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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, July 2015




Germany, 2015, 110 minutes, Colour.
Christian Friedel, Katharina Schuttler, Johan Von Bulow, Burghardt Klaussner.
Directed by Oliver Hirschbirgel.

Oliver Hirschbirgel’s, Downfall, showing the last days of Hitler, was a great international success though causing some controversy in Germany with its picture of Hitler, indicating some more humane aspects of his behaviour. Hirschbirgel had already made quite an impression with his feature debut, The Experiment.

After several years making films abroad, The Invasion and the portrait of Princess Diana, Diana, both of which were received, he returned to Germany to make this film about the era of National Socialism.

The subject is Georg Elser, a man in his 30s, seemingly quiet, interested in folk music, a touch of the womaniser and his work in the town in the Jura Mountains. The film opens with his setting up a bomb in a hall in Munich, timed to assassinate Hitler as he made an address. It is 1938.

However, the attempt to kill Hitler was a failure, with Hitler leaving the room 13 minutes earlier than anticipated. Elser is caught, interrogated with torture, threatened by bringing his lover into the interrogation, but his never giving up any information. Hitler thought that it was a conspiracy and would not believe that it was the work of one man - with Else spending some time explaining the bomb and his skills to the interrogators.

The film offers flashbacks to his character, his mother, life in the town, his music, the clashes with National Socialists, the birth of the child and its death. Elser was condemned to Dachau and was executed just before the liberation of the camp.
Christian Friedel gives a convincing performance and the film makes the point that while attention is given to Von Stauffenberg and his attempt to kill Hitler, and people like Dietrich Bonhoeffer are held in high regard, with films made about Sophie Scholl and others who resisted, Elser was often considered something of an eccentric loner. This film rehabilitates his memory.


US, 2015, 105 minutes, Colour.
Bradley Cooper, Emma Stone, Rachel McAdams, Bill Murray, John Krasinski, Danny McBride, Alec Baldwin, Bill Camp, Danielle Rose Russell.
Directed Cameron Crowe.

With a title like Aloha, it is obvious that this is going to be a Hawaiian story. But, not quite in the way that might have been anticipated.

This is a film written and directed by Cameron Crowe, a former journalist for Rolling Stone magazine, specialising in popular music - and the film version, somewhat autobiographical, was in Crowe’s film, Almost Famous. Other films by Crowe include his most famous, Jerry Maguire, as well as The Vanilla Sky and Elizabethtown.

Crowe is interested in relationships and these are to the fore in Aloha. However, he includes a more contemporary theme, space exploration - and the exploitation of space for communications as well as for military defence.

The film has a very good cast, led by Bradley Cooper as Frank who has emerged as a significant actor with such films as Limitless, American Heist, The Silver Linings Playbook, American Sniper. The leading lady is Emma Stone, Magic in the Moonlight, Birdman. He plays a scientist with a knowledge of technology and who has served on being wounded in Afghanistan. She plays a captain, a fighter pilot, Allison Ng, who reminds everyone that she is one quarter Hawaiian.

Their paths cross when he is invited to Hawaii by a billionaire entrepreneur, played by Bill Murray, who wants to send up a satellite, privately financed, but in collaboration with the American military, but needs permission from local Polynesians, especially from the King and his kingdom, for a blessing of a bridge and permission for the satellite to go up into the Hawaiian sky.

The personal story is complicated because Frank encounters his girlfriend of 13 years earlier, a woman who was in love with him but whom he stood up. She is Tracy, played by Rachel McAdams, who is now married to a rather taciturn pilot, Woody, John Krasinski. The past lovers renew acquaintance, Tracy having the need to vocalise her feelings of the last 13 years, Frank being forced to acknowledge what he did in the past, with Allison witness to this. Tracy has two children, Grace and Mitch, who contribute to the plot complications.

Allison herself has become involved with Frank and believes that his work is to help the entrepreneur put a satellite in space which has nothing to do with military or defence. She experiences some disillusionment with him, but the situation makes emotional and loyalty demands on Frank as to what he really believes in and whom he loves.

And In the background are military officials played by Danny McBride and Bill Camp, liaisons with the general, a crusty character, played by Alec Baldwin.

Cameron Crowe is a liberal at heart and this is the perspective that pervades the final part of the film.

A blend of the light and the serious with attractive Hawaiian and locations and an interesting cast.


UK, 2015, 128 minutes, Colour.
Directed by Asif Kapadia

Amy Winehouse made her mark on the world, the world of popular music, having a career that spanned ten years, winning several Grammy awards, including Best Song with Rehab, an award for Best young British talent of the year, praised as having a strong voice for jazz.

That may mean that while she did have a large following, there are a lot of people who knew her only from headlines or from tabloid stories. And she certainly had a tabloid kind of life, a celebrity who rose high and certainly fell low.

Asif Kapadia has made a number of documentaries as well as some feature films, especially The Warrior, set in India, and the documentary biography of racing driver AyrtonSenna. He received quite some praise for that documentary and already has won critical praise for this film about Amy Winehouse.

Anyone, musical or not, who is interested in the contemporary cult of celebrity will find this portrait and this study quite interesting. What the director and his researchers have done is to assemble a great deal of footage from her initial auditions to her death, 2001 - 2011. There is plenty of visual material to draw on, auditions, rehearsals, recordings, concerts, home movies with friends, television footage. As well, there is quite an amount of audio material. And there are many, many interviews with her mother, with her father, with her close friends, and managers, promoters, bodyguards...

The director has been skilful in assembling his material, sometimes having voice-over of Amy with different pieces of footage or photos from other times, making the impact of his images and sound more complex.

The film is put together in chronological order, with some flashbacks to Amy’s life as a child and growing up. it is a picture of a Jewish girl from North London - and images of Barbra Streisand come to mind as we see her, her looks, her forthright manner, her strong voice and singing style. Her father was absent during a lot of her childhood but emerged later and undertook her management, criticising this present film for not doing justice to his daughter and putting him in a bad light - and his wanting to make his own film, something of which he did during his daughter’s lifetime.

Audiences interested in the music industry will find that there is meticulous detail about and interviews from those involved with her career, as they worked with her and helped her, the difficulties they experienced, especially in her final years, the successful concerts, records, the Grammys. The range of people interviewed gives an overall picture of Amy Whitehouse’s career.

On the personal level, it is said that she was shy even though she came across publicly as one of those forthright Jewish personalities. She did smoke pot in her early years, but eventually was introduced to cocaine, which led to heroin - and the comment made by her during the film that life without drugs was boring. It also emerges that what looked like to be a hearty appetite was, in fact, bulimia.

She had many boyfriends, friends commenting on some promiscuity in her life, marrying a boyfriend who may have been instrumental in the drug use, supporting him when he was arrested and imprisoned for impeding the course of justice, the marriage ending after two years in divorce.

The other point that the film wants to make is that she had celebrity thrust upon her very early, like many a child actor, performer, sports man or woman, which means that they were still developing their personality while expected to be competent in coping with the wider world - and being cut off more and more from the difficulties of real life, being pampered and spoilt, people responding to their whims, paparazzi pursuing them, and not enough time to be by themselves, to think, to appreciate what was happening to them.

This is significant for Amy Whitehouse’s songs. She is praised by many, by a singer she greatly admired, Tony Bennett, with whom she did a duet, filmed and shown here. She appreciated singers like Sarah Vaughan and was considered to have a wonderful sense of jazz, rhythms and timing. The lyrics which appear during the film, often literally on screen, help the audience realise that they were all about her, her life, her feelings, her relationships, not exactly narcissistic, but self-preoccupied, using the lyrics and the rhythms to express a lot of her troubled personality and what was happening in her inner and her out of life.

Some have complained that the film does not include everything - but, after all, it runs just over two hours and there will be necessary omissions from the point of view of the selection of the director. While it does serve as a basic biography, it is, more importantly, a cinema portrait.


US, 2015, 117 minutes, Colour.
Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, Bobby Cannavale, Judy Greer, Abby Ryder Fortson, Michael Pena, David Dastmalchian, T.I., Wood Harris, Hayley Atwell, John Slattery, Martin Donovan, Anthony Mackie.
Directed by Peyton Reed.

A full confession! This is a realisation that early into Ant-man, this reviewer was believing all the science, accepting that living creatures could be shrunk, that this kind of activity could be credible!

Which leads to say that Ant-man is a very entertaining and enjoyable film.

Marvel comics have a long reputation for their comic strips and comic books in print. In fact, Ant-man was first released in 1963. However, it was the other superheroes who made it earlier to the screen, stories of The Hulk, of Captain America, of Iron Man, of Thor, episodes for all the heroes, many sequels and, of course, The Avengers films.

With due respect to the last Avengers film, The Age of Ultron, Ant-man is far more enjoyable.

In the late 1980s, scientific researcher, Dr Pym, was developing techniques for reducing living creatures. But, it was the time of the Cold War and he was being looked on with some hostility by CIA authorities. He then retired but continued his work, even after his protégé, Darren Cross, took over his company and laboratories.

Present day. Darren Cross has almost succeeded in his shrinking techniques and experiments on creatures, including lambs, until he has success. While he is brilliant at science, he is also a greedy man in love with power and plans to sell his research to the highest bidders, irrespective of their motives and their plans for domination. Dr Pym does not approve. But his daughter, Hope, works with Dr Cross.

Also present day. pleasant burglar, Scott Lang is about to be released from prison, gets fired from his fast food job because of his past, shares an apartment with Luis, a motor-mouth when it comes to telling a story with excessive detail, and two of his friends. Scott is being prevented from seeing his daughter by his ex-wife and her new partner who is a police officer.

These two present-day scenarios then connect, with Scott doing a burglary job in Dr Pym’s house, then becoming a candidate for the experiment for a shrinking man. Dr Pym’s motives are good, wanting to stop Dr Cross and deciding to use his Ant-man to infiltrate and destroy Dr Cross’s experiments - including Cross shrinking himself as Yellowjacket.

Some of the most entertaining scenes are Scott’s training to be an Ant-man, experiencing what it is to be so small and in danger from ordinary situations, like water in the bath becoming a deluge, like exercising mind control over ants and their activities, finding Anthony, a giant ant on whom he could ride to battle. Dr Pym’s daughter had hoped to do battle for her father but he wants to protect her, especially when she learns the story of her mother who was a partner with her husband and gave her life for experiments.

So, this leads to a set up for confrontation between the two Ant-men, Goody and Baddy.

This film is certainly not predictable like the other action hero stories. While Scott, Ant-man, as a criminal background he is something of a hero, but very small, and, while his activities will contribute to saving the world, they are not cataclysmic and apocalyptic like the battles in other Marvel films. And there is a great deal of humour, in the characters, the mannerisms, the deadpan remarks, and the frustrations that Scott experiences during his training.

Often, the film is quite funny.

Of course, there is action in the final confrontations, not always going as might be foreseen, which makes them very enjoyable, a good blend of action and special effects.

The cast should be mentioned by name and praised. Paul Rudd has appeared in many a comedy, with touches of romance. The part of Scott Lang suits him and he makes the most of it with self-deprecation, funny lines, attempts at heroics, motivated by possibilities for seeing his daughter, and rising (no matter how miniature) to the dangerous occasions.

Dr Pym is a very good role for Michael Douglas who carries it off with great aplomb and credibility. Evangeline Lily plays his daughter. Corey Stoll is both smooth and smarmy as well as corporation-evil personified as Dr Cross. Michael Pena has most of the comedy as Luis, his comic reactions to everything (although some solid punches when necessary) along with his two friends, seeming slackers, who nevertheless are essential for the final success.

There is a guest appearance by Anthony Mackie as The Falcon - and, of course, the advice is to remain till the end of the credits to see where this is all leading.


China, 2014, 103 minutes, Colour.
Gong Li, Chen Daoming, Zhang Huiwen.
Directed by Zhang Yimou.

A word about the director and his career helps give context to this fine but small film.

In the 1980s and, especially, in the 1990s, Chinese director Zhang Yimou made a number of rather small films with contemporary settings, sometimes going back to the more immediate past. In many of them, his leading lady was the actress Gong Li, the star of this film. If any audiences have ever seen Ju Dou, The Story of Qui Ju, or, especially, Raise the Red Lantern, they would look forward to seeing Coming Home. At the turn of the millennium, Zhang Yimou made two very fine films, Not One Less and The Road Home. But then he turned his attention to Chinese history, heroics, martial arts - often in the fantasy vein of Hidden Dragon. Hero, House of Flying Daggers were amongst those films. And then he was designer for the Beijing Olympic Games.

With this film, he has returned to his earlier simplicity and audiences will appreciate it, a small film, perhaps emotional and moving for many audiences, but a fine film and humane film.

The plot is quite straightforward. It is the time of the Cultural Revolution and life in the Chinese town like the one presented here is fairly colourless and drab. A school teacher lives with her daughter, shunned by many because her husband, a professor, has been imprisoned 10 years earlier. But news comes that he has escaped. His daughter, training for ballet (a particularly patriotic and militaristic ballet it is) has completely rejected her father.

The wife, played by Gong Li (who is now in her late 40s), is faced with the dilemma, to welcome her husband or denounce him.

In a very dramatic sequence, the husband is recaptured and imprisoned again. His wife and his daughter both see what happens. There are consequences for both, the wife so traumatised that she has what a psychologist describes as psychogenic amnesia, not forgetting everything, though she seems to be moving into a state of dementia, but an inability to recognise her husband.

In fact, the latter part of the film shows the end of the Cultural Revolution, with the husband returning home a free man, but his wife unable to recognise him. One of the good things is a reconciliation with his daughter who tries to help him. There are many moving, emotional moments in this part of the film when the husband tries many ways to help his wife recognise him, explaining things to her but she is still afraid; tuning her piano and delighting her in playing again, but she does not recognise him; then sending her all the letters that he wrote in prison on scraps of paper and offering to read them to her while she listens entranced.

Over the years, she always goes to the railway station, expecting her husband to be among those returning from the prison camps, always failing, always watching, always waiting.

The film has no easy answers but immerses its audience in the experience of the wife who desperately loves her husband and wants him to return but does not recognise him and the husband who has suffered so much and longs to be with his wife as they were together in their loving past.

Those who relish older films, especially from the golden years of Hollywood, may remember Greer Garson in Random Harvest, finding that her husband, Ronald Colman, suffers from amnesia, and her standing by his side for years without his recognising her, helping him in his life and career. This one does not have the final comfort that Random Harvest does. This is expert and small Chinese cinema at its best.

US, 2015, 104 minutes, Colour.
Adrian Grenier, Jeremy Piven, Kevin Connolly, Kevin Dillon, Jerry Ferrara, Emmanuelle Chriqui, Rex Lee, Debbie Maza, Billy Bob Thornton, Haley Joel Osment, Greg Louganis, Alice Eve, Judy Greer, Richard Schiff, Emily Ratajkowski, Piers Morgan, Martin Landau. Cameos: TI, David Arquette, Gary Busey, Jon Favreau, Andrew Dice Clay, Mike Tyson, Pharrell Williams, Liam Neeson, Ed O’Neil, Kelsey Grammar, Chad Lowe, Nora Dunn, Mark Wahlberg, Common, David Spade, Warren Buffett, Jessica Alba, Armie Hammer.

In many ways, it depends whether the audience have been fans of the long-running television series, Entourage, or whether they are coming to it, so to speak, cold. This review comes from the “cold” perspective.

We are told that the movie version begins nine days after the last episode in the series ended in 2011. Which means that the characters may only be nine days older but look four years older. Be that as it may, it seems that the principal characters are all back again. There is Vincent, Adrian Grennier, the film star, having his marriage of nine days dissolved and his machinations not only to star in a blockbuster (which, when we see the opening credits, does not seem to be all that blockbusting) but to direct as well. He is dark and handsome. Then there is his producer, Eric, Kevin Connolly, usually with a rather beatific and youthful smile on his face, which rather belies his ability as a movie producer to deal with agents and money men, and definitely covers over his rather promiscuous attitude towards women, especially his pregnant ex-girlfriend, which seems not only exploitative but misogynistic. There is Turtle, Jerry Ferrara, rather scruffy-looking but wealthy enough, who serves as a friend and chauffeur in the entourage. The last of the group is Jack, Kevin Dillon, Vincent’s older half-brother, an obtuse and crass type, putting his foot in it, continually auditioning to try to get better parts - and not always succeeding.

The powerhouse of the film is fast-talking, wheeler-dealer agent, Ari, played with both infectious and antagonising exuberance by Jeremy Piven. He is certainly the best thing in Entourage.

One of the features of the television series, apparently, is the number of cameos from real stars and celebrities - and it is certainly the case here, some turning up only in passing, but usually in something of a huff or antagonistic. However, more striking in support is Billy Bob Thornton as a rich Texan who is investing in films and, a surprise to those who still remember him only from his child role in The Sixth Sense, a rather roly-poli Haley Joel Osment as Fulton’s rather stupid and over self-confident son who interferes with Vincent’s film.

It is all bright and colourful, with Hollywood sunshine, shows the Entourage’s men about town, using women rather than befriending them, and showing a lot of the uglier aspects of Hollywood high life and the exploitative aspects of filmmaking. Some of it is amusing, much of it less so.


UK, 2015, 98 minutes, Colour.
Daniel Bruehl, Kate Beckinsale, Carla Delevingne.
Directed by Michael Winterbottom.

We all know of people who confronted by a television programme have no inhibitions about yelling back at the screen, venting their displeasure, challenging the film makers or the characters... It doesn’t usually happen in cinemas. But, The Face of an Angel is one of those films where audiences might feel that they would like to stop the film, talk with the director, getting him to clarify what he is on about and why he has made the film as he has. Since this can happen only at a Q&A session, audiences watching this film will have to have the debate within their own minds and feelings as the film goes on.

Michael Winterbottom has been making films for over 20 years, sometimes focusing on crime stories, Butterfly Kiss, The Killer Inside Me, sometimes doing realistic documentaries like The Road to Guantánamo or, more recently, supporting Russell Brand in his protest and indictment documentary against capitalism, especially in the UK and the banks, The Emperor’s New Clothes.

Why the desire to discuss with the director, to challenge, to tease out...? Because he has made a film about a widely known murder case in Italy, the death of Meredith Kercher, the trial of Amanda Knox and Raffaele Sollecito, their being found guilty, then, on appeal, the judgement being quashed and their being set free. More recently, an appeal has upheld their guilt. There has been a television movie about the case.

While Michael Winterbottom is going back over the case, he takes the point of view that it was so much in the public eye, that there was so much sensationalism, tabloid headlines, all kinds of rumours flying about, that he preferred to look on the case from the outside, even though he has some brief reconstruction sequences, some brief looking at the accused during the trial, and a focus in retrospect on the victim.

This means that a lot of the film is about a filmmaker who has an ambition to make a film about the case but does not quite know how to do it. He is played by Daniel Bruehl, usually a convincing actor, but this time made to play a complicated and even contradictory character, creative with his filmmaking, friendly, separated from his wife, Skyping his daughter whenever possible, yet suddenly doing lines and lines and lines of cocaine, not scrupulous about sexual liaisons, sometimes writing bits of the screenplay, most times observing other people, writers, journalists, disapproving of their tabloid approach. So, one would like to ask the director, is it about him, fictionalised or real, his puzzles about how to make the film, his opting to make the film about a director and his problems, which may or may not be interesting, and he may or may not be sympathetic.

Kate Beckinsale plays an author, based on Barbie Latza Nadau who wrote about the trial and contributed to the screenplay. She is American, and in Rome, unhappily married, with children whom she looks after, going up to Siena each week to sit through the trial, helping the would-be filmmaker.

After, perhaps clarifying, some of these questions with Michael Winterbottom, audiences might like to pause the film again and ask him about his reliance on Dante, even a visit to his tomb, and his using The Divine Comedy as well as Documenti di Amore, for his interpretation about the young people, their coming together, the Inferno that the murder produced, the trial and its purging - and with the father of the victim giving a final eulogy talking about her going to heaven.

All that said, there are a number of interesting features of the film, with sequences mainly in Rome and Siena but also in London where the film director is based, going home, talking with his producers, planning the film. The question is: what is the audience left with as regards the characters, the drama, the would-be film that fails, (except that here it is), a perspective on the characters of the victim and the accused. Given the victim with the face of an angel, and visually beatified in her, this film is certainly very sympathetic towards Meredith Kercher and her family.

A puzzlement.

Greece/Australia, 2015, 82 minutes , Colour.
The Xyloouris Family: Antonis, Georgis, Shelagh, Nikos, Antonis and Appolonia.
Directed by Angeliki Aristopoulomenou.

There will not be too many people around Australia, let alone the world, who have not been hearing about and thinking about Greece in recent months, even years. And that is all about finance, debts, repayments, currencies and the European Union. And divisions between yes votes and no votes.

This is a film, however, A Greek-Australian co-production that will have everyone saying yes.

The settings for the film are Crete with its long historical traditions, especially its music traditions, and Australia where many Greeks have settled and brought the music with them. Which means that this is a multi-cultural film experience, a pleasure for Greek audiences, especially in Crete, and a pleasure for multi-cultural Australian audiences who appreciate different styles of music, different instruments and skill in playing them.

As for the title, this is definitely a family affair. The Xylouris family has developed a very strong tradition, the music and performance techniques being handed on from generation to generation. The film focuses particularly on Georgis Xylouris, well respected in Greece, a musician who has toured the world (and there are scenes from his playing in several Western European countries). He has also visited Australia, and in this film, there are scenes from 2012, the Womadelaide Festival as well as concerts in the Forum Theatre in Melbourne and some rehearsals and radio interviews. Accompanying Georgis is his father, a strong patriarch, an expert player from George inherited his talent.

But, the film, veering between mountainous landscapes at home and the vast open terrain of Australia, the film has quite a number of Australian connections. George is married to his Australian wife, Shelagh, who lives in Crete and has brought up three children. But, the two boys, talented musicians in themselves, have come to Australia for university studies and, as the film opens, the younger sister, Apollonia, is moving also to Australia, for study but also for performances. She is a touch nervous as she practises, especially in the presence of her grandfather.

Any documentary about a close family has its attractions, as does this one. When there are loving bonds which are lived every day through music, strings and lute, the bonds are even stronger.

The film serves as a positive reminder of the best in Australian multiculturalism.


UK, 2015, 119 minutes, Colour.
Carey Mulligan, Matthias Schoenaerts, Michael Sheen, Tom Sturridge, Juno Temple, Jessica Barden.
Directed by Thomas Vinterberg.

Over the last 50 years, the novels of 19th-century author, Thomas Hardy, have been popular sources for many films. A memorable film from 1967 was made of his novel, Far from the Madding Crowd, with Julie Christie, Peter Finch, Alan Bates, Terence Stamp. There have been versions of his Tess of the D’Urbevilles, including Roman Polanski’s Tess, of Jude the Obscure, of The Woodlanders and The Return of the Native, and a version of The Mayor of Castor Bridge, The Claim.

Now comes another version of Far from the Madding Crowd, a very satisfying version in itself.

The setting is Dorset 1870, a village, the fields and cliffs near the sea, small farms, barns and mansions, the local town and markets. While the photography is quite striking, the locations are not presented merely as touristic scenery but part of the plot and the development of the plot.

Hardy’s novels have very strong heroines, with the spirit of independence that often transcended their times. This is true Bathsheba Everdene, a young woman who inherits a farm, decides to manage it herself, is full of energy, not hesitating to get out with the sheep or bringing in crops. Carey Mulligan offers a strong and emotional performance. She has encountered an upstanding farmer, symbolically called Gabriel Oak, the shepherd experiencing tragedy when his sheepdog loosens the fences and drives the flock over a cliff. Bathsheba employs him. He is devoted to her and has proposed but has been rejected. Bathsheba cannot see herself as married.

And Gabriel Oak (Matthias Schoenaets) is not the only suitor. A local landowner, Mr Boldwood (Michael Sheen), a rather solitary man, also proposes, thinking he has a chance because of a thoughtless Valentine’s Day prank that Bathsheba had played. And then there is the dashing soldier, Frank Troy (Tom Sturridge), who has been infatuated with one of the workers on the property, Fanny Robin, but has given up on her when she did not turn up at the church for the wedding (she had mistaken the name of the church). Bathsheba, despite her attitude towards suitors and her strong control of herself, becomes infatuated with the soldier with dire results.

The film immerses its audience in the life of this England, the hard work, the seasons, the socials.

And, all the time, there is Gabriel Oak, working hard, supporting Bathsheba, listening to her, and quietly regretful that she does not love him in return.

There has to be a climax. Mr Boldwood asks Bathsheba to reconsider, comes out of his shell to organise a Christmas celebration, detailed in its preparations, inviting everyone and hoping that Bathsheba will accept his proposal. There is an unexpected turn of events, which becomes highly melodramatic, Mr Boldwood going into action that he never dreamt he would. Gabriel, still supportive, realising that he has no future in Dorset, tells Bathsheba that he has decided to migrate to America.

There is something grim about the writings of Thomas Hardy, something of a hardness in his presentation of human nature, in emotional conflicts. And his heroines are strong women who suffer.

Far from the Madding Crowd is definitely in this vein, but with more glimmers of hope than in other novels. Danish director, Thomas Vinterberg who had made rather austere films early in his career but was able to interpret British stories with insight and skill, including his film version of Jonn Le Carre’s Tinker, Tailor, Soldier, Spy, has made a very persuasive version of Far from the Madding Crowd.


Australia, 2015, 99 minutes, Colour.
Directed by Steve Thomas.

The recommendation comes first. This is a documentary which all Australian should see.

We often say that we shouldn’t categorise people in any way, especially which with prejudicial epithets. In the last almost 20 years in Australia, advocates for migrants, refugees, asylum seekers, have insisted that the only way to appreciate these men, women and children, is to get to know some of them. Several years ago there was a fine film, Mary and Mohammed, set in Tasmania, about a local group of women who made quilts for those kept in the local detention centre, who got to know actual people, who overcame fears and prejudices and were greatly supportive of these newcomers to the country. Filmmaker, migrant Hong Kong director, Clara Law, became involved with those in detention in Baxter and corresponded with some of the men, eventually visiting and producing the film Letters To Ali. Robyn Hughan, had experiences of Afghan refugees and discovered Sister Carmel Wauchope and her visits to the detention centre at Woomera and made A Nuns New Habit.

Steve Thomas has been making similar films over the last 15 years. In this project, he contacted a number of migrants, principally from Afghanistan but also from Iran and Iraq. He went to visit them, got to know them, through interviews and sharing their lives with them and made brief films about them. They are gathered together in this film, examples of Freedom Stories. And what is pleasing about the film is that as we, the audience, get to know this group of people, ranging from Sydney, Canberra, Melbourne, to Adelaide, and go back to visit them and are able to share in the follow-up to the stories and the good things that happened since the first interviews.

Steve Thomas himself does not intrude but often we see him carrying his camera, see him in the mirror reflections or window reflections, as well as the sound engineers he brought along for the filming. This anchors the stories in reality.

The first person to be introduced is Mustafa, a refugee with his family at the age of ten, the boat capsizing after catching fire, and the group rescued by the Australian Navy. He spent three years in Nauru and then three years on a temporary visa. We find him working in a garage in Canberra, doing an apprenticeship, talking with his younger brother who was born on Nauru, and, finally, see him get his diploma and the support of the owner of the garage, Ned, who gave Mustafa his chance. Mustaffa had also become engaged to a young woman from Finland - with the dilemma as to where they should settle, in Finland or in Australia.

Then we see Shafiq Moniz, who is painting his house, meticulously, because he says his perfectionist. He spent almost a year in Woomera, then three years with a temporary visa. But, he is an artist and we are shown many of his paintings. We also see the now-abandoned huts at Woomera and the outside walls which were painted, many of them with his paintings. Eventually, he was able to bring his wife and daughters to Australia and build a house (painted, meticulously). In his more recent paintings, he uses the motif of an umbrella, indications of climate change, indication of protection from outside dangers...

By way of contrast we see Sheri Shoari, who carried her children to the refugee boat, settling in Australia, in Adelaide, after three years of detention in Curtain and Baxter. She is more than robust woman, especially when we see her caring for her 26-year-old son, Ali, who has cerebral palsy and needs constant care. Her older son, Mohamad, explains how he was traumatised by his time in the detention centre and tends to be introverted, a reader and thinker, not yet able to mix comfortably. Whereas the youngest son, Hamid, ten at the time of arrival, joined the army, plays soccer locally and has ambitions to become a coach. One of the important things is that Sheri has some ambitions as well - to become a truck driver and, when we return to the story, we see her in action with her supervisor, going up the 18 grades for her licence.

Reyhana also spent several years in Woomera. Her daughter wants her to be interviewed and Reyhana, working at home, but on the Internet, became an advocate of women’s rights. We later see her working in the office of the Migrants Resource Centre, meeting migrants and refugees, caring for their needs.

Ahoam came from Iraq, a primary school teacher, emigrated with her father and husband, and has tried to develop her teaching skills and her work with IT, making many applications for teaching in education at large in Australia but not accepted. She now works at an Islamic school, but she is still studying and hopes to make some progress, making a huge decision to change her name to a more acceptable Australian name.

Amir Javan is a particularly friendly man, a diamond dealer back home but, after 4 ½ years in detention, being rejected and his case finally going to the High Court. He is now a real estate broker in Sydney, but he is seen coming to Melbourne, to help a young friend, Parviz, also from Iran, move, someone he had befriended in the detention centre.

Other stories include that of Jamilah, arriving as a girl, now studying, and, a surprise when Molly Meldrum appears in the film, supporting a skilled worker in tiling who did all the work at Meldrum’s Melbourne home, especially with all the antiques, statues et cetera that Meldrum brought back from Egypt.

The film is released in cinemas but would be available for groups, for example parish groups, to see and discuss. There are more stories than are in the feature film. There are two websites and the stories will be adapted to brief the television screenings as well as on-site viewing.

From a Catholic point of view, the film can definitely be recommended, and, amongst the advisory Advisory Committee is Sister Brigid Arthur, Brigidine sister, long committed to social action and social justice.


US, 2014, 110 minutes, Colour.
Reese Witherspoon, Arnold Oceng, Ger Duany, Emmanuel Jal, Kuoth Wiel, Corey Stoll.
Directed by Philippe Falardeau.

The Good Lie did not receive much cinema exhibition, but became available on DVD. It is the kind of film that could be recommended to serious audiences, especially those with a concern for justice, and those who are interested in the turmoil in African countries, especially sub-Sahara countries like Sudan.

The meaning of the title? At some stage, some of the characters feel the need to tell some untruths in order to achieve a greater good.

While Reese Witherspoon gets prominent billing, she does not appear in the early part of the film, so is on posters for marketing purposes, as well as for her interest in being in this film and promoting it.

In fact, the first half of the film takes place in the South of Sudan, in the underprivileged area which became in recent years the new country of South Sudan. In the 1980s, there were many raids on villages by militant groups, nicknamed “the devils on horseback”. A great number of people were killed and many fled. Perhaps, the story of the “lost boys” is known to some audiences, the group of boys who were urged to leave their villages, leaving behind their families and loved ones, and trekking thousands of kilometres from Sudan to Kenya. When they arrived in that country, they were put into refugee camps, remaining there for several years, many of them growing up into adulthood in the camps.

The drama early in the film is that of the attacks of the militants on horseback, the cruelty and viciousness, the killings, and the long walk by the children, not all surviving, but helping one another to move further away from their dangerous country.

The second part of the film shows us some of the boys, now adults, and the possibilities of their being transferred to other countries - not possible for everyone, some spending many more years interned in the camps. But, many were fortunate enough to be able to go to the United States or countries like Australia, refuges for political refugees.

While the boys learn to speak English in Kenya, they were not educated in the ways of the world, let alone the ways of an affluent first world nation like the United States. We follow a group of them as they are transferred to Kansas City, Missouri, with bureaucrats bungling the transfer and separating one of the men from his sister who is sent on to Boston. Reese Witherspoon plays one of the contacts, herself not particularly well-prepared to understand the young men from Africa, but making efforts to get them accommodation and to get jobs.

The younger men themselves have varied experiences in their work, some of them being pressed into joining groups, something the equivalent of gangs. Others get steady jobs. One enterprising young man devotes himself to study, improving himself, with the hope of training to be a doctor.

The Good Lie could be something of an eye-opening film for those who have not had contact with refugees, who are not aware of how important cultural differences are, or the strain of the newcomers in their learning of a new language, getting used to manners, different food, expectations in the workplace...

To that extent, the film is interesting, entertaining in its way - and a good way of enabling its audiences to have their horizons widened.

The film was directed by Canadian director, Philippe Falardeau, who treated something of the same themes in a French-Canadian setting, with a teacher who came from northern Africa, Monsieur Lazar, which is also a very fine film.


US, 2015, 87 minutes, Colour.
Reese Witherspoon, Sofia Vergara, Matthew Del Negro, Michael Mosley, Robert Kazinsky, Richard T. Jones, John Carroll Lynch, Jim Gaffigan.
Directed by Anne Fletcher.

It is almost a genre in itself, the odd couple comedy. But, habit usually makes us think of a male odd couple. It is much the same when somebody describes a film as a ‘Buddy’ comedy. It would seem that buddies are male also. However, this film offers us two female buddies, a female odd couple.

Obviously, they are not going to be buddies at the beginning. Reese Witherspoon, relaxing after her serious films, plays a dedicated Texan cop, following in the footsteps of her father whom she assisted when she was a little girl. But, she is a by-the-book officer, knowing every regulation possible and its application. She is mocked by several of the police officers at the station (though there are some dramatic developments which means that she has the last laugh). One day, she is given a mission to accompany a witness to a trial in Dallas. What could be simpler?

Well, the first complication is that the witness is a self-important Hispanic wealthy woman whose husband is about to give testimony at the trial of a cartel boss. Before you can say drugs, the home of the witness is attacked by two separate groups with a shootout, the two women, like each other or not, have to go on the run, with the criminals in hot pursuit.

Which means that this is a road movie, along the lines of the 1980s classic with Robert De Niro and Charles Grodin, Midnight Run. The two women get into all kinds of adventures, all kinds of comic situations, each rescuing the other when the going gets tough. It would be nice to say that they form bonds - well, they do, but not without a great deal of to-ing and fro-ing, some confrontations with the cartel lord, and a shooting climax. (And a few plot twists.)

This means that the comedy depends on the two actresses, Reese Witherspoon righteous and uptight, gradually, very gradually, mellowing, and Sofia Vergara, trading on her glamour and know-how. There is an amusing running joke with television reports continually making Witherspoon shorter and shorter and Vergara older and older. Audiences will get, more or less, what they expect.


US, 2015, 94 minutes, Colour.
Voices of: Amy Poehler, Phyllis Smith, Bill Hader, Mindy Kaling, Lewis Black, Diane Lane, Rashida Jones, Kyle McLachlan, Frank Oz, John Ratzenberger.
Directed by Pete Docter, Ronaldo del Carmen.

Over the past 15 years or so, the Pixar Studios, now associated with Disney, have stood out as the go-to studio for fine animation films. While they made their mark with the Toy Story series, they had a series of successes, and Oscar wins and nominations, with films like Finding Nemo, The Invincibles, Cars, Ratatouille, Wall-E, Up. Some of their productions have been slighter in recent years, especially Cars 2, but Inside Out should put them up there on top again.

The idea is rather original. What if we went inside the characters heads, identified some of the chief emotions, imagine what they might look like in cartoon form, how they operate in harmony with and in conflict with each other, determing the reactions of the character?In this case it is a young baby, Riley, whom we look out from the outside but then go inside her mind, discovering Joy, the most exuberant and exhilarating emotion.

But then babies cry! The emotion which emerges is Sadness, again a feminine voice, something of a sad sack, low on self-image and esteem, prone to blame herself for making the child unhappy. The screenwriters have decided on three other emotions, Fear (a really nervous type who wants to be over-protective, a male voice), Anger, a squashed looking character, also male, and, Disgust, a somewhat petulant and arrogant female voice.

Each of the emotions has its own special colour. Joy is a bright yellow while Sadness is blue. Disgust is green, while Anger is definitely red!

As Riley grows up, we see each of the emotions influencing the young girl. When her loving parents move house, she gets upset, Joy and Sadness becoming lost, as if on another planet, while Fear, Anger and Disgust are in turmoil within her, even leading her to run away from, and catch a bus, petulant and angry with her parents.

In the meantime, the audience sees that Joy and Sadness are lost, trying to find their way back into Riley’s mind, and accompanied by her invisible childhood friend, Bingbang.

Joy has to come to realise that she just simply can’t eliminate Sadness from every human experience. Sadness is a necessary part of life and, when Joy is able to acknowledge this, trusting Sadness to have her influence, there is a possibility of some kind of recovery and harmony.

Which means that the film is a very nice allegory about human emotions, visualised entertainingly, all at work on a kind of inner computer to try to help the child’s growth but, squabbles arising, envy sometime prevailing, leading to enormous confusion.

The end of the film as well as the initial parts of the final credits are well worth seeing for laugh-aloud responses, seeing the emotions within the minds of Riley’s parents as, faces-painted, they go to support her at a hockey match. One of the funniest scenes is momentarily inside the mind of a very gawky boy who encounters Riley with the emotions running riot in his mind. There is also a school teacher, a frustrated bus driver - and then, the emotions within a dog and within a cat.

Obviously, plenty of room for an imaginative sequel, even a series.


US, 2015, 124 minutes, Colour.
Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Nick Robinson, Vincent D’Onofrio, Irrfan Khan, Jake Johnson, Omar Sy, BD Wong, Judy Greer.
Directed by Colin Trevorrow.

Jurassic used to be a word that scientists used to describe primaeval stages in Earth’s evolution. Ask anyone over the last quarter of a century, after readers had devoured Michael Crichton’s novel and moviegoers had stormed the box office for Stephen Spielberg’s film version, and Jurassic meant Jurassic Park. The dinosaurs were there, cared for by earnest scientists, getting out of control through aberrations of science, but giving the audiences lots of thrills for their money.

There were two sequels, not quite as startling as the original, to say the least. Surely it was something of a risk to make another Jurassic film decades after the original. Not that filmmakers are usually risk-takers, but Universal Studios must be very happy with the present producers who risked making Jurassic World: an enormous opening weekend in the United States, throughout the world, and half a billion at the box office before a month was over.

Worth it? This question applies only to the fans, not to those who would not be seen dead, let alone alive, watching a Jurassic movie. And the answer seems to be yes. This sequel moves us back to Jurassic Park with explicit references to the personalities and what had happened before the disaster, re-opening 20 years after the previous collapse. Everything is now under control, under the control of technology and surveillance, under the control of the officer in charge, a rather humourless and uptight Bryce Dallas Howard. Her sister and brother-in-law, covering difficulties, sending their sons to their aunty who is to look after them and show them the sites. She is very busy, promoting Jurassic World, getting contracts, doing deals. She hasn’t noticed that there are some strange types around, especially some with military background, led by Vincent D’Onofrio, obvious, well at least two us if not to her, that there will be dangers with the dinosaurs.

Some of the dinosaurs are being trained by a genial young man, Chris Pratt, who knows them by name, and has a way of bringing them under control. His assistant is played by Omar Sy (The Intouchables).

So far, so good, the boys going on all kinds of rides, the visitors seeing all the dinosaurs in their created habitats, tourists galore. Needless to say, there are some scientists who are experimenting with the dinosaurs, introducing all kinds of genes into their system, giving them characteristics of some of the more menacing creatures, and an ability to camouflage, raptor aggressiveness...

While we guess the rest, it is the experience of watching the rest that is important. The mutant dinosaur goes on a rampage, the military try to control but end up decimated, our hero, the trainer, who has had a bad relationship with the manager of Jurassic World in the past, has to join up with her, first of all to save the boys, then to save the park - if possible, with tourists fleeing, dinosaurs pursuing, pterodactyls let loose and swooping, lots of chases, just what the audience needed when they decided to buy their tickets to Jurassic World.

This is a “what if...?” imagining of a a world out of control. Interestingly, while we all talk of progress and experts encourage us to venture into all kinds of developments, the classic stories and so many of the movies are actually quite cautious, the Frankenstein Syndrome, where humans exceed their powers, arrogantly manipulating nature, creating monsters.

And, since this is a popular approach to disaster films and apocalyptic scenarios, they will always be welcomed - especially if the action sequences and special effects are well worked into the screenplay as they are in Jurassic World.


Belgium/US, 2015, 118 minutes, Colour.
Mia Wakiskowska, Rhys Ifans, Paul Giamatti, Henry Lloyd-Hughes, Logan Marshall-Green, Ezra Miller, Laura Carmichael, Richard Cordery, Olivier Gourmet, Luke Tittensor.
Directed by Sophie Barthes.

Gustave Flaubert was not a prolific novelist. But his Madame Bovary became something of a classic, still highly regarded, still considered an opening into France in the 19th century, manners and morals.

There have been several film versions of his novel, a 1949 Hollywood version with Jennifer Jones, a French version in 1989 with Isabelle Huppert. This time, it is an international co-production, with Sophie Barthes as the co-writer and the director was born in France and educated in South America and the Middle East, an Australian star, Mia Waskikowka, as Emma Bovary. The merchant Lhereux is played by Welsh Rhys Ifans. Charles Bovary is the British Henry Lloyd-Hughes, the Marquis is American Logan Marshall-Green, and Charles Bovary’s friend and adviser, Monsieur Hamois, is American Paul Giamatti.

One of the difficulties for this international co-production is the mixture of accents, especially Mia Wasikowska with something of an American accent which the director thought was the neutral accent. It jars throughout the film.

But, that criticism aside, this is a most impressive production, immersing the audience in the 19th century, costumes and decor, wealth and ordinary life in a provincial country town with visits to the society world, the world of business, and the cathedral in Rouen.

But, the focus has to be on Emma Bovary herself. There is very little dialogue in the first ten to fifteen minutes of the film, rather communication by visuals and body language, Emma as a young girl along with other students in an enclosed school, supervised by nuns, learning to go through all the manners and styles of cultivated young ladies. As she lights a candle in the chapel before she leaves, she prays that she will find a good husband.

As her story unfolds, the audience realises with her, that she was quite inexperienced, sheltered, and had imagined a life that was not to be. She later confides that life has been a disappointment. It seems to begin well with a celebration of her marriage, a meal outside event, with a fond farewell from her doting father. As she leaves the party with her husband, with a horse and cart, she hopes that life as the wife of a country doctor will fulfil her dreams.

It is not that Charles Bovary is a bad man. Rather, he is duty-bound, conscious of his role as a doctor and his responsibilities, a doctor by day, a husband by night, rather unimaginative and without a clue as to his wife’s feelings. The village is small, her husband walking her briefly to the edge of the town - and that is it. She feels confined to the house, becomes bored, leaps at the opportunity when the local Marquis invites her to ride to hounds where she witnesses the brutal slaying of the stag.

Temptation comes to her in the form of the local merchant, Lhereux, very well played by Rhys Ifans. He tempts her with luxury, with beautiful fabrics, the possibility of fine dresses, curtains, rugs, and she indulges her love fine things with reckless extravagance, beguiled by seemingly unlimited credit.

It seems inevitable that she will be looking outside the house for some kind of fulfilment, for relationship, for sexual experience - which she finds for a brief time with the Marquis, and also a brief time with a lawyer in Rouen. But, there is gossip, which her husband does not seem to have heard but, passing the local peasant women in the town, she knows that she is the object of the gossip.

There might be some hope in an incident where she urges her husband to operate on the clubfoot of his friend’s apprentice, thinking that this might be some kind of achievement and that the doctor will be happy to move to the city. She is frustrated by the result.

Whether it is fate, whether it is her disillusionment, whether it is a result of her impetuous nature and self-indulgence, she is on the path to tragedy.

The director stages every scene with impressive visual craft, with fine performances, with a sense of French society at the time, differences in class, wealthy aspirations, the role of duty and its suffocating consequences on those who want more from life.

This is a fine film showing how significant literature can be well dramatised on screen.


US, 2015, 115 minutes, Colour.
Channing Tatum, Joe Manganiello, Matt Bomer, Adam Rodriguez, Kevin Nash, Gabriel Iglesias, Jada Pinkett Smith, Donald Glover, Andy McDowell, Amber Heard, Elizabeth Banks.
Directed by Gregory Jacobs.

Big audiences hurried to Magic Mike back in 2012, eager to participate in the lives of a group of male strippers, their characters, their routines, their emotional tangles, the phenomenon of performing at club nights for women to come to ogle the dancers, throw money at them and shriek at the experience.

In many ways, much the same this time. It is explained to the audience and characters that Dallas, the manager, played by Matthew McConaughey, has gone out on his own. Mike himself, Channing Tatum, has not been dancing for three years and has been trying to run a furniture business, trying to make ends meet, trying to provide pay for his one employee. Then he gets a call from one of his old associates, Tarzan, who seems to indicate that Dallas has died, so off goes Mike to a wake - which is anything but! And, before you can say magic, Mike decides that he wants to join the group and go on one last trip and gig to the strippers’ convention in Myrtle Beach.

This reviewer didn’t find the first film particularly interesting though it had a certain verve. While there is some verve here, it is not enough to make the film really interesting unless you are an avid devotee of the strippers who like to call themselves male entertainers.

On the road, they have a car accident, lose the MC, while Mike has a brainwave to look up an old flame who runs a strip club for African-American women, Domina. As the troupe call in, there are quite a number of acts in her club, plenty of shrieking women again, and a seemingly endless pile of dollar notes to throw at the men. Of course, the acts are lewd and suggestive and the whole thing is pretty raucous, run by Rome, Jada Pinkett Smith. The next stop is at the home of a young woman, Amber Heard, whom they met on their travels, to a group of wealthy white Southern women, led by Andie McDowell, who shriek less, but who have many more dollars, and more of the suggestiveness.

While lewd and suggestive are words that seem to have moralistic tone, and they do, some of the ordinary bloggers on the Internet Movie Database, bring up a word which means the same thing but it is more ethically neutral. It is the word classy - and commenting that Magic Mike XXL and the performances are certainly not classy at all.

There are a lot of scenes of bonding between the men, some rehearsals when they get to Myrtle Beach, though how the staging and the performances that follow could be prepared in such a short time only Hollywood could tell. Each of the entertainers gets his own act, but since it is a convention, there are many more women to shriek, and we are shown the cash machines doling out dollars and dollars for eager responses.

Magic Mike XXL will find its audience - but it may well be much smaller than the first film (though Channing Tatum seems more alive to than usual!).


Spain, 2014, 105 minutes, Colour.
Javier Gutierrez, Raul Arevalo.
Directed by Alberto Rodríguez.

Marshland was the winner of several awards, especially in Spain, its country of origin.

Audiences always enjoy a solid detective investigation as well is an interesting murder mystery. Marshland provides these - and, with its setting in Andalucia and the marsh country, many audiences who appreciated the television series, True Detective, make some links.

The setting is very important, the strange marshlands and the people who live and work there, something of an isolated community. The time setting is also very important. It is 1980, four years after the end of the Franco regime which dominated Spain for four decades, the period of repression under fascist government. At this stage, the people are not used to the new freedoms and the film makes explicit allusions to police activity in the past, putting down protests, shooting people, torturing them and the cover-ups. It emerges that one of the detective sent to solve the current mystery had been a vigorous police torturer, something he denies, but proof is given that the accusation is true.

The film opens with overhead shots of the marshlands, looking like artificial diagrams, but with the camera slowly descending to the waterways, the fields, the intersections. And, on one of the roads, the detectives experiencing a car breakdown, and taken into the town.

The murder mystery concerns two teenage girls who disappeared, but their bodies, violated and mutilated, are soon found. It soon emerges that other girls have disappeared, parents upset and distraught.

The film shows the two detectives, quite different in personality, the older one more assured with a touch of humour and enjoying life, the other one in his 30s, much more serious, concerned about possible promotion to Madrid and phoning his pregnant wife.

Parents are interviewed. Other school students are also interviewed. Various characters in the town come under suspicion, and detection leads to a hunting lodge and an abandoned hut on the property. Some negatives of photos are found, indicating sexual behaviour. Brochures are also found from a company which is soliciting responses from young girls for better jobs in the city.

One of the characters in the town is a writer, imagining that he might become a Truman Capote, writing a ‘real life’ book about the crimes and investigations. He is particularly helpful in collaborating with the police, developing photos, giving information about the town.

The film is in delineating the characters of the two men, their capacity for working together, the differences in their temperaments. The local authorities want the crimes solved. Some of the people in the town become more suspicious as the investigation goes on, including a dangerous car pursuit at the night on the marshes.

Ultimately, the further victim is rescued, the mystery solved, the police are acclaimed and become famous in the newspapers.

But, along with the detection and the solved mystery, the film is most interesting in its re-creation of the place, the period, the people and the aftermath of the Franco regime.


US, 2015, 91 minutes, Colour.
Voices of: Sandra Bullock, Jon Hamm, Michael Keaton, Alison Janney, Steve Coogan, Jennifer Saunders, Geoffrey Rush, Steve Carell, Pierre Coffin.
Directed by Kyle Balda, Pierre Coffin.

Everything that you didn’t know that you would need to know, and it didn’t occur to you to ask, about Minions.

Children’s audiences could tell you that the minions were those funny little yellow creatures, with names like Kevin and Steve, some with one eye, some with two, with little mouths that were prone to be uttering gibberish in excited tones, communicating in their own language which had dashes of words of English, Spanish, French and who knows what other languages! They made a great impact in Despicable Me and enjoyed their comeback in Despicable Me 2. And here they are again, all courtesy of Pierre Coffin, who codirected the film, co-wrote the film and provides all those conversations which we do understand despite the fact of scarcely recognising a word.

It may not have occurred to us to wonder where the Minions came from but the prologue to the film gives us the answer. They are a result of evolution, from little specks to fully grown (well that is, perhaps, an exaggeration so small are they), timid little community out of which emerged Kevin, a natural-evolved leader, who wants to take the Minions out of their comfort zone. He doesn’t get many volunteers, mainly Stuart and, then, little Bob.

We know from the earlier films that they have a propensity for seeking out villains, and a natural evil-bent, that drew them to the character Gru. But how did this instinct develop? We have a very funny, collage of their attempts to find villains that they can follow - but fail. When they arrive in the United States, it is 1968, a huge poster of Richard Nixon for his campaign, a time of flower power and a range of popular songs that recur throughout the film.

But, they are rewarded, by discovering an arch-villain, Scarlet Overkill, and find that she is due to be the star of the villains’ convention. Off they go, hitchhiking, and being picked up by a really nice-seeming American family, mom and pop and the two kids - who suddenly put on masks and rush in to rob a bank. Just the right family for the Minions. And they are off to the conference as well.

It is one of those very American conventions, loads of stalls, loads of spruiking, villains galore - though most of them are quite inept, including Prof Flux who travelled back and forth from the future and had a different professor each time he returned - with their deciding that they should get rid of the superfluous ones, only, of course, killing off the original!

And there is Scarlet Overkill, voiced by Sandra Bullock, a larger than life presence, highly theatrical in her presentation, supported by her husband, voiced by Jon Hamm with some humorous remarks. Scarlet defies everyone to defeat her - with, in some mixups, Kevin and his friends outwitting her. She takes them on, and off they go to adventures in the United Kingdom, to London of the young Queen Elizabeth, to the Tower of London, security guards, and a deadly plot to steal the Crown from the Queen and for Scarlet herself to be installed and crowned in Westminster Abbey.

So, plenty for the British audience as well as the Americans - and it will be interesting to know what the Queen actually thought about how she was presented, robbed of the Crown, cavorting with the public in a bar, rather raucously voiced by Jennifer Saunders.

Whether Scarlet is successful in stealing the Crown and keeping it, you’ll have to go and see Minions. The nice American family is there at every turn cheering on the Minions. and, if enough audiences round the world cheer them on at the box office, there is plenty of scope for them to return.


UK, 2015, 105 minutes, Colour.
Ian Mc Kellen, Milo Parker, Laura Linney, Hattie Morahan, Patrick Kennedy, Hiroyuki Sanada, Roger Allam, Colin Starkey, Philip Davies, Nicholas Rowe, Frances de la Tour.
Directed by Bill Condon.

This very entertaining film has a lot going for it, a lot of fine ingredients and all fitting together perfectly.

In a press conference, Ian Mc Kellen stated that Sherlock Holmes was the greatest Englishman who never lived. Fans of Sherlock Holmes will appreciate this film, a story of Mr Holmes who gave up his investigations 35 years earlier, regretting that he did not understand the case that he was dealing with, the personalities involved, and the sad ending to the case. He has retired to Sussex, as was mentioned in some of the stories and some of the film versions, to keep bees.

Ian Mc Kellen is a very good choice to portray Holmes. He has the opportunity to play him at age 93, in that retirement in Sussex, keeping the bees, living quietly and unobtrusively, cared for by his stern housekeeper, Mrs Munro (played plainly but subtly by Laura Linney), a war widow, with a young son, Tom (a lively Milo Parker), who sees Holmes as something of a father or grandfather-figure. It is 1947.

We learn, however, that Holmes has made a visit to Japan, searching for a herb, Prickly Ash, that, with Royal Jelly, could be a means of healing for the ailments of old age. And Holmes is not without his ailments. We do see scenes of Holmes in Japan, especially visiting Hiroshima, and some visuals of local people who had been effected by the radiation. His host, who helps him to find the Prickly Ash, also has his own story which Holmes uncovers and, rather uncharacteristically, writes a letter at the end to this Japanese man, a letter of comfort about his father who disappeared long since to work with the British.

And, there are also flashbacks to the story, in 1912, where a man comes to ask Holmes advice about his wife who is deeply disturbed after two miscarriages. Speaking of flashbacks, there are also flashbacks within this story, to illustrate and traumatise it. It also means that we see Holmes at 58, investigating the case, indulging in some of his propensity for disguises, having an emotional discussion with the distraught mother, but quite misreading the situation, something which has haunted him and is now compelling him, at age 93, to write the story. As he writes, at different stages during the film, he has discussions with young Tom who is an alert lad and offers some clues and indications of how the story might be written.

In the scenes in 1947, Mrs Munro feels that Holmes is alienating the affections of her son (and with our 21st century alertness, noticing that Laura Linney plays Mrs Munro as looking at Holmes with a look of a mother who is apprehensive that the man is a paedophile). Rather, Holmes is very supportive of Mrs Munro, teaches Tom a great deal about bees, though there is some melodrama towards the end when Tom is stung.

This is a fine Sherlock Holmes story, a portrayal of his character, and indications of mellowing as he grows older, a touch of the old investigation style, his conversation which is always strong on facts and deductive reasoning, a film that happily shows us the best of Sherlock Holmes.


China/France, 2014, 100 minutes, Colour.
Baotian Li, Xioran Li, Hao Qin, Xin Yi Yang.
Directed by Philippe Muyl.

While there are a number of Chinese domestic stories and comedies in film, many western audiences are more used to historical dramas and martial arts action films.

The Nightingale is a film with universal appeal, written and directed by a Frenchman, Philippe Muyl, interpreting a Chinese story with a Chinese cast. It could have been the screenplay for filming in any country but, here it is, leading its audience into contemporary relationship stories.

At the centre of the film is a little girl, Ren Xing, whose parents are highflyers in Beijing, he a rising star architect, his wife involved in business. The jobs require both of them to travel internationally, he to Tokyo and Hong Kong, she to Paris. Ren Xing is the product of a one-child family policy, terribly spoilt, whose main companion seems to be her iPad. When the couple have to be away at the same time, and their madi has to go on long journey to her son’s wedding, the mother decides that it would be best if her husband’s father minded her. The son has not spoken to his father for years because the grandfather had taken the little girl to a huge bird market and let go of her hand and, for some time, lost her. Her father seems to be completely unforgiving.

This means that also at the centre of the film is the grandfather who wants to return to his home town in the countryside, moving to Beijing after his wife’s death 18 years earlier. He had promised to return.

But, also at the centre of the film, is his Nightingale. He has tended the bird for the 18 years, enjoying it singing, it being his constant companion. The Nightingale accompanies grandfather and granddaughter on their journey to the town.

The film is a variation on a road movie, although the old man and the little girl travel by train, where she prefers to look at the iPad instead of out the window, refuses to eat when they go to the dining car, wakes up in the middle of the night declaring she is hungry, then pretends to be sick. At this stage, many audiences will feel that she would have benefited by some confiscation like that during the Cultural Revolution where there were no such things as iPads. Some discipline and manners would not have hurt either, an indictment of children who are both self-centred and iPad-centred.

We know that the two will bond, but it takes travel by train, bus and breakdown, car and boat before they arrive in the town and the little girl’s eyes have been opened to a world outside herself. When she arrives at the town, she finds friends, plays with children, works in the rice field, experiences hospitality and learns to respect and love her grandfather.

It is the little girl who, towards the end of the film, sits with her grandfather and explains the allegory of the Nightingale, its being confined, its love of singing, yet its need to be free.

When her parents arrive, she is oblivious of their anxiety because she has been happy with other people, with her grandfather, being active and outgoing. For those who are anti-iPad-preoccupation amongst children, there is a scene that they will relish towards the end where she is challenged about the iPod - but from a little boy younger than she, out in the countryside, who is absolutely up to date on the latest models.

While the focus is on the little girl, there is also a wonderful scene of reconciliation between father and son, genuine talking and listening, happy reminiscences, the healing of hurts - and this happens also between husband and wife.

The film has a great deal of charm, despite the brattiness of the little girl at the beginning, and ends with a great deal of hope.


Australia, 2015, 95 minutes, Colour.
Patrick Brammall, Alex Dimitriades, Abbey Lee, Harriