY
  1994. Where in the World is Osama Bin Laden?
  1995. Honeydripper
  1996. Un Secret
  1997. The Air I Breathe
  1998. SIGNIS Films Reviews: April 2008
  1999. The Eye
  2000. Speed Racer
  2001. What Happens in Vegas
  2002. Stop-Loss
  2003. [Rec.]
  2004. Iron Man
  2005. Manufacturing Landscapes
  2006. Made of Honour
  2007. Doomsday
  2008. In Bruges
  2009. Pathology
  2010. Street Kings
  2011. One Missed Call
  2012. P2
  2013. My Enemy’s Enemy
  2014. Nim’s Island
  2015. 21
  2016. Leatherheads
  2017. Flashbacks of a Fool
  2018. Deception
  2019. Fool’s Gold
  2020. Gone Baby Gone
  2021. Forgetting Sarah Marshall
  2022. The Mourning Forest
  2023. Boarding Gate
  2024. Death Defying Acts
  2025. Ballast
  2026. The Visitor
  2027. Smart People
  2028. The Mist
  2029. The King of California
  2030. Funny Games U.S.
  2031. Son of Rambow
  2032. Awake
  2033. How She Move
  2034. My Brother is an Only Child
  2035. Drillbit Taylor
  2036. First Sunday
  2037. The Go Master
  2038. Run, Fatboy, Run
  2039. The 11th Hour
  2040. Meet the Spartans
  2041. Lars and the Real Girl
  2042. The Spiderwick Chronicles
  2043. Step Up 2: The Streets
  2044. The Orphanage (El Orfanato)
  2045. Love in the Time of Cholera
  2046. Dr Seuss’s Horton Hears a Who
  2047. SIGNIS Film Reviews: March 2008
  2048. L’heure Zero (Towards Zero)
  2049. Avril
  2050. Sous Les Bombes (Under the Bombs)
  2051. Children of Glory
  2052. Out of the Blue
  2053. Miss Austen Regrets
  2054. Assembly
  2055. The Cottage
  2056. Beaufort
  2057. 10,000 BC
  2058. Vantage Point
  2059. Four Minutes (Vier Minuten)
  2060. La Grain et le mulet (The Secret of the Grain)
  2061. George A. Romero’s Diary of the Dead
  2062. Garage
  2063. Fade to Black
  2064. The Accidental Husband
  2065. The Baker
  2066. The Bank Job
  2067. The Bucket List
  2068. Mang Shan (Blind Mountain)
  2069. Mister Lonely
  2070. Rambo
  2071. Semi-Pro
  2072. Untraceable
  2073. Waz
  2074. SIGNIS Film Reviews: Berlin 2008 Special Edition
  2075. Tirador (Slingshot)
  2076. 3 Zan (3 Women)
  2077. Tatil Katibi (Summer Book)
  2078. Standard Operating Procedure
  2079. Sleep Dealer
  2080. Restless
  2081. The Other Boleyn Girl
  2082. Night and Day (Bam Gua Nat)
  2083. Man Jeuk (Sparrow)
  2084. Lemon Tree
  2085. Lady Jane
  2086. Katyn
  2087. Kabei - Our Mother
  2088. Jesus Christus Erloser (Jesus Christ Saviour)
  2089. Jerusalema
  2090. Il y a longtemps que je t’aime (I Have Loved You for So Long)
  2091. Hey Hey It’s Esther Blueburger
  2092. Happy-Go-Lucky
  2093. Fireflies in the Garden
  2094. Feuerherz (Heart of Fire)
  2095. Elegy
  2096. Dream Boy
  2097. Derek
  2098. Corroboree
  2099. Caos Calmo (Quiet Chaos)
  2100. Boy A
  2101. Be Kind Rewind
  2102. Balikbayan Box
  2103. Black Water
  2104. Jumper
  2105. SIGNIS Film Reviews: February 2008
  2106. There Will Be Blood
  2107. Juno
  2108. Definitely, Maybe
  2109. The Forest of Death
  2110. The Professor and his Beloved Equation
  2111. The Water Horse
  2112. Time to Die
  2113. The Matrimony
  2114. Penelope
  2115. Anche Libero va bene (Across the Ridge)
  2116. Le Scaphandre et Le Papillon (The Diving Bell and the Butterfly)
  2117. Margot at the Wedding
  2118. Things We Lost in the Fire
  2119. Over Her Dead Body
  2120. Italianetz (The Italian)
  2121. Cloverfield
  2122. Battle for Haditha
  2123. The Savages
  2124. Desaccord Parfait (Twice on a Lifetime)
  2125. Ensemble, C’est Tout (Hunting and Gathering)
  2126. Clubland
  2127. The Final Winter
  2128. Footy Legends
  2129. The Good Night
  2130. Kokoda
  2131. Sweeney Todd: the Demon Barber of Fleet Street
  2132. September
  2133. Asterix at the Olympic Games
  2134. St Trinians
  2135. Walk Hard: the Dewey Cox Story
  2136. Underdog
  2137. Charlie Wilson’s War
  2138. SIGNIS Film Reviews: January 2008
  2139. Alien versus Predator: Requiem
  2140. Dan in Real Life
  2141. PS I Love You
  2142. Before the Devil Knows You’re Dead
  2143. Romulus, My Father
  2144. Rogue
  2145. National Treasure: Book of Secrets
  2146. I Am Legend
  2147. Closing the Ring
  2148. The Man in the Chair
  2149. The Game Plan
  2150. The Bet
  2151. 27 Dresses
  2152. As It Is In Heaven
  2153. Arctic Tale
  2154. Youth without Youth
  2155. Mr Magorium’s Wonder Emporium
  2156. Weirdsville
  2157. My Kid Could Paint That
  2158. Infinite Justice
  2159. Chromophobia
  2160. Anna M
  2161. Bella
  2162. The Bee Movie
  2163. He Was a Quiet Man
  2164. SIGNIS Statement: The Golden Compass
  2165. 30 Days of Night
  2166. Brick Lane
  2167. Enchanted
  2168. A Very British Gangster
  2169. Code Name: The Cleaner
  2170. I’m Not There
  2171. SIGNIS Film Reviews: November 2007
  2172. Pret-moi la main (I Do)
  2173. Talk to Me
  2174. Rescue Dawn
  2175. Shrooms
  2176. Fred Claus
  2177. Hitman
  2178. This Christmas
  2179. August Rush
  2180. You Kill Me
  2181. Stellet Licht
  2182. Silk
  2183. Into the Wild
  2184. The Lookout
  2185. Good Luck Chuck
  2186. Beowulf
  2187. I Served the King of England
  2188. The Jane Austen Book Club
  2189. Redacted
  2190. The Magic Flute
  2191. American Gangster
  2192. The Assassination of Jesse James by the Coward Robert Ford
  2193. Lions for Lambs
  2194. SIGNIS Statement: Elizabeth - The Golden Age
  2195. Once
  2196. Black Sheep
  2197. Nancy Drew
  2198. Mr Brooks
  2199. The Last Legion
  2200. Resident Evil: Extinction
  2201. The Invasion
  2202. Razzle Dazzle
  2203. Interview
  2204. Stardust
  2205. Rendition
  2206. Ratatouille
  2207. The Nines
  2208. In the Valley of Elah
  2209. The Hunting Party
  2210. Eastern Promises
  2211. The Dark is Rising
  2212. The Darjeeling Limited
  2213. Daddy Day Camp
  2214. Blame it on Fidel
  2215. SIGNIS Film Reviews: October 2007
  2216. Rocket Science
  2217. Shoot ’em Up
  2218. Mr Woodcock
  2219. Across the Universe
  2220. Halloween
  2221. Sleuth
  2222. Death at a Funeral
  2223. Syndromes and a Century
  2224. Lust, Caution
  2225. It’s a Free World
  2226. War
  2227. The Nanny Diaries
  2228. And When Did You Last See Your Father
  2229. Control
  2230. Dnevnoy Dozor (Day Watch)
  2231. Feast of Love
  2232. The Heartbreak Kid
  2233. Hot Rod
  2234. I Now Pronounce You Chuck and Larry
  2235. The Kingdom
  2236. The Brave One
  2237. Die Falscher (The Counterfeiters)
  2238. In Memoria di Me
  2239. Takva
  2240. Superbad
  2241. Le Serpent
  2242. Michael Clayton
  2243. Irina Palm
  2244. Georgia Rule
  2245. The Ex (Fast Track)
  2246. SIGNIS Films Reviews: August/September 2007
  2247. Atonement
  2248. 3:10 to Yuma
  2249. No Reservations
  2250. Death Sentence
  2251. 1408
  2252. December Boys
  2253. 2 Days in Paris
  2254. Year of the Dog
  2255. Buy it Now
  2256. Quelques Jours en Septembre
  2257. Hallam Foe
  2258. We are all Christs (Wszyscy Jestesmy Chrystusami)
  2259. Sugarhouse
  2260. Waitress
  2261. Seraphim Falls
  2262. Lady Chatterley
  2263. Knocked Up
  2264. Evening
  2265. Eagle vs Shark
  2266. 12.08, East of Bucharest
  2267. The Bourne Ultimatum
  2268. Sparkle
  2269. Bratz the Movie
  2270. Ecoute le temps
  2271. Mee Shee: the Water Giant
  2272. Marigold
  2273. Copying Beethoven
  2274. Surf’s Up
  2275. Rush Hour 3
  2276. License to Wed
  2277. Happily N’Ever After
  2278. Wind Chill
  2279. SIGNIS Film Reviews: June-July 2007
  2280. Tales from Earthsea
  2281. Gandhi my Father
  2282. Evan Almighty
  2283. The Hoax
  2284. I Have Never Forgotten You: the Life and Legacy of Simon Wiesenthal
  2285. Transformers
  2286. In the Land of Women
  2287. The Walker
  2288. The Simpsons Movie
  2289. Disturbia
  2290. Daratt
  2291. Macbeth
  2292. The Priestess
  2293. The Lark Farm
  2294. Harry Potter and the Order of the Phoenix
  2295. Hairspray
  2296. A Story of People in War and Peace
  2297. Screamers
  2298. SIGNIS Statement: Sinner
  2299. The War on Democracy
  2300. Die Hard 4.0
  2301. Dead Silence
  2302. The Flying Scotsman
  2303. Hostel 2
  2304. Sketches of Frank Gehry
  2305. Shrek the Third
  2306. Grow Your Own
  2307. Ne le dis a personne (Tell No One)
  2308. Lucky You
  2309. Captivity
  2310. PTU
  2311. The Fantastic Four: Rise of the Silver Surfer
  2312. Water
  2313. Vacancy
  2314. Are We Done Yet?
  2315. Frankie
  2316. SIGNIS Film Reviews: Cannes 2007 Special Edition
  2317. SIGNIS Film Reviews: May 2007
  2318. SIGNIS Film Reviews: April 2007
  2319. The Wild Blue Yonder
  2320. Messages
  2321. Black Gold
  2322. Nuovomondo (Golden Door)
  2323. Turistas (Paradise Lost)
  2324. Je Suis Pas La Pour Etre Aime (Not Here to be Loved)
  2325. The Tiger’s Tail
  2326. Oceans 13
  2327. Pirates of the Caribbean 3: At World’s End
  2328. The Chumscrubber
  2329. The City of Violence
  2330. The Hitcher
  2331. We Own the Night
  2332. Naissance des Pieuvres (Water Lilies)
  2333. Une Vielle Maitresse (An Old Mistress)
  2334. Triangle
  2335. Terror’s Advocate
  2336. Tehilim
  2337. La Soledad
  2338. Sicko
  2339. Secret Sunshine
  2340. Savage Grace
  2341. Paranoid Park
  2342. No Country for Old Men
  2343. My Blueberry Nights
  2344. Munruyangabo
  2345. A Mighty Heart
  2346. The Man from London
  2347. Import/Export
  2348. Go Go Tales
  2349. The Flight of the Red Balloon (Le Voyage de Ballon Rouge)
  2350. Death Proof
  2351. Les Chansons d’Amour (Love Songs)
  2352. Chacun Son Cinema
  2353. Centochiodi (A Hundred Nails)
  2354. Breath (Soom)
  2355. Boxes
  2356. The Banishment
  2357. The Band’s Visit
  2358. Auf der Anderen Seite (The Edge of Heaven)
  2359. Apres Lui
  2360. Alexandra
  2361. L’Age des Tenebres (The Age of Ignorance)
  2362. 4 Months, 3 Weeks & 2 Days
  2363. Lovewrecked
  2364. Conversations with Other Women
  2365. Like Minds
  2366. Mon Meilleur Ami (My Best Friend)
  2367. Dans Paris
  2368. 28 Weeks Later
  2369. Black Snake Moan
  2370. Spiderman 3
  2371. La Noche de los Girasoles (The Night of the Sunflowers)
  2372. Goya’s Ghosts
  2373. Beyond the Gates of Splendor
  2374. End of the Spear
  2375. Goodbye Bafana
  2376. The Breed
  2377. This is England
  2378. The Painted Veil
  2379. The Last Mimzy
  2380. Next
  2381. Reno 911!: Miami
  2382. Straightheads
  2383. Away from Her
  2384. Scott Walker: 30 Century Man
  2385. The Puffy Chair
  2386. Fracture
  2387. Fur: an Imaginary Portrait of Diane Arbus
  2388. The Jesus Project
  2389. Half Nelson
  2390. The Pathfinder: An Untold Legend
  2391. The Reaping
  2392. Reign over me
  2393. Son of Man
  2394. Perfect Stranger
  2395. Edmond
  2396. La Mome (La Vie en Rose)
  2397. Unknown
  2398. Shooter
  2399. Provoked (Provoked: a True Story)
  2400. Das Leben der Anderen (The Lives of Others)
  2401. One Night with the King
  2402. Wild Hogs
  2403. The Bridge to Terabithia
  2404. SIGNIS Film Reviews: February/March 2007
  2405. Meet the Robinsons
  2406. Sunshine
  2407. Blades of Glory
  2408. The Messengers
  2409. The Namesake
  2410. Curse of the Golden Flower
  2411. Stomp the Yard
  2412. Stay (Sleeping Dogs)
  2413. Mr Bean’s Holiday
  2414. The Hills Have Eyes II
  2415. Factory Girl
  2416. Deliver Us from Evil: SIGNIS Statement
  2417. Catch a Fire
  2418. L’Amico di famiglia (The Family Friend)
  2419. The Last Sineater
  2420. Catch and Release
  2421. Amazing Grace
  2422. TMNT (Teenage Mutant Ninja Turtles)
  2423. I Want Candy
  2424. The Ultimate Gift
  2425. Premonition
  2426. Sherrybaby
  2427. Facing the Giants
  2428. Breach
  2429. Zodiac
  2430. Sheitan
  2431. The Astronaut Farmer
  2432. Outlaw
  2433. After the Wedding (Efter Brylluppet)
  2434. Norbit
  2435. Becoming Jane
  2436. The Good German
  2437. Gone
  2438. Kardia
  2439. Music and Lyrics
  2440. 300
  2441. Bamako
  2442. Hot Fuzz
  2443. Eklavya: the Royal Guard
  2444. Middletown
  2445. A Guide to Recognising Your Saints
  2446. Alpha Dog
  2447. Material Girls
  2448. Inland Empire
  2449. Fauteuils d’Orchestre (Orchestra Seats)
  2450. The Number 23
  2451. Because I Said So
  2452. School for Scoundrels
  2453. Arthur and the Invisibles (Arthur et les Minimoys)
  2454. Blood and Chocolate
  2455. Goal 2! Living the Dream
  2456. Hannibal Rising
  2457. Epic Movie
  2458. The Reef
  2459. The Good Shepherd
  2460. Ghost Rider
  2461. SIGNIS Film Reviews: January 2007
  2462. Dreamgirls
  2463. Notes on a Scandal
  2464. Letters from Iwo Jima
  2465. Kenny
  2466. Welcome to Dongmakgol
  2467. The Last King of Scotland
  2468. For Your Consideration
  2469. Irresistible
  2470. Little Red Flowers
  2471. The Illusionist
  2472. Freedom Writers
  2473. Smokin’ Aces
  2474. Ghosts
  2475. Venus
  2476. Flyboys
  2477. Ils (Them)
  2478. Suburban Mayhem
  2479. Gridiron Gang
  2480. Miss Potter
  2481. The Return
  2482. Zwartboek (Black Book)
  2483. Charlotte’s Web
  2484. Flicka
  2485. Boytown
  2486. The Fountain
  2487. Bobby
  2488. 3 Needles
  2489. Last Train to Freo
  2490. Scoop
  2491. La Doublure (The Valet)
  2492. SIGNIS Film Reviews: December 2006
  2493. Flags of our Fathers
  2494. Night at the Museum
  2495. Rocky Balboa
  2496. Perfume: the Story of a Murderer
  2497. Zoom
  2498. Kabul Express
  2499. It’s a Boy/Girl Thing
  2500. Employee of the Month
  2501. "The Nativity Story" Seen from the Philippines
  2502. Running With Scissors
  2503. Blood Diamond
  2504. Unaccompanied Minors (Grounded)
  2505. Eragon
  2506. Deja Vu
  2507. Black Christmas
  2508. SIGNIS Film Reviews: November 2006
  2509. A Prairie Home Companion
  2510. The Pursuit of Happyness
  2511. Apocalypto
  2512. The Holiday
  2513. Frostbiten (Frostbite)
  2514. London to Brighton
  2515. Die Grosse Stille (Into Great Silence)
  2516. Happy Feet
  2517. Jackass Number Two
  2518. Deck the Halls
  2519. The Covenant
  2520. Suburban Mayhem
  2521. Zemastan (It’s Winter)
  2522. Pan’s Labyrinth
  2523. Shortbus
  2524. Tenacious D and the Pick of Destiny
  2525. The Santa Clause 3: The Escape Clause
  2526. Flushed Away
  2527. Stranger Than Fiction
  2528. Big Nothing
  2529. All the Invisible Children
  2530. Antikorper (Antibodies)
  2531. Twelve and Holding
  2532. The Nightmare Before Christmas 3D
  2533. Breaking and Entering
  2534. Heroes and Villains
  2535. Special (RX) Specioprin Hydrochloride
  2536. Casino Royale
  2537. Puritan
  2538. The Host (Gue-Mool)
  2539. The Prestige
  2540. Waist Deep
  2541. Little Children
  2542. The Nativity Story
  2543. Earthlings (Ugly Bags of Mostly Water)
  2544. All the King’s Men
  2545. The Last Kiss
  2546. Saw III
  2547. Mischief Night
  2548. Borat Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
  2549. Sixty Six
  2550. The Great Ecstasy of Robert Carmichael
  2551. Gypo
  2552. La Tourneuse de Pages (The Page Turner)
  2553. Peaceful Warrior
  2554. Driving Lessons
  2555. Wordplay
  2556. SIGNIS Film Reviews: October 2006
  2557. Idlewild
  2558. The Grudge 2
  2559. Stick It
  2560. New Police Story
  2561. Step Up
  2562. Infamous
  2563. The History Boys
  2564. Tais Toi (Shut Up)
  2565. Starter for Ten
  2566. Open Season
  2567. The Texas Chainsaw Massacre: The Beginning
  2568. The Aryan Couple
  2569. Scenes of a Sexual Nature
  2570. A Good Year
  2571. The Guardian
  2572. SIGNIS Film Reviews: September 2006
  2573. Quinceanera (Echo Park LA)
  2574. Man Push Cart
  2575. Accepted
  2576. The Departed
  2577. Johanna
  2578. Life and Lyrics
  2579. Nina’s Heavenly Delights
  2580. Hoodwinked
  2581. DOA: Dead or Alive
  2582. A Guide to Recognising Your Saints
  2583. Kekexili (Mountain Patrol)
  2584. Click
  2585. Dirty Sanchez - the Movie
  2586. Keane
  2587. The U.S. vs. John Lennon
  2588. Hollywoodland
  2589. Clerks II
  2590. An Inconvenient Truth
  2591. Talladega Nights: the Ballad of Ricky Bobby
  2592. Snow Cake
  2593. Little Miss Sunshine
  2594. The Wicker Man
  2595. The Devil Wears Prada
  2596. SIGNIS Film Reviews: August 2006
  2597. World Trade Center
  2598. The Black Dahlia
  2599. Children of Men
  2600. The Queen
  2601. The Sentinel
  2602. Crank
  2603. This Film is not yet Rated
  2604. The Benchwarmers
  2605. Over the Hedge
  2606. Severance
  2607. Adrift
  2608. Marilyn Hotchkiss’ Ballroom Dancing and Charm School
  2609. You, Me and Dupree
  2610. Right at Your Door
  2611. Snakes on a Plane
  2612. Akeelah and the Bee
  2613. Harsh Times
  2614. A Scanner Darkly
  2615. John Tucker Must Die
  2616. Tideland
  2617. Monster House
  2618. Garfield 2: A Tale of Two Kitties
  2619. The Death of Mr Lazarescu
  2620. Bee Season
  2621. Angel-A
  2622. Ellie Parker
  2623. C.S.A. The Confederate States of America
  2624. Warrior-King
  2625. Alpha Male
  2626. Wilderness
  2627. The Night Listener
  2628. Lady in the Water
  2629. Nacho Libre
  2630. Tarfaya
  2631. Paper Clips
  2632. 11:14
  2633. Cars
  2634. Stay Alive
  2635. The Break-Up
  2636. My Super Ex-Girlfriend
  2637. The Notorious Bettie Page
  2638. Trust the Man
  2639. Miami Vice
  2640. Who Killed the Electric Car?
  2641. Omkara
  2642. The Ant Bully
  2643. SIGNIS Film Reviews: June/July 2006
  2644. Ultraviolet
  2645. The Thief Lord
  2646. District 13 (Banlieue 13)
  2647. Fearless
  2648. Half Light
  2649. Hard Candy
  2650. Imagine You and Me
  2651. The Fast and the Furious: Tokyo Drift
  2652. Dumplings
  2653. Curious George
  2654. 36 Quai des Orfevres
  2655. Aquamarine
  2656. The Lake House
  2657. Thank You for Smoking
  2658. Superman Returns
  2659. Vers le Sud (Heading South)
  2660. Pirates of the Caribbean: Dead Man’s Chest
  2661. Stormbreaker
  2662. An Unfinished Life
  2663. Love + Hate
  2664. Ju On 2 (The Grudge 2)
  2665. Secuestro Express
  2666. El Lobo (The Wolf)
  2667. Little Manhattan
  2668. Poseidon
  2669. Friends with Money
  2670. X Men 3: The Last Stand
  2671. Forty Shades of Blue
  2672. Just My Luck
  2673. The Cave of the Yellow Dog
  2674. Reeker
  2675. Pretty Persuasion
  2676. King Kong
  2677. Ask the Dust
  2678. Wah Wah
  2679. Voces Innocentes (Innocent Voices)
  2680. RV
  2681. Best Wishes! (Czech Republic)
  2682. SIGNIS Statement: The Omen
  2683. SIGNIS Film Reviews: Cannes 2006 Special Edition
  2684. 2:37
  2685. Babel
  2686. The Caiman
  2687. Cronica de una Fuga
  2688. Fast Food Nation
  2689. Flanders
  2690. Climates
  2691. Indigènes
  2692. Jindabyne
  2693. Lights in the Dusk
  2694. Marie Antoinette
  2695. Paris je t’aime
  2696. Red Road
  2697. Southland Tales
  2698. Volver
  2699. Summer Palace
  2700. Ten Canoes
  2701. El Violin
  2702. The Wind that Shakes the Barley
  2703. Z Odzysku (Retrieval)
  2704. Shooting Dogs

SIGNIS Film Reviews, April 2015


x & y


US, 2014, 79 minutes, Colour.
Directed by Chris Moukarbel.

One of the best-kept secrets in the world of art, or at least the world of graffiti and street art, is the identity of the British artist called Banksy. In this age of instant social media, it is amazing that over the years the identity of Banksy has not been revealed.

In 2010, there was an intriguing documentary called Banksy, Exit through the Gift Shop, a tantalising quest for the identity of Banksy but an opportunity to look at his Street Art, respond pro or con, and a chance to think about the nature of this kind of art, ephemeral or permanent, art or kitsch.

Now, several years later, Banksy is still a mystery. He is given a commission to spend a month in New York City, October 2013. He has contracted to do a piece of art each day, and fulfils the promise except for one day when the police obstruct his work.

The film makers, with no official connection with Banksy, take the opportunity to photograph each of the works of art, quite important since a number of them were removed or defaced. Mayor Bloomberg of New York City, other officials and the police, take a dim view of this work, considering it a criminal offence to deface buildings with this kind of art and graffiti. The police are in pursuit and try to prevent further art events.

Audiences may be in two minds about the work itself, but the variety of art-words and art-images, actual graffiti, actual paintings and, even a brick sculpture, the Sphinx, have an immediately arresting quality. Some of the New York papers decided to ignore Banksy. One critic, with a touch of the pontificating, dismisses the work as unsubtle, kitsch and hammering home social messages. A more benign commentator is inclined to offer more favourable perspectives. On the other hand, television news across the broad range are continually commenting on the artist, his work, and public response. It makes for instant television

What is intriguing is that each day Banksy goes to an unknown location and does his work of art. There are many Banksy fans who want to see each work each day and a number who refer to themselves as Banksy Hunters, tweeting, using Facebook and Instagram, to let people know where they might find the works with crowds hurrying there. On the other hand, on one day, a stall is set up to sell Banksy works and people pass by, only a few purchasing the art - for about $50 each, which may then be worth thousands later!

The film captures the ideas and responses of many of the enthusiasts and the Hunters. Audiences can check their own responses in comparison.

Some of the works are quite simple, there is a frequent use of black silhouettes interacting with local objects like fire hydrants, with fans getting their photographs taken in front of the works. One of the most striking is a large art piece reflecting on the WikiLeaks revelation about American forces and helicopters in Iraq shooting down agents as well as innocent bystanders with shockingly callous remarks. It is well worth Banksy doing a work visualising the implications of this vicious event.

The film is short, but always interesting, our listening to the views, watching the reactions of the fans, and the opportunity to see the variety of works and build up an impression of and response to Banksy.


US, 2014, 106 minutes, Colour.
Amy Adams, Christophe Waltz, Krysten Ritter, Jason Schwartzman, Danny Huston, Terence Stamp, Jon Polito, Delaney Raye, Madeleine Arthur.
Directed by Tim Burton.

There are quite a number of big eyes in this film. They are the focus of most of the paintings by Margaret Keane, who began her work in in the late 1950s and is still painting. She has done a series of pictures of waifs and given them all very big eyes, different colours but a pervading sense of black and darkness around them. They have been very popular over the decades while some of the art critics have dismissed them as kitsch.

It is a surprise to find that this is a Tim Burton film. For more than a quarter of a century, Burton has delivered a wide range of films treating the world of fantasy and vivid, often dark, imagination. While the big eyes do fit into this Burton interest, and there are some moments when Margaret Keane looks into a mirror and sees herself with big eyes, this is a fairly straightforward narrative, often very serious, but with some moments of hilarity and even zany bravado.

We might ask how this could be especially when the film opens with Margaret leaving home with a young daughter, driving away from the outer suburbs of Northern California into San Francisco and establishing herself there, interviewing for a job at a furniture factory, painting children’s illustrations on some of that furniture. But she does go outside, offering to paint portraits of passers-by. It is there that she attracts the attention of Walter Keane who is flirting with passers-by, trying to sell his paintings of Montmartre and other Paris settings. They connect, date, marry and go on a colourful honeymoon to Hawaii. Who could ask for anything more?
Margaret’s difficulty is that she does not know Walter very well - nor do we. At first he seems too good to be true but when he starts exhibiting his own and Margaret’s paintings in the corridor of a club which leads to the toilet and eventually does get some interest, it is in her paintings and not his. Uproar with the club owner brings headlines and photos.Walter makes friends with a San Francisco columnist and users story finds him. Margaret is dismayed when he claims that he did the paintings himself but, in those days, even with a confession sequence, although she is not a Catholic, where she is reminded that the husband is the head of the family, she continues to lie about the paintings to her daughter who is growing up and lets Walter take the credit for the fast-selling paintings. He even set up his own gallery, prints off posters which eager patrons want with an autograph, and then postcards of the posters.

This means that Margaret’s time and energy is devoted to work in her studio, churning out big eyes paintings. Walter even gets a commission for a painting for the 1964 World Fair in New York.

When Walter takes to fisticuffs against a critic at a society do, it is the beginning of the end.

The intriguing latter part of the film is the court case when Margaret sues Walter and a newspaper company and she and he, each has to prove that they are the artists who have made the big eyes pictures.

This would be an entertainment if it were not true. However, it is a true story.

Bringing it to life is the performance, intense but restrained, of Amy Adams as Margaret. But it is Walter who holds the limelight on screen, even as he did in real life. This is a cheerfully bombastic, sometimes over-the-top, performance from Christophe Waltz, which reaches its climax in his attempts to speak for himself in court and in his comically absurd self-defence.

In the final credits there is a photo of the real Margaret Keane along with Amy Adams.


UK, 2014, 114 minutes, Colour
Jude Law, Tobias Menzies, Jackie Whitaker, Scoot McNairy, David Threlfall, Grigoriy Dobrygin, Ben Mendelsohn, Michael Smiley, Konstantin Khabenskiy, Bobby Schofield.
Directed by Kevin Macdonald.

While the Black Sea, especially out of Sebastopol, is the realistic location for this thriller, the title also means the dark depths of the sea. This is a submarine film.

Over the years there have been many fine dramas and thrillers, from 1950’s Morning Departure, with John Mills and a stiff upper lip British cast, to Tom Clancy’s The Hunt for Red October as well is The Crimson Tide. There was also the fine German film, Das Boot. This film is not quite in the same class as these undersea thrillers but it will do as a piece of underwater entertainment.

Jude Law, who has been doing some excellent roles in recent years from his grim and quiet Karenin in the recent Anna Karenina to his boasting bluff Dom Hemingway. Here he looks strong and sturdy, shaven head, Scots accent, a man who has spent 30 years in submarines and working in salvage who is let go with a pittance by his company. His life has been l dedicated to the sea to the neglect of his wife and child who are glimpsed in a number of flashbacks. There doesn’t seem to be much else to do but drown his sorrows.

When he hears of an interesting operation, the salvage of a submarine with gold that Russia through Stalin had paid to Hitler at the beginning of World War II. This episode is visualised in surreal black and red colour during the opening credits. The captain goes to an interview, agrees to the task, collects his own crew from Britain and half the crew from Russia (played by actual Russian actors) and a quite psychotic diver from Australia, played by Ben Mendelsohn.

The film doesn’t waste much time in going into the depths and precipitating a crisis, killing and an explosion with more deaths. This does not enhance the credibility of the plot where the crew in an old Russian rust bucket submarine dive into the depths and locate the vessel. There are the usual anxieties, especially through Daniels, an executive imposed on the crew by the company (Scoot McNairy in a constantly whining and whingeing performance or, rather, trying to do his best with whining and whingeing lines, irritating nonetheless).

With damage to the submarine because of the explosion, they have to find a different way to the surface, but there are also revelations of double dealing in the setup of the contract. The trek by the divers to the submarine and the discovery of corpses and of the gold, increases the motivation to succeed, despite the difficulties in transporting a piston and the gold to the submarine.

The captain decides to go to another port to surface and get away with the gold, some for everyone, but they come across a deep sea canyon which they decide to navigate.

There is quite some dissent, some violence and mayhem before a partly happy ending.

The film was directed by Kevin Macdonald, a prolific maker of documentaries, especially his Oscar-winning One Day in September about the Munich Olympics. He has also made a number of feature films including directing Forrest Whitaker to his Oscar in The Last King of Scotland. This means that his eye for effective detail makes the action in the submarine rather documentary-like. But he is quite melodramatic with the narrative fiction.


US, 2015, 120 minutes, Colour.
Sharlto Copley, Dev Patel, Hugh Jackman, Ninja, Yo-Landi Visser, Jose Pablo Cantillo.
Directed by Neill Blomkamp.

For years now, there has been an increasing interest in the stories about Artificial Intelligence and a range of films about robots, robotics, androids, and the possibility of creating an android with self-consciousness. In this futuristic science-fiction fable, there is a company at work in Johannesburg producing a wide range of android Robocops who keep down the crime rate.

But there are two men working in very different experiments, one an ex-army militaristic type, Vincent, played by Hugh Jackman with an Australian accent and strange brown hair, who is building a rather gigantic robot which can take to the air, survey crimes and uprisings and swoop down and fire at will to destroy the criminals (and it does get an extensive tryout). The other is an Indian South African, Deon, played by Dev Patel, now well-known for Slumdog Millionaire as well as the Best Exotic Marigold Hotels. He is desperately doing experiments which will give his androids human intellectual capacities, personality and the ability to learn.

When one of the robot police is partially destroyed, and the severe boss of the company, Sigourney Weaver, forbids both men from progressing with their work, Deon takes the shattered robot and works at home creating the desired android. The way that his programme is designed means that the android begins his life as the equivalent of a child and has to go through a process of learning.

That would be no problem but we have already seen some thugs and gangs around the city, taking advantage of crime possibilities, drug-pedalling and three rather dim-witted villains in debt to the gangster leader. When they have the brainwave that they should rob a bank to pay back their debts, they realise that they can get the help of a robot and so abduct the experimental android. Which means that he has a strange learning process, partly from Deon, but strongly influenced by the gangsters, their language, their stances. But, as he grows up, he has been told by his maker always to do the right thing.

Which means that there are a lot of complications, the maker trying to visit his creation and educate him well. The woman in the gang find she has maternal instincts, especially towards this chap, whom she names Chappie. But the leader of the gang is a complete moron, and a violent one as well, abandoning Chappie to the mercilessness of young gangsters on the outskirts of the city with Chappie having to find his way back, increasing his learning experience. The gangsters begin to become a shrewd and find a way of getting him to participate - and the transformation of the moronic gangster to something of a friendly hero more than strains credibility.

These two characters played by South African celebrities, Ninja and Yo-Landi Visser - using their celebrity names for their characters, but whatever their popularity, acting ability is not to the fore.

It is Dev Patel as Deon who is the most convincing. Hugh Jackman turns out to be a kind of comic-book villain, even turning off the power to all the Robocops who collapse in heaps with ultimate riots in Bedlam in the city, and Sigourney Weaver who has either to look extremely bossy or apprehensive.

The premise is quite interesting but, as the film goes along, it becomes more comic-book, even silly in some of the situations as well as the characterisations. Which is a pity because there are many things going for the film.

Directed by Neill Blomkamp, who made a huge impact with his science-fiction drama, District 9. His follow-up film, Elysium, had some interesting ideas in terms of communication between earth and a super resort satellite. But, there was some incipient silliness in that film as well. While Blomkamp is right in designing his science-fiction for a wide audience, his films need to be more intelligently stimulating rather than a reliance on some corny dialogue at times and very effective special effects.


France, 2014, 90 minutes, Colour.

Raf Simons, Pieter Mulier, Sidney Toledano, Anna Wintour, Mariel Cottillard, Sharon Stone, Jennifer Lawrence, Harvey Weinstein and all the staff at Dior, behind the scenes.
Directed by Frederic Tcheng.

In recent years there have been documentaries and feature films about couturier, Yves St Laurent, highlighting his work and achievement in fashion as well as a great deal of detail about his personal life. Audiences should not expect this kind of treatment or revelations in Dior and I, even though it is based on book he wrote.

At the beginning, there is voice-over with a quotation from Christian Dior declaring that there were two of him. One was his real self (born 1905), the other being his public self (starting his work at the age of 41 in 1947). Apart from some tributes to him for his work and vision, some photographs from the 1940s and 1950s, and a visit to his family home, swimming in by helicopter, that is about all we discover about Dior himself.

So, this documentary is set in the present, introducing us to Belgian Raf Simons, the man chosen to be the contemporary designer for the company (2013) which is still flourishing, has its shop in Paris as well is its offices and its ateliers. Simons had been working in men’s fashion for 10 years with a reputation of being a minimalist, which he rather plays down. His new assistant is, another Belgian, Pieter Mulier.

Then we go behind the scenes and spend most of the film there, especially in the two ateliers with their extensive staff. in fact, we get something of the main designers, their sensibilities, their business sense, the pressure on them to achieve. And there are quite a number of interviews with some of the dressmakers, men and women, and a number of the seamstresses who have worked a long time for the company, one for 39 years. Most of the time, there are some genial human behind the scenes.

However, most of the attention is given to Simons himself, a middle-aged man, always wearing black, quietly authoritative, perceived at times as authoritarian, feeling the pressure of his work and his first show in the Dior tradition. We see him relating to the staff, approving designs, changing them, selecting materials, adapting the dresses as they are in progress, feeling the pressure of time, of the demands of clients in New York, choosing a mansion for the show, making a decision to cover the walls with flowers, with the logistics of how this can be done as well as keeping the flowers fresh.

We see Pieter Mulier and his liaising with the staff, supporting Simons. And then there is the show, the choosing of models, the fittings, the walk, plans for filming, the photographs, the interviews, focusing on greeting the guests (amongst whom Marion Cotillard, Sharon Stone, Jennifer Lawrence, Harvey Weinstein and, even, editor Anna Wintour), hugs and kisses, with Simons finally following the models onto the catwalk, cheerful, congratulated, a sense of achievement.

For those not up to date on fashion and/or ignorant of the amount of attention in detail it has to go into the design and the making, even down to stitching hems, There is something to learn about fashion. For those who are up-to-date and delight in colour, design, the range of dresses, plenty of satisfaction!


US, 2015, 100 minutes, Colour.
Mae Whitman, Robbie Amell, Bella Thorne, Bianca A. Santos, Skyler Samuels, Romany Malco, Nick Eversman, Chris Wylde, Ken Jeong, Alison Janney.
Directed by Ari Sandel.

Would anybody be drawn in to see a film which was called The DUFF? Seems rather unlikely! And even when it is explained that DUFF stands for “Designated Ugly Fat Friend”? Possibly not. But, the producers did make the film and here it is.

Mae Whitman is very good as Bianca, the DUFF. She doesn’t realise it at first but as she explains to the audience when we initially see her first with her friends, the attractive Jess and Casey, she points out that everybody greets them and seems to miss out on her, or not notice her, or notice her and ignore her. This is especially the case with Madison (Bella Thorne) who fancies herself as the most attractive girl in the school, claims, when it suits her, Wes (Robbie Amell), the football captain and school jock, as her on-again, off-again boyfriend. Madison informs everybody that life, even at school, is a preparation for her life as a celebrity on Reality Television.

Despite the looks, she is pretty clueless about life and relationships. Which may remind us that this was the 90s equivalent of The DUFF, Clueless, Alicia Silverstone and friends at high school, making a mess of life at times but trying to put it in order. And then, almost a decade later, came Mean Girls, with Rachel McAdams as one of the meanest persecuting poor Lindsay Lohan until she joined them. Perhaps every decade has to have its high school mean girls movie.

Bianca is shorter than her friends, with the touch of the tubby which makes her self-conscious about the Fat in DUFF. But Wes assures her as he drops the title on her that it actually means the character in any situation who is overlooked but is approached to get access to the high-flying characters. Bianca has her own life to live, is very good at school work, has to cope with her mother (Alison Janney in yet another cleverly humorous role) who, after being left by her husband, has discovered the five stages (without open acknowledgement of Elizabeth Kubler-Ross) of grieving and incorporates them into seven’s seminars dealing with stress, satirised a little, but having their place.

She also works on the school magazine, edited by Ken Jeong, an amusing performance, much, much lower key than how we found him in such films as The Hangover series. He commissions Bianca to write an article on her personal, deeply felt responses to the Homecoming Dance.

Surprisingly influenced by peer pressure, Bianca alienates her two close friends, who really are friends. She also tangles with Wes who, in fact from the childhood, has been the boy next door. While he is a jock, he is a sympathetic character, finds Madison particularly waring, is much more content chatting with Bianca.

Bianca has a crush on musician, Toby, but is awkward in talking with him. She and Wes make a deal, she helping with his studies so that he can resume his football captaincy and get sufficient grades for graduation. He offers to help her to be more sociable, with a long sequence where they go to a store and she tries on numerous dresses - only to find much later that Madison’s toadying friend is taking video of Bianca, the clothes and talking about the boyfriend. The girl does the same when Bianca takes Wes to her favourite place, and more video. As might be expected, the video makes its blatant appearance during the Homecoming Dance. Which leads into the later development of principles against cyberbullying.

In case anyone is upset because our heroine, Bianca, alienates herself from her two good friends, she does come to her senses, thank goodness. She doesn’t want to get to the dance, but her mother urges her, and there is the almost-but-not-quite ending that we expected!

Older reviewers and older audiences will find that this period of their lives is long, long gone!


France, 2013, 128 minutes, Colour.
Olivier Rabourdin, Kirill Emelyanov, Daniil Vorobyov.
Directed by Robin Campillo.

Eastern Boys is surprisingly moving film. While it focuses on teenagers and young men, migrating from Eastern European countries, with no documents, trying to survive in a city like Paris, sometimes working as prostitutes, it portrays its character with quite some humanity.

The film opens in Paris’ Gare du Nord, the imposing exterior, the very busy interior, the passengers going in and out of the station, the mixture of backgrounds, ethnic differences, a situation that ordinary people could identify with. Then the film starts to focus, with its overhead shots, at individuals, their forming small groups, forming larger groups, looking like a gang, which they are, going to enjoy takeaway food, and one of the young men going off by himself, sensing that a middle-aged businessman was loitering, watching him, wanting to proposition him. No words spoken for at least 10 minutes but the audience is strongly aware of what is happening.

When the young man, Marek, agrees to visit the man’s apartment, all seems set for a film about gay men, sexual relationships. While something of this does happen, the film has a lot more going on and a lot more going for it. There is a very disturbing sequence, especially for the businessman, Daniel, when the group of young men come to his apartment, really innovated, and, while dancing to rock music, remove all his possessions to a truck downstairs. The instigator, a Russian somewhat older than the others, nicknamed The Boss, is an intense and possibly psychotic character.

But the film is about the relationship between Marek, who reveals that his real name is Rouslan and that he is a migrant from Ukraine, though his parents worked in Chechnya and were killed there. At first, his response to Daniel is quite impassive, letting himself be a sex object for a client. But, he returns and continues to return so that the relationship becomes far more personal even in its sensuality.

There is a further surprise in the relationship between Daniel and Marek, a change of attitude, a change of behaviour, different kinds of feelings in Daniel, more paternal than sexual.

However, as might be expected, there is still trouble to come, especially from The Boss, who has dominating roll over the group of men as, helped by Social Services, they occupy some apartments in a suburban hotel. His control extends to locking their documents, if they have any, in a locker in the hotel. When Marek attempts to retrieve some documents, The Boss responds with ferocity and quite some brutality.

The film does not end as we might have expected. There is a clash between The Boss and Daniel but the screenplay opts for a non-violent solution, in fact, one that leaves Daniel and Marek - and the audience - with quite some hope and alternate possibilities for the future and their relationship.

Director, Robin Campillo, uses his camera expertly to focus on the central characters, quite sympathetically, meaning that he tells his story with quite some feeling.


US, 2014, 122 minutes, Colour.
Jessica Chastain, James McAvoy, Nina Arianda, Jess Weixel, Bill Hader, William Hurt, Isabelle Huppert.
Directed by Ned Benson.

The release of The Disappearance of Eleanor Rigby - Them will cause some problems for film buffs who have heard that prior to the editing of this film there was a version of The Disappearance of Eleanor Rigby which focused on Eleanor with the caption Her and, as well, there was a version with the caption Him. Distributors have opted to release Her and Him by download and DVD and to release only Them to cinemas. For any audiences who have seen Her and Him, the selection of material edited together from the previous film in Them, will be of interest to see the intercutting of the two perspectives. For those see Them first, looking at the previous two firms might be similar to the experience of seeing a film and then reading the book on which it was based later, filling in a great deal of detail and highlighting how different perspectives can be.

One of the difficulties, dramatically, with Them is that there are some crises Eleanor’s life but it is only later in the film that we discover what they are and how significant they are. There are initially playful moments but then a rapid transition to Eleanor contemplating suicide. Her husband visits her in hospital but she opts to stay with her parents. He tries to cope, working in his restaurant which is going down in terms of customers. And he has to go to live without his sometimes cantankerous father (Ciaran Hinds).

On the surface it seems a portrait of a failed marriage but it becomes clear that husband and wife do love each other but attempts at reconciliation are ineffectual.

Jessica Chastain portrays Eleanor, in her 30s, a woman floating through life after the crisis. Her loving parents, long-married (William Hurt and Isabelle Huppert) are supportive as is her sister. She attempts to do some studies with the help of the professor (Viola Davis). James McAvoy portrays Conor, also in his 30s, who has grieved, adrift in his work, relying on the support of friends at the restaurant, especially Stuart (Bill Hader).

The film shows a number of attempts for each of the couple to try to understand the other, moments of betrayal, moments of love, moments of hesitation.

Finally, both Eleanor and Conor have some time away from each other, with the possibility that things might get better, a glimmer of hope rather than despair.


US, 2015, 105 minutes, Colour.
Will Smith, Margot Robbie, Rodrigo Santoro, Gerard McRaney, Adrian Martinez, Brennan Brown, B.D. Wong, Robert Taylor.
Directed by John Requa, Glenn Ficara.

There is often something very attractive about con men and women and fraud stories on screen, the type of characters involved, their motivations, their abilities to take people in, creating fictitious stories and maintaining them. But, it is not as if we would like to encounter them in real life!

Will Smith is very smooth as Nick, consummate charming con man, who lets himself initially be taken in, it seems, by a very attractive young woman, Jess, Margot Robbie. But, when she and an accomplice attempt to blackmail him for being in a compromising situation, he turns the tables and points out how completely ineffective they are. Jess seems to be intrigued and contacts Nick and persuades him to take her on as an apprentice.

The centrepiece of the early part of the film takes place in New Orleans during the Superbowl, Nick having a squad of 30 people, involved in all kinds of tricks, deceits, and common pickpocketing, as well as those at the headquarters who count the money, package it and deliver it. There is a lengthy intriguing episode at the Superbowl when Nick and Jess encounter a wealthy Chinese businessman, B.D. Wong. They keep betting about play moves with double or nothing, until the stakes are in the millions, Nick steadily betting, Jess rather bewildered until it all becomes clear to her and to us as Nick explains his success.

Move to 3 years later, move to Argentina, after Nick has let Jess go. Nick is involved in a confidence trick dealing with formulas and engines for motor racing, employed by a millionaire, Rodrigo Santoro, who has a bullish bodyguard, Gerald McRaney. And then he meets Jess just as he is preparing to set up an Australian entrepreneur, Robert Taylor with as flat an accent as you could wish or not wish. Jess seems to be with the Argentinian but succumbs to Nick’s attentions - which may or may not be setups.

There is a bit of melodrama before the end, Jess abducted, Nick in trouble - and then, a strange twist which strains credibility, and all is well (not necessarily good or moral).

This is mainly glossy entertainment for a night out.


US, 2015, 100 minutes, Colour.
Will Ferrell, Kevin Hart, Craig T.Nelson, Alison Brie, T.I.Harris, Edwina Findley Dickerson, Ariana Neal, Paul Ben-Victor, John Mayer.
Directed by Etan Cohen.

This is one of those American comedies which will divide audiences. Many will find it very funny and enjoy the targets and the satire. Many will be repelled by various elements, especially the treatment of race themes, homophobic themes, American class themes.

In the reviews, some writers have commented that the film is attempting realism and so its exaggerations do not work. however, this is satire and spoof, not meant to be taken literally, heightened for the sake of making the points and making the jokes. It may be that the points are not well-made as intended, and the jokes are not as funny as intended. What the screenplay seems to be doing is to taking up the stereotypes and the way they are presented in the movies: class, sexuality, violence, racism. By its pairing of the two central characters and their differences, the film is actually making many points against classes, homophobia, alleged prison violence, racism.

We know that Will Ferrell has played quite a number of idiot types in his career, especially remembering Ron Burgundy, and this is a variation on the theme. His James King, living in luxury, sexy fiancee, a benign father-in-law who makes him a partner in the firm, but caught in the many stupidities of class snobbery, doing all the trendy things including exercises, and everything that is expected of a financial adviser and executive. Actually, in his chosen sphere of finance, he is very well-educated and throughout the film has a sophisticated vocabulary and turn of phrase. But his doom, and his being manipulated await him. During his engagement party, where he tries to upstage singer John Mayer, he is arrested for fraud.

In the meantime there is Kevin Hart. In some films, like Ride Along and About Last Night, his shrieking comedy routines and in-your-face personality are fairly repellent. It was interesting to see him in The Wedding Ringer, that he could subdue the eccentricities and do a credible comic performance. And this is what he does here, playing a straightforward manager of a car-wash business, pleasant wife and daughter, no criminal background, needing $30,000 to pay off the mortgage of the home.

The race jokes start when Darnell knocks on the window of James’s car and James is afraid that he is a victim of race violence. And he advises Darnell to start saving money. But, after his arrest and his fear of prison where he is sentenced to maximum security and 10 years, he decides that he needs to prepare.

The bulk of the film and the comedy are in attempts at preparing James, and Darnell, pretending he has spent time in prison, consults his cousin, Russell, for ideas. And what ensues are a number of comic routines, according to the audience’s sense of humour or not. Darnell makes James do lots of bodybuilding and exercise, trying to get him to make Mad Dog Faces to intimidate, getting the rough and crass language that is expected to be used in prison... Then there are the allegedly popular expectations that there will be a lot of homosexual exploitation among the prisoners, so a lot of discussion, a visit to a gay restaurant where James goes to a toilet for experience but a gay man does approach Darnell who offers a sympathetic ear, and later communicates by mobile phone. To cap it all, there is a scene where Darnell takes the role of an African- American, a Hispanic and a gay prisoner, stands James in the centre while he impersonates each character and their interactions.

The preparation also involves a visit to Darnell’s home where his wife persuades Darnell to tell the story of his alleged imprisonment and he recounts the plot of The Boys in the Hood. They visit Russell and all the tough African-Americans as well as going to the headquarters of a racist white bikie gang.

Meanwhile, it is not too difficult to work out that James is innocent and who has been framing him - with a scene on a yacht where James’ training comes to full force and he and Darnell overcome the villains.

This reviewer was inclined to give the benefit of the doubt to the all the spoof and send-ups.


US, 2014, 99 minutes, Black and white.
Sheila Vand, Arash Marandi, Marshall Manesh, Dominic Rains.
Directed by Anna Amirpour.

This is a very odd film, an independent film, and one that could have the potential for a cult following.

The film was made in the United States but the background of the director is Iranian and she has set her fantasy-drama in Iran although the settings look like downbeat American neighbourhoods.

The film was billed as the first Iranian vampire film. However, it takes some time, even in a shortish film, for the vampire to appear.

The central character is Arash, a young man who has an elderly father to look after at home, especially with the father being a drug addict. Arash also tangles with a friend who is a brutal man, a pimp, involved with drugs, especially violent in his casual relationships with women in the car and his ugly discarding of them. Once the vampire appears, he becomes an initial victim, frightening Arash.

The vampire herself seems an ordinary young woman, walking along the streets, encountering people who lead ugly lives and making a number of them victims, especially when they accost her. However, she makes friends with an older prostitute, going to her home, being looked after. At a club, she is seen by Arash and the two of them become acquaintances and even friends. Also in the scene is a young boy who initially begs money from Arash but becomes an observer of what is going on.

After the death of his father, he and the young woman find that they will have a future together. But what that future is is for the audience to anticipate rather than see.

Filmed in black and white, the film seems a throwback to the styles, especially of some Iranians films of the past, with their stark black-and-white photography, the setup of scenes, the dramatic interactions.


US, 2015, 94 minutes, Colour.
Voices of: Jim Parsons, Rihanna, Steve Martin, Jennifer Lopez.
Directed by Tim Johnson.

Home is a pleasant animation film from DreamWorks Studios. While parents may enjoy it - or, perhaps, pleasantly tolerate it - it is targeted for a children’s audience and younger children might respond happily.

In one sense this is a variation on ET. Except that this creature’s two letters are O and H, Oh. This is a variation on ET coming to earth as well as variations on close encounters and the War of the Worlds, G-rated, of course.

Out in space are a race of creatures, short and squat, multi-legged or, who feel that they are being pursued by other aliens and have to be on the move, continually finding somewhere for refuge. They are led by The Captain, voiced by Steve Martin. They are all assembled, the luggage in little balloon bags, ready to go to earth. And then Oh appears. He is voiced by comedian, Jim Parsons.

Oh is the hero of the film, an exuberant creature (his fellow-creatures are definitely not exuberant), the Boovs. In one way they are considerate, they don’t want to destroy the human race, simply remove every human from the face of the earth, sucked up by vacuum and relocated, suburban houses and all, on another planet, assuming that they all want to be there, which, obviously, they don’t.

In the meantime, the Boovs settle on earth, with Oh getting an apartment, wanting to host a party but everybody avoiding it and him.

Meanwhile, there is one little girl who was not sucked up with all the humans because he had her at pig-cat on her head and the vacuum couldn’t penetrate it. She is called Tip and, surprisingly, is voiced by Rihanna. In her search for her mother (Jennifer Lopez), she comes across Oh, clashes at first, then the beginnings of friendship as he mends her car. What follows are a lot of adventures, even to capital cities around the world. Oh becomes a bit more human, learning that one can make mistakes, seeing families bonding...

When a huge hostile alien craft threatens, Oh decides to defend everyone - only to find that the threat was not nearly as great as was thought. Which means then that humans and Boovs can get to know each other, become friendly, share Earth and its cities, and even want to dance!

Of course, it was inevitable that there would be happy ending, and there is. But, isn’t there an allegory about refugees, fleeing in fear, and finally finding a welcome?


US, 2014, 122 minutes, Colour.
Hilary Swank, Tommy Lee Jones, Grace Gummer, Miranda Otto, Barry Corbin, David Dencik, Evan Jones, William Fichtner, Tim Blake Nelson, John Lithgow, James Spader, Jesse Plemons, Haillee Steinfeld, Meryl Streep.
Directed by Tommy Lee Jones.

Tommy Lee Jones is now a grizzled veteran of 40 years of acting. A decade ago he directed a striking film, a Mexican-Western, The Three Burials of Melchiades Estrada. For his next directing venture he has not moved absolute West, rather setting his story in Nebraska and a journey into Iowa. It is not exactly a western, rather a story of the 19th century in the midwest.

The screenplay explains that a homesman is a person who escorts someone to their place of origin or their final destination. The title is a bit misleading because the first homesman is actually a woman, Mary Bee, played by Hilary Swank, one of her most striking performances.

The situation is this: several women have been adversely affected by their lives in these isolated surroundings, children dying from diphtheria, a woman adversely affected by her mother’s death, another mother suffering mental disorder and killing one of her children. There is a mixed response from their husbands, not always supportive. When the local minister (John Lithgow) arranges that the three women be transported into Iowa to a caring environment under the auspices of religious minister, the husbands are somewhat unwilling, but lots are taken in the church and it is Mary Bee who gets the mission to take the women.

Mary Bee is a lonely woman, hard working on her farm, wanting to get married but men rejecting her because she is severe and because she is plain. Unexpectedly, she comes across a man accused of land grabbing, sitting on his horse, a noose around his neck tied to a tree. She frees him but does a bargain that he will accompany her on the trek. Officially, he is the homesman.

Moving through midwest landscapes, beautifully photographed, the group, with the unwilling women tied up inside a wagon that looks something like a prison cell, they encounter the elements, confronting Indians, a horseman who threatens one of the women. The effect on the homesman is that he keeps his distance in many ways, thinking of his financial reward, but moved at times to help the women and to respond to Mary Bee and her desire to be married.

Just when one thinks that all will be well after the long and arduous journey, there is a shock experience which remains significant right to the end of the film.

There are some more episodes before the homesman is able to hand over the three women, and encounter with an entrepreneur who wants to turn a isolated hotel into a significant centre (James Spader) who is on the eventual end of the homesman’s anger. When they arrive at the destination, the minister’s wife is there to meet them and receive the women. Meryl Streep must be a friend of Tommy Lee Jones. They appeared together in Hope Springs. Here she has a small cameo role, bringing some civilisation and manners to what has been a hard journey.

One of the other reasons for Meryl Streep’s appearance would be her support of one of her daughters, Grace Gummer, who plays one of the women as does Australia’s Miranda Otto.

This is a very serious story, well-told, portrait of characters who have succumbed to the hardships of their life in war, in isolation, in marriage, with children, with many hopes dashed.

Not an easy film. A little hope at the end but mainly an hour ironic temporary conclusion to the homesman’s journey.


US, 2014, 88 minutes, Colour.
Mark Ruffalo, Zoe Saldana, Imogene Wolodarsky, Ashley Aufderheide, Keir Dullea.
Directed by Maya Forbes.

On noticing this title in the list of films about to be released, I wondered what on earth this film could be about, almost expecting to find that was an animation film for a children’s audience. The word polar led to this conclusion.

On the other hand, the word polar is more regularly heard these days as part of bi-polar. And this is the subject of this film. It is based on a true story, the story of the father of the director, Maya Forbes drawing on her own experience as a child. And, in many ways, this is a look at a bi-polar condition from the point of view of the child, not a clinical exploration, but a dramatisation of the experience of living with such a father. What makes the film also interesting is the fact that the young girl in this film, representing the director, is actually played by the director’s daughter, Imogene Wolodarsky.

The setting is the past, the 70s the 80s, when diagnoses were more limited and medication for the condition was not extensive, lithium tablets being a regular prescription.

The father, Cameron, is played by Mark Ruffalo, a very good actor who is becoming quite versatile in his choice of roles over the years. He is a sympathetic presence, even when he is frustrating in his manic behaviour, even at times, without his medication, becoming quite threatening. He spends time in an institution, then in a halfway house, but unable to live with his wife and children as a family. This puts extraordinary pressure on his wife, played by Zoe Saldana, who has to be the breadwinner, although her husband comes from a fairly wealthy Boston family and the great-grandmother pays rent but is not willing to give too much money from her trust fund.

This means that the wife has to find a job but decides that she would be better able to cope and bring in income for the family if she went to New York to study for an MBA. She does and, for 18 months, Cameron has to be the parent for the children, living in an apartment, trying to cope with routines - and routines helping him to settle. He is also good working with his hands but, at times, the girls becoming too much for him (and sometimes too much for this reviewer, being rather petulant towards their father and insensitive to him despite knowing what he was suffering).

The main part of this rather short film focuses on those 18 months in Boston, an intriguing look at how Cameron tries to deal with the situation and, ultimately, comes through successfully.

Infinitely Polar Beer is not meant to be an accurate clinical portrayal of the bi-polar condition. Rather, it is a story which asks for empathy from the audience, appreciation and understanding of how difficult it is to live with the condition, mood swings, Cameron being prone to drinking, and at times trying to escape. But, it is an important part of his life and audiences will come to some understanding of bi-polar experience through sharing in a life rather than by analysis.


US, 2014, 148 minutes, Colour.
Joaquin Phoenix, Josh Brolin, Jemma Newsome, Katherine Waterston, Jeannie Berlin, Eric Roberts, Serena Scott Thomas, Benicio Del Toro, Jena Malone, Martin Short, Peter McRobbie, Martin Donovan .
Directed by Paul Thomas Anderson.

First of all, the title. Inherent Vice for those with a religious bent might sound like an alternate description of the Reformation Theology of the inner corruption of every human being, absolutely needing God’s grace. Actually, the meaning of the title is far more mundane. As the voice-over astrologist tells us, inherent vice means anything of this nature which cannot be avoided: chocolate melting, ice melting, glass cracking... How that title applies to the situations and characters of this story is a challenge to the audience. It may mean that the central character Doc, who spends a lot of his time stoned, has that particular inherent vice as well as an innate curiosity to solve crimes.

What about Incoherent? That is not a misprint for coherent! And many audiences might offer the opinion that Incoherent would be a more truthful title.

However, when one looks at some of the Private Eye films from the past, especially from the 1940s, like The Big Sleep which most commentators say they cannot logically explain, or listening to the last five minutes of The Maltese Falcon with Humphrey Bogart giving a speed-spoken explanation of what was what, who was who and why was why which is very difficult to comprehend on first listening, then incoherent is probably a relevant word.

But this film, adapted from a novel by Thomas Pynchon by the director, Paul Thomas Anderson, who has made some impressive films over the years including Boogie Nights, Punch-drunk Love, There Will Be Blood, The Master, is not from the 1940s but, rather, from the late 1960s. No black and white here. Instead there are bright colours, a fair amount of sunlight, and re-creation of a hippie lifestyle on the California beaches of those days.

While Doc, played most effectively by Joaquin Phoenix, is no Humphrey Bogart or Dick Powell, he is in their tradition, a seedy-looking office, lots of interesting, even if shady, contacts, and a girlfriend, Shasta (Katherine Waterston) who may be a good girl or not - and some of the sex scenes later indicate that it might be “or not”. However, it is she who brings a mystery to Doc which sets him following through, getting advice from Benicio Del Toro, interviewing a man just out of prison - and finding himself waking up next to a corpse which certainly arouses police attention and suspicions. The main policeman is Bigfoot, played by Josh Brolin.

There is quite a range of cast, from Reese Witherspoon as an uptight district attorney official (except when she canoodles with Doc), a former band member who has become an undercover informant (Owen Wilson), a lewd dentist with a partiality for young women and cocaine (Martin Short) and an assortment of its citizens as well as corrupt police.

Whether the mainstream audience will respond well to this film is more than doubtful. It makes too many demands in trying to respond to the unravelling of its plot, not an immediate rapport with most of its characters, and not so much of response to these stoner times (except perhaps from those who lived through them).

The inherent vice of many of those who watch the film will be: too difficult to follow and so give up. It is a film for film buffs.


US, 2015, 119 minutes, Colour.
Shailene Woodley, Theo James, Kate Winslet, Naomi Watts, Ansel Elgort, Miles Teller, Jai Courtney, Mekhi Pfiffer, Octavia Spencer, Zoey Kravitz, Tony Goldwyn Ashley Judd, Janet McTeer, Ray Stevenson, Maggie Q, Jonny Weston.
Directed by Robert Schwenke.

Last year audiences learnt about a post-apocalyptic world, confined to a city, with a social structure of five communities: Dauntless, Erudite, Candor, Amity, Abnegation. Individuals belong to each of the groups according to their personality and talents. in the first film of the series, based on novels by Veronica Roth, Divergent, we saw that Abnegation was eliminated, that the military types of Dauntless were in command.

The central character was Tris, played with great energy and determination by Shailene Woodley. It emerges that, though she was from an Abnegation family, she was really different and was a Divergent. The power in the city was Jeanine (Kate Winslet). One of the ways of control was simulation games, akin to some of the heroics now familiar from The Hunger Games. Tris, put through extraordinary physical paces, was drawn to Four, actual name Tobias (Theo James) and, by the end of this first episode, Tris’s parents (Tony Goldwyn and Ashley Judd) were dead. Rebels went into exile.

With the second episode, Insurgent, we find the rebels living with the Amity group, led by Octavia Spencer. While the rebels agree not to disturb Amity, Jeanine’s forces invade the outpost with Tris and Tobias escaping, pursued by the relentless Eric (Jai Courtney). They take refuge on a goods train going to the city where again, they are confronted. Peter (Miles Teller) betrays them and Triss’ Erudite brother, Caleb (Ansel Elgort) thinks he is doing right by going to work for Jeanine.

So far, so expected - except that there is a revelation that Tobias’s mother has not died when he was a little boy, as had been thought, but has fabricated her death to escape her tyrannical husband, Marcus. It is then that we realise that she is played by Naomi Watts, almost unrecognisable in a dark wig. She wants to lead a revolution with her group, and the Factionless, against Jeanine.

Then the film becomes more interesting and arresting, as Jeanine, Kate Winslet offering a performance of Aryan tyranny without any charm, is testing Divergents hoping to find the perfect candidate who embodies all the factions. The sequences where Tris goes through successive simulation experiments and demanding experiences, showing her capacities of 100% Divergent, focus the attention. We admire the ingenuity of the special effects people as they create extraordinary visual situations for the tests, especially a block of floating rooms on fire with Triss showing that she is a strong female super-hero, in her attempts to save her stranded mother.

With various twists in the plot and changing loyalties, we are introduced to a mysterious box which was in the care of Tricia’s mother and is now opened, seeming to offer good news and a happy ending and an improved future for all factions. But, then, there is one brief final scene which leaves us watching the final credits on edge, wondering where the sequels, Allegiant will lead us as the inhabitants move beyond the wall of the city. The two-part Allegiant is to come.


Netherlands/UK, 2015, 95 minutes, Colour.
Anthony Hopkins, Jim Sturgess, Sam Worthington, Ryan Kwanten, David Densic, Jemima West, Mark van Eeuwen, Thomas Cocquerel.
Directed by Daniel Alfredson.

Being a criminal does not necessarily being a mastermind, a mistake probably many criminals make. It is certainly a mistake that the criminals involved in this kidnapping make time and time again.

And who is Mr Heineken, the victim of the abduction? It sounds something to do with the famous Dutch beer. And that is correct. Four young men kidnapped Alfred (Freddy) Heineken, the man who built up the Heineken company. The kidnappers think that he is worth at least $60 million in ransom.

During the opening credits, Heineken is seen making a comment to one of the criminals that most people want friends and money - he makes the point that you can’t have both. And that is one of the morals of this film.

The setting is Amsterdam, 1983. In the aftermath of recession, the four young men who had been friends since school days and who had joined for business enterprises find themselves needing to borrow from a bank but unable to provide sufficient collateral for a loan. They do have a building which has been occupied by punks and hippies. Some strong arm tactics lead them into the hands of the police rather than freeing up their asset.

The father of one of the men worked for Heineken who actually sacked him but still has an enormous loyalty to him. Brainwave! Using the word brain seems something of an over-compliment. One significant idea that they have is that the kidnapping should look like the actions of the terrorist groups of time, like the Red Brigade or Baader-Meinhoff. To emphasise this, they successfully rob a bank.

This is an international production. The conspirators are played by Jim Sturgess (UK), Sam Worthington (Australia), Ryan Kwanten (Australia), Mark van Eeuan (Holland). And Heineken himself is played with his usual intensity by Anthony Hopkins.

When the money is not forthcoming, Heineken himself is surprised and offers to pay the ransom himself, for himself and the driver who was taken with him. Of course, the four begin to get edgy as the days pass, some tempted to be violent, others preoccupied about keeping up normal appearances, visits to family, checking on Heineken’s desires, books, Chinese food...

For those not in the know, it is interesting to see how the whole plan works out, the eventual payment, the subsequent actions of the four men, the consequences for them. Interestingly, though the police are involved, the screenplay, based on the writing of investigative journalist, Peter De Vries, does not give any information about the police work except some surveillance and the response to an anonymous tip.

At the end of the film, there is substantial information given about each of the main characters, prison sentences, life after prison, criminal activity in Holland, and the continued success of Heineken himself who, on the basis of his experience, establishes a strong Security company.

Interesting enough while the film was on screen, but not one that stays in the memory.


Russian, 2014, 140 minutes, Colour.
Aleksey Serebryakov, Elena Lyadova, Vladimir Vdovichenkov, Roman Madyanov.
Directed by Andrey Zvyagintsev.

Leviathan is the sea beast in the book of Job, a testimony that God is more powerful than Job or any human and that is a perspective that should guide us in our lives. Leviathan is also the title of this fourth film by Andrey Zvyagintsev whom many critics are praising as one of the great directors of our times. His previous films are well worth seeing, his Venice-winning The Return, also The Banishment and his alarmingly critical view of contemporary Russian society, Elena. With Leviathan he continues his critical view.

The film is strikingly photographed, in an isolated town on the northern Russian coast. On the shore, on one of the beaches, there are the massive bones of a stranded whale skeleton. There are also the skeletons of ship hulks. And in one beautiful, but ultimately tragic sequence, there is a sequence of a whale frolicking, leaping out of and then into the vast sea. Plenty of symbolism, a lot of metaphor for what happens in the film.

We are introduced to Kolya, the very ordinary and mundane Job of the film, waiting at the railway station for an old army friend from Moscow who is going to help him in a court case against one of the town authorities who covets Kolya’s property, his house and warehouse, overlooking the sea, for commercial development.

Kolya is going to suffer from his dealings with the authority, a smug and violent man, who manipulates people and, hypocritically, kowtows to the local Russian Orthodox priest, who speaks beautiful words at a closing ceremony about Jesus and the gospel, while conniving at behaviour, the opposite of gospel values.

But, Kolya is also going to suffer at home. He is not a particularly well educated man but has skills with his hands, mending, fixing, creating. At home is his second wife whom he loves but who has ambivalent feelings for him and for his friend. Also at home is his son, Roma, a teenage boy with a bitter attitude towards his stepmother, prone to depression.

The film takes its time in developing the characters in the situations, meal sequences, a picnic which has ominous consequences, to scenes of Kolya at court, with the officials of the court reading charges at great speed and with deadly monotone, striking commentary on the role and indifference of law and its application.

Kolya is not a perfect man by any standards and, along with a number of the characters, puts away an extraordinary amount of vodka, clouding his judgement, inclining him to violence, and, at the end, he becomes a victim of his own behaviour, trapped, imprisoned, but also a victim of the avaricious authorities.

Russian film companies invested in this film but the experience of watching Leviathan makes us ask how this story relates to the Vladimir Putin era, the place of individuals, the power and greed of the oligarchs, the effect on ordinary citizens far from Moscow.


UK, 2015, 118 minutes, Colour.
Kate Winslet, Mathias Schoenhaerts, Alan Rickman, Stanley Tucci, Helen McCrory, Steve Waddington, Jennifer Ehle, Rupert Penry-Jones, Phylida Law.
Directed by Alan Rickman.

A Little Chaos might be a title for a Marvel Comics action show. But that is not its meaning here at all - and it is a rather misleading title for what we actually see.

We are back in the 17th century, location Versailles. It is the era of Louis XIV, the Sun King, who is doing his utmost to make the Palace of Versailles and its grounds a shining example of architecture and design. This means that the film is quite sumptuous to look at, architecture, gardens, stately interiors, costumes and decor, with the musical score to match.

The use of the word chaos in the title is meant to indicate that there are different ways of and styles for beautiful designs, some very traditional in manner, recognisable by everyone, others that are not quite what is expected, perhaps what we might see as disturbingly beautiful, with a little chaos.

The central character, a fictitious character, Sabine, is a widow who has a reputation for her gardens, her nonconformist attitudes and taste, who is a candidate for developing a particular section of the Versailles Gardens. She is played by Kate Winslet (in between her stints as Jeanine, the rather fascist leader of the government, in the Insurgent series). She plays a strong woman here, determined, a figurehead of female accomplishment in this age.

The film was directed by actor Alan Rickman (probably best known for being Severus Snape, in the Harry Potter series). He also plays Louis XIV, a complex character, an absolute monarch, yet caught in some of the emotional tangles at his court, especially with his wife and mistresses. He is somewhat sardonic, expecting his whims to be fulfilled, but challenged in thinking and attitudes by his encounter with his new gardener.

The other central character is a designer, played by Belgian actor Mathias Schoenaarts, who has often portrayed larger than life bullish characters (Bullhead, Rust and Bone). He seems to be of the traditional school of design and supervises a lot of the changes at Versailles but is intrigued by his interview with Sabine and offers her the position. He is locked in a rather formal marriage, his dominant wife (Helen McCrory) does what she likes even while she wants to keep her husband under some control. And she is not impressed by Sabine let alone the emotional response of her husband to Kate and attempts to destroy the project.

While the film offers an interesting insight into the period, the formality of the several thousand people who live at Versailles and work in the court, especially the women in their sequestered area, it is also an interesting drama on the personal interaction level.

The action for some audiences will seem well-paced and measured (or might be called slow). It has been described as a painterly film, one which gives audiences opportunity at some length to gaze and contemplate both the simple and the complex beauty of architecture and design, of trees flowers and landscapes.


US, 2014, 97 minutes, Colour.
Toni Collette, Thomas Hayden Church, Oliver Platt, Ryan Eggold, Nina Arianda, Joanne Woodward, Johnny Depp.
Directed by Megan Griffiths.

At one stage in the film, magazine journalist Ellie, Toni Collette, makes a remark that people who are able to live alone are “Lucky them”. Which means that she should be lucky because a lot of her time is spent alone despite her having friends, associates, and sexual relationships. But, at the opening of the film, she is far from lucky.

Toni Collette always gives a good performance as she does here. Ellie is a journalist for a magazine in Seattle, Oliver Platt playing the editor, who is becoming frustrated by Ellie’s unreliability, especially as magazines are changing, the influence of online publishing. He commissions her to do an investigation about a musician who was popular 10 years earlier, Matthew, who had made a great impact in the music world but had then suddenly withdrawn and there were reports of his death. He and Ellie had been in a relationship and his departure was emotionally hurtful for Ellie. She does not necessarily want to write this article but the editor insists that she must if she is to keep her job.

Helped by a good friend, she goes online to get some information about Matthew’s being alive or dead. She does get a lead and follows through but the informant seems rather unreliable and demands money. She actually has persuaded the editor to give her money to pay leads but she has lost the money.

Part of the job is to be a talent scout in Seattle and she comes across a man singing in the streets and is impressed by him, interviewing him, but failing to write the promised article. However, he does move in with her, sings in a club and is offered more appearances.

The tone of the film changes somewhat when an interesting if bizarre character arrives on the scene, Charlie, Thomas Hayden Church, a millionaire who had met Ellie years earlier. He is interested in all kinds of projects and wants to join Ellie in her search for Matthew, also offering to finance the search as long as he goes along, having decided that he would like to make a documentary about it. He years very (very) straight up and down, quite humourless, which makes his character interesting and a contrast with that of Ellie. They go on the road, interact with their different styles, he doing some filming, she doing the searching.

There is a surprise for the audience when she eventually does find Matthew - played by a top star in a modest cameo role, quite effective in its way. Probably his identity has come out but publicists were asking reviewers not to reveal who it was.

In many ways this is a small film, a local focus, a concentration on magazines and a changing styles, the research for articles. Citizen Kane it is not although it is somewhat in that vein - but audiences who come across the film will probably enjoy it.


Australia, 2015, 95 minutes, Colour.
Carl Barron, Leeanna Walsman, Roy Billing, Damien Garvey.
Directed by Anthony Mir.

This is a small Australian film which deserves being seen quite widely.

This reviewer was not familiar with the work of Carl Barron, a stand-up comedian who began his working career as a labourer and moved into comedy. He has written the screenplay for this film with his colleague, director Anthony Mir, and plays the part of a fictional stand-up comedian, Manny Lewis. Carl Barron invests a great deal of intensive energy into his portrayal of Manny Lewis which inevitably raises the question how much of this film is autobiographical.

The first few moments are not quite auspicious, some examples of stand-up comedy, heard behind the credits. Not particularly funny - despite the laugh-track sounding quite hearty and rather morbid in subject.

However, as we get to know Manny Lewis, he is not the kind of person we would find enjoyable company but he is the kind of person whose screen story becomes more interesting and intriguing. He is middle-aged, unmarried, has a difficult relationship with his father whom he drives out to the country to visit now and again. He does not mingle at parties despite all the liveliness around him. He is in constant touch with his agent, played with some exuberance as well as melancholy, by Damien Garvie. There is one bright prospect, the possibility of a tour of the United States.

When Manny goes home after a party to his unit, looking out on Sydney Harbour and the Bridge, his loneliness overcomes him and looks up the phone book for phone-sex numbers. After hanging up, he dials again and is referred to Caroline who speaks with an affected sex-husky voice. The first contact is a mixed success and he will dial again and again.

In the meantime, the audience learns more than Manny does. Caroline is actually Maria, a young woman, from Gympie, making ends meet by the phone work, intending to sail to Brazil, an attractive performance from Leeanna Wiseman. By accident, she sees an interview with Manny on television and sets herself up to meet him by chance.

No one can say that Manny Lewis is not predictable. It is, even to the final fadeout. But that does not matter, because the film becomes sweeter and nicer as it goes on and, unless an audience has excised sentiment, they will find it a pleasant film.

Of course, Manny enjoys Maria’s company, the possibility for talking, going out, being himself - but, he confides more and more in Caroline, even telling her some of the mannerisms that he finds irritating in Maria! Maria does her best. Inevitably, the truth comes out with sadness for each of them.

Manny has to perform at the State Theatre in Sydney, to a very enthusiastic audience, stories and jokes about life, death and loneliness, as well as some songs, the lyrics of one relating to his experience with Maria.

The show is a success and the American producer wants him to sign a contract. His dad has come to the performance and is instrumental in apologising to his son for his harshness in the past and urging him, telling the story of his falling in love with his mother, to do the right thing.

It is almost hit and miss as Maria is on the boat for Brazil, but... (Nobody said that the film was not predictable, pleasantly so).


Canada, 2014, 139 minutes, Colour.
Anne Dorval, Antoine-Olivier Pilon, Suzanne Clements.
Directed by Xavier Dolan.

On the day that this review is being written, Xavier Dolan, the precocious French-Canadian director, has a birthday. He turns 26. Mommy is his fifth film, making an impression, building on I Killed My Mother, following with Heartbeats, Laurence Anyway, Tom at the Farm, and now this film which won the jury prize in Cannes, 2014. He himself has appeared in the four earlier films but does not act in this one. The two female members of his cast have appeared in his other films. His main actor this time is a young Canadian, Antoine-Olivier Pilon.

The main actors are most impressive in their roles, Anne Dorval as the mother, trying to cope with her son who is ADHD, and Pilon as the teenage son, Steve. Suzanne Clements is the neighbour who helps both mother and son.

This is quite a long film, two hours and 20 minutes, and, while some of it is repetitious, it holds the attention with its dynamic characterisations, situations, interactions. At the opening, the mother, Diane, called Die, is taking her son out of an institution where he has set the kitchen on fire and caused extensive burns to one of the children. She takes him home, where he has a room, and tries to look after him, controlling his moods, urging him for his education. She herself is not well-educated and regrets this, having a fairly rough personality, quite aggressive physically and verbally in her dealings with many people, especially at institutions, and Steve inheriting some of this aggression - with racist and homophobic slurs.

Across the street is Kyla, a good woman who is having a sabbatical, she explains, from her teaching. She is at home with her husband and daughter, but has acquired a nervous impediment which makes her stammer. She makes friends with Die who asks her to mind Steve for a day - with some initial dire consequences, but Kyla is able to calm him somewhat and use her skills as a teacher to interest him in subjects which he follows through and responds so. In the meantime, Die tries to get a job as a translator of children’s books and takes on cleaning jobs as well.

Quite a lot of the film is a portrait of Die trying to cope with her son, his losing his temper, his reactions towards her, confiding in Kyla and getting some help. In the meantime, Steve is entirely unpredictable.

The film opens with some information about Canadian legislation, especially in French-Canada, where parents can take unruly children to institutions of care. This is the dilemma for Die, whether she can keep Steve at home as he grows older and more challenging or whether she should place Steve in an institution.

There is some pathos at the end with Die, after an outing to the beach with Kyla and Steve, having to make a decision and the audience sees how it affects her, Kyla moving to Toronto which is sad for Die, and Steve and his way of dealing with his mother’s decision.

Xavier Dolan is quite the director. He also writes, edits, designs costumes and writes the subtitles both in English and in French, a lot of it quite slangy given the background of the characters.

So, what will Dolan be doing in five years, 10 years, 15 years, with his life and career before him...!


US, 2015, 112 minutes, Colour.
Liam Neeson, Ed Harris, Joel Kinnaman, Boyd Holbrook, Bruce McGill, Genesis Rodriguez, Vincent D’Onofrio, Lois Smith,. Common.
Directed by Jaume Collet-Serra.

For the last six years there has been a Liam Neeson action thriller every year, sometimes two per year. He has been the lead in the three Taken films, in A Walk among the Tombstones and three films from the present director, Unknown and Non-stop. He clearly likes working with Jaume Collet-Serra.

This time he is not particularly heroic. He portrays, Jimmy, a retired hitman, working for New York gangsters. He is now alcoholic, getting old, alienated from his son, not having much to do or to hope for. His close friend from the past and into the present is also a hitman, Sean, played by Ed Harris.Here’s still on the upper, doing business, while not always agree with his crooked son and his proposals for deals, especially when they involve Eastern European thugs.

Jimmy’s son is a good man, married with daughters, coaching young African-Americans to box, and driving for a limousine service. By one of those strokes of fate or screenwriters’ contrivance, he and a young man witness some killings by Sean’s son who proceeds to track him down to kill him. His father has come to warn him and shoots the killer before he can shoot his son.

As the title indicates, the action of the film runs over one night and into the morning, opening with Jimmy wounded, lying in the woods, reflecting on the meaning of his life. It then goes into flashback.

Sean breaks the news to his grieving wife, gathers his henchmen, meets with Jimmy and vows revenge. This pits the two old men against each other both psychologically and physically. Jimmy’s son, still detesting his father, makes decisions to help him, risking murder from a hired assassin. The plot also involves the son’s wife and children, their having to go into the country to hide, but nevertheless being tracked down and threatened.

Run All Night is set in a world of violence, a world of brutality, a world where those who involve themselves in violence come to violent actions.

The film relies on the strength of the performances of the two leads and of Joel Kinnaman as Jimmy’s son. Music star, Common, has an unusual role as a single-minded killer for hire.

Grim stuff for fans of this kind of action thriller.


France, 2014, 118 minutes, Colour.
Omar Sy, Charlotte Gainsbourg, Tahar Rahim, Izia Higilin.
Directed by Olivier Nakache, Eric Toledano.

It is reported that Les Intouchables/The Intouchables has sold over 50 million tickets around the world. Audiences responded to the story of the prisoner, I had to take care of a wheelchair-bound cranky wealthy man. The film was both sad and funny, but had pleasing emotional appeal. The directors have said there is no plan for a sequel but were content that there was going to be an American remake (seemingly the validation of the success of a French film!).

After the success of Les Intouchables, the directors did waited some years for their next film. But here it is, Samba. And they have invited their star, Omar Sy to come back and team with Charlotte Gainsbourg.

The setting is Paris and the story is that of an illegal migrant, Samba, who came 10 years earlier from Senegal and has been able to survive, living with his uncle, working in a restaurant kitchen, taking on labouring jobs, hoping to become a chef. He has been very careful and has avoided arrest but is attacked in the street, fights back and is arrested. He is detained in the internment centre - difficult and confined, but far less enclosed and repressed than contemporary Australian and off-shore detention centres.

Charlotte Gainsbourg, one of France’s leading actresses, plays Alice, who has suffered a breakdown from her high-powered job and is assisting at a clearing centre for the detainees. She accompanies an earnest young woman and interviews Samba. Alice has been warned to keep a distance, not become involved, but Samba is pleasant in the discussions so that she actually gives him her number. It comes in handy, as we might expect, when he needs some further help.

Omar Sy is quite different from his character in Les Intouchables. He is a physically big man and can take care of himself when attacked, but has a rather gentle spirit, has been working the years in France and sending home money to his mother and upset when he is detained and can’t get work to earn the money. His uncle, a rather stoic old man, works in the kitchen, gives advice to his nephew but thinks it is time for him to return home.

Over the weeks, Samba and Alice cross paths, Alice confiding in Samba the difficulties she has experienced, gaining some confidence again, prepared to go to interviews for getting the job back. Samba has been working on building sites and odd jobs and becomes friendly with Wilson, a cheerful Brazilian worker who thinks that women are attracted to the exuberant Latin American temperament. He doesn’t really look Brazilian and has to confess that his real name is one Walid and that he is from Algeria. But he is so cheerful, that nothing stops him and he sets his eyes on Alice’s companion from the office.

The film slows down a little in the middle, especially when the main characters turn up at a dance for the staff of the detention interviews, some comedy with several of the interviewers, elderly women who have struggled with foreign languages, accents, yet still try to do their best for the detainees.

There is some drama towards the end when Samba encounters a friend that he made in the detention centre, promising to track down his fiancee, which he does but has a one night stand with her and he cannot face his friend. The police pursue, they hang onto a rail over the river but both fall in - but there is still hope, the audience realising what has happened in terms of coats, but Alice and Samba’s uncle do not. Ultimately, Samba makes a decision to do the right thing.

There is a great deal of warmth in the film, a most sympathetic portrait of an illegal worker in France and the continued edge in avoiding police and discovery. With the enormous flow of migrants and refugees, legal and illegal, throughout the world, it is quite important that audiences put faces on these migrants and discover and identify with their stories.


UK/US, 2015, 122 minutes, Colour.
Dev Patel, Maggie Smith, Judi Dench, Richard Gere, Bill Nighy, Celia Imrie, Ronald Pickup, Diana Hardcastle, Penelope Wilton, Tamsin Greig, Tina Desai, Shazad Latif.
Directed by John Madden.

No, not second best - rather, the accident is on ‘second’. Since we all know all about the first Best Exotic Marigold Hotel, and enjoyed the film, liked the characters, appreciated the exotic atmosphere in India, it is fairly obvious that we would like a second.

Most of the team are back again, except Tom Wilkinson whose character died in the first film. Most of them are ensconced comfortably in India, and, in the Hotel, although, it is emphasised, there is a roll call each morning just to make sure that everyone is still there!

Actually, the film opens in the United States, with Mrs Donnelly and Sonny driving through California, he exuberant behind the wheel, she her usual dry-commenting self. Dev Patel and Maggie Smith. They are full of enterprise, wanting to interview the board of a hotel company with the idea of opening the second hotel in Jaipur although the Americans don’t share the basic idea of retiring to India for final years and death. But they agree to send an agent to check out how the hotel is run.

Meanwhile, back in Jaipur and the oldies! Ronald Pickup’s Norman and Celia Imrie’s Madge are at work at the British club (also watering the drinks), Norman, less flirtatious, in a relationship with Carol, and Madge with the dilemma of having two local suitors. Judi Dench’s Evelyn is still working, though she mentions in passing that she is 79 - which was her actual age at the time of filming - and is checking out fabrics with local merchants, being offered a job from an international company and going to Mumbai with the local merchant for further development. Bill Nighy’s Douglas, separated from his hen-packing wife, Jean (Penelope Wilton) is taking tourists for visits to local shrines, but with his failing memory relies on an ear-piece with a young boy feeding him the information, although at one stage he rushes off to play football with his friends forgetting his duties. Actually Jean does come to India, as she says, to visit the old ruins but also to see how everyone is getting on! She has her own sad story but is happy that her daughter is coming to India to give a talk at a conference.

As for Sonny, he is busy, busy, busy, preparing for the engagement and his wedding, while his fiancée, Saina, is also busy at the hotel reception desk. Then there is his mother whom he rather keeps in check.

There are preparations for the engagement, preparations for the wedding - and, of course, a song-and-dance most colourful wedding ceremony.

But, there is still some intrigue when Richard Gere turns up and is considered the agent for inspection, even though he tells the story that he has come to write a novel. The novel turns into a real life novel as he is attracted to Sonny’s mother which does not please Sonny. Most of the staff, however, consider another visitor (Tamsin Grieg) who says she has come to look out for a place for mother as the agent. Lots of kowtowing on Sonny’s part, visits to prospective hotels, and complications and jealousies when an old friend puts in a bid for a hotel and spends a lot of time coaching Sonny’s fiancee in dancing for the celebrations.

All is well, finally, with Mrs Donnelly talking some common sense into Sonny.

This sequel has attracted large audiences and big business - but, the surprise of the first film can never be repeated and watching this film seems something akin to having a large second helping of dessert.


UK, 2015, 85 minutes, Colour.
Voices of: Justin Fletcher, John Sparkes, Omid Djalilli.
Directed by Mark Burton, Richard Starzac.

This is a holiday film which will entertain young audiences and keep their parents interested and amused, even though the story is very slight and a straightforward adventure of sheep and a dog in the city looking for their farmer who has a concussion, loss of memory, and is in hospital.

The films, both feature-length and short, from Aardman Studios in Bristol, have a very high reputation. A quarter of a century ago they made the short film, A Grand Day Out, following with a number of very entertaining films featuring Wallace and Gromit. Since they have been screened on television many times, most audiences may have seen the films - but repeats will entertain the youngsters who have not seen them. Their feature films include Chicken Run and Curse of the Were-Rabbit.

Shaun the Sheep is not new to television or film. He made his debut in the third Wallace and Gromit film, A Close Shave. Then he had his own television series, a range of short films, which endeared him to audiences. Now he has his own movie!

While there is a lot of music in the background and quite a number of noises, grunts and exclamations from the characters, the film works in the vein of silent films, no spoken dialogue, character and impact relying on visuals, expressions, situations, and quite a bit of slapstick comedy.

Shaun and the small number of sheep on the farm, live their day, day by day, according to the farmer’s routine, waking up, breakfast, slamming the door and squashing his dog, getting his list of chores, rounding up the sheep - and one day shearing them including Shaun. But routine is routine, even for the sheep on the farm, and Shaun must have remembered that Aardman Studios started with A Grand Day Out. Why not a day for Shaun and the sheep!

It seems a good plan, with the farmer in his truck, but Shaun and the sheep underestimating a hill, downhill, so that the truck goes hurtling down, the farmer gets hit on the head and has to go to hospital where he loses his memory. This means that the Grand Day Out is one of rectifying the situation, tracking down the farmer, discovering him in hospital, passing a group singing in Baa- Baa’s shop, and trying to avoid the machinations the Bif Ciyt’s animal hunter. One of the enjoyable jokes, repeated, is having the sheep go round and round jumping over a barrier with the farmer and the hunter watching and gradually nodding off and falling asleep, not exactly counting the sheep, but the equivalent.

This means a lot of humorous situations, parodies of human behaviour, pratfalls and mistakes, the sheep getting themselves in tangles, and the dog doing his best to help out. Happy to say that when they get the farmer back home, and go into their routines, he gradually gets a sense of their presence, recovers and all is the same, no, better, at the farm with the dog almost always avoiding being crushed by the door.

Perhaps not the most memorable of Aardman Studios films, but certainly a welcome and popular addition.


US, 2015, 92 minutes, Colour.
Antonio Banderas, Voices of: Paul Tibbitt, Tom Kenny, Bill Fagerbakke, Rodger Bumpass.
Directed by Paul Tibbitt.

The ideal reviewer for this film would be a six year old, girl or boy. The Australian Catholic Film Office does not have this kind of ideal reviewer on its staff, so what is an older reviewer to do! Describe the experience of watching the film with 30 of the ideal reviewers, some parents and teachers.

Actually, it is quite an experience to sit with this kind of audience to watch a film which is squarely, squarepantily, aimed at them and not their parents. Although one needs to add that the Pirate King, Burger Beard, had a face behind his thick beard and a voice that sounded familiar enough. After a minute or two, it was Antonio Banderas, so something for the parents to look forward to see how he handled working the cartoon characters, how he behaved like a villain, how he got his comeuppance and realised that it was not wise to tangle with SpongeBob and his friends.

The main thing to say about the audience was that they gave no impression of being a captive audience. Rather, they seemed enthralled the whole time, only one little boy going out with his father to the toilet. It was rather surprising that they tended to be quiet rather than rowdy as well as quiet during most of the film, laughing out loud at some of the moments (of the slightly breakwind and trousers down variety) and the number of the pratfalls with people falling over or being hit, that kind of thing. (The reviewer realised that these moments with little kid giggles proliferate in so many American comedies these days, allegedly for adults, getting lots of little kid giggles with the very same incidents.)

Probably most of the young audience come prepared, watching SpongeBob on television, comparatively long time fans. So, they knew SpongeBob and his situation beneath the sea, the restaurant selling crab patties and Mr Krabs and its hard times, the star-shaped Patrick, Squidward, Kyle, the issue of a secret formula for making the crab patties and a nasty Plankton, SpongeBobs old foe (although he does make good, more or less) trying to discover and steal the formula.

Whether the audience guessed it, but the parents and teachers and reviewers probably did, it’s the pirate king who has stolen the formula and is making good on it, quite profitably. This means a lot of pursuit by SpongeBob and his friends, entering into the spirit of the thing, experiencing some strange shapes and sizes with the appearances of their characters, but with great heroics (of the suitable for six-year-old style), and they win the day.

The animation is bright and colourful, the characters clearly shaped and amusing, especially SpongeBob himself. IMDb research reveals that not only has there been the television series but there have been several previous SpongeBob films, some straight to video: The SpongeBob SquarePants Movie (with such voices as Alec Baldwini, Scarlett Johansson, Jeffrey Tambour and David Hasselhoff), 2004; Sponge Bob SquarePants Spongicus, 2009. And there was a television special, SpongeBob SquarePants, Lights, Camera, Pants, 2005, introducing audiences to the animators and how they created the series. Not sure whether this is the kind of information that the six-year-old reviewer would have written, but each of them obviously experienced it with relish.

So, reviewed by an adult, resisting any temptation to write like the ideal young reviewer!

US, 2015, 100 minutes, Colour.
Chris Rock, Rosario Dawson, Cedric the Entertainer, Tracy Morgan,.
Directed by Chris Rock.

If you have never heard of, Chris Rock, or never heard of Cedric The Entertainer, or Tracy Morgan..., this is probably not the film for you. As an extra caution, it might be added that even if you had heard them, this still might not be the film for you.

Over the decades, Chris Rock has built a substantial reputation as a stand-up comedian, and has proven himself to be something film star as well. Using the tradition of Richard Pryor and Eddie Murphy, African-American humour, targeting American politics, the American way of life, often with sexual innuendo - and at other times, quite explicit and crass. There is something of a glimpse of this at one stage in Top Five, but the film is really about a celebrity and how he deals with his life and its pressures.

The film opens with Andre (Chris Rock) walking along the street with a journalist, Chelsea (Rosario Dawson) talking about his life, willingly and unwillingly, some wry comments as well as wisecracks. And then we find out who Andre is. He has become something of a celebrity because of his starring role in three action-hero blockbusters. The trouble is that he plays Hammy the Bear, but concealed in his bear suit, but nonetheless he is recognised, acclaimed, signing autographs.

But he wants to be a serious actor and his new release, Uprise, has just opened with practically nobody going to see it. We are shown a clip, a story about Haitian rebels with Andre as the vigorous leader, and a massacre of white landowners. Not a masterpiece.

So, The New York Times wants an interview with him and assigns Chelsea, one of their top writers. Andre is reluctant to talk to the New York Times because their columnist, James Neilson, has targeted Andre and his performances in past years. Over a day, Chelsea follows Andre to various functions and promotions, with Andre taking the opportunity to reminisce about his life, along with memories of booze and sex early in his career (this flashback with Cedric the Entertainer, replete with some Texas mumbling and some gross behaviour). Andre also goes to see his family, a motley collection, and encounters at one stage Adam Sandler and Whoopi Goldberg and some other friends for conversation.

Are a lot of musicians and singers moving in and out of the film, many of them asked about the top five.

At the same time, Andre is trying to cope with a planned marriage on the following Saturday, his fiancee, Erica (Gabrielle Union) and devotee of Reality Television, is being filmed planning the marriage in great detail in preparation for the filming of the wedding - which seems one of the most unlikely.

Andre has been on the wagon for some years but a crisis comes about the identity of James Neilson which propels him into drinking again, face the failure of his film, question what he is really about.

While Andre is a fictitious character, any film about a stand-up comedian and actor raises the question of how much autobiography there is in it. But that is for Chris Rock fans to fathom.


US, 2014, 97 minutes, Colour.
Ben Stiller, Naomi Watts, Adam Driver, Amanda Seyfried, Maria Dizzia, Adam Horowitz, Charles Grodin, Peter Bogdanovich, Peter Yarrow.
Directed by Noah Baumbach.

It would be very interesting to interview audiences as they came out from the screening of this film.

While the principal focus is on a married couple in their 40s, used to life, regretting that they had no children even though they had tried, would the 40s and overs identify with the couple, criticise them, learn from their experience throughout the film? It is a look at these two in comparison with a couple who is 25. If those coming out of the cinema were in their 20s, how would they react to the couple who are their peers, their attitudes towards life, their attitudes towards their elders, their reaction to living in a world of technology, often avoiding it and liking what is natural and real. And for those who are of older, there is veteran actor, Charles Grodin, playing a documentary filmmaker in his 70s.

For just over ten years, Noah Baumbach has been writing and directing films which try to go beneath their surfaces. He was particularly successful in 2006 with his family study, The Squid and the Whale. There was the portrait of people assembling for Margot at the Wedding, then the story of a middle-aged man trying to find his place in life, Greenburg, and after that the more light-hearted portrait of a young woman trying to find her place, Frances Ha.

He opens the film with quotes from Ibsen, The Master Builder, and opening the doors to the younger generation.

Here we are introduced to Josh and Cornelia, very fine performances from Ben Stiller and Naomi Watts. Their peers and friends had become preoccupied with young children, which tends to alienate Josh and Cornelia who have experienced miscarriages. Josh is lecturing on documentary film when he encounters a young couple, Jamie and Darby (Adam Driver and Amanda Seyfried), in their midtwenties, he an enthusiastic documentary maker, she a maker of ice cream. They keep inviting the older couple out, taking Cornelia to Hip-hop lessons, Jamie getting Josh involved in his experimental documentary, and their both agreeing to attend to a New Age mescaline-meditation-vomiting-out-of-old-attitudes weekend.

The experience has a transforming effect on the older couple, going back almost 20 years to what it was like when they were young, the experience re-invigorating them but puzzling peer friends. The experience also seen seems to transform of the younger couple, with Jamie becoming very involved in his documentary, Josh acting as cameraman, letting Jamie interview the elderly guru from his own film (played by Peter Yarrow, the Peter in Peter, Paul, Mary). There is a particularly strong sequence where an Afghanistan veteran (Brady Corbett) who has attempted to kill himself is interviewed for the documentary.

Just as the audience may be feeling really satisfied, or perhaps wondering, there are shifts in the revelations of characters and audience emotional response, everybody not quite being actually what they seem. But is it all Josh’s problem - he is rather paranoid, about his documentary, about his father-in-law, about his reputation. And is Jamie trying to exploit Josh? And how will Cornelia ultimately deal with all the changes and challenges?

x & y

UK, 2014, 111 minutes, Colour.
Asa Butterfield, Sally Hawkins, Rafe Spall, Eddie Marsan, Jo Yang.
Directed by Morgan Matthews.

x & y might remind audiences of chromosome symbols. Others might recognise algebra, mathematics and equations and formulas. And this is correct. This is the focus in this film - but much more.

Morgan Matthews, a prolific documentary filmmaker, directed a documentary in 2007 about the international Mathematics Olympiad and the students involved. The story stayed with him and he decided to experiment with turning the documentary material into a fiction narrative.

The centre of the film is, at first, a little boy, and then his growing into a teenager. The boy is shy, has little relationship with his mother, but bonds strongly with his father who plays with him, affirms him, lovingly encourages him. When the father is suddenly killed in a car accident, the boy seems to withdraw into himself. Audiences familiar with stories of children with autistic behaviour, will recognise that the little boy, Nathan, seems to be autistic but with a great talent for mathematics and solving puzzles.

His devoted mother, Julie (Sally Hawkins) tries to reach out the boy lacks empathy for her. When she approaches the authorities at school, they recommend that special tuition from one of the teachers who had a strong maths academic record, suffers from a form of palsy, but works with special students, Martin (Reith Spall). Nathan works with him for several years, making progress with Martin’s care and attention.

When Nathan becomes a teenager, he is played by the talented British, Asa Butterfield (The Boy in the Striped Pyjamas, Hugo, Ender’s Game). Martin is keen that Nathan participate in the Mathematics Olympiad. Nathan agrees and goes, for the first time in a plane, to Taiwan with the British candidates for the competition. Chaperoning them is Richard (Eddie Marsan, who worked so effectively with Sally Hawkins in Mike Leigh’s Happy-go-lucky). The Chinese official has a niece who is a candidate in the competition and who makes some kind of connection with Nathan. The students are very bright, some genial and friendly, others, possibly autistic, tend to be focused on themselves and communicate arrogantly. This is all very new to Nathan, reticent during the classes, just managing to get himself as one of the chosen ones for the Olympiad.

These aspects of the film will be of interest to parents and teachers, students who are interested, particularly in mathematics, as well as anyone working with autistic children.

While Julie and Martin become very friendly, Julie feeling the need of some affection after the death of her husband and with her son’s seeming indifference, and not able to connect by touch, not even telephoning her from Taiwan - something which never occurs to him. But it is the Chinese girl who also comes to England who begins something of an emotional breakthrough for him, teenage interest in girls but autistic reticence and awkwardness in responding.

The ending is not quite what it might have been anticipated, especially as regards the competition. Not every problem is solved but it seems there is some recognition by Nathan of his mother and her love for him, some moments of incipient empathy.

The British know how to make this kind of film, quite modest in scope, a very effective cast, a low-key treatment of emotion. But hopeful.

Peter Malone

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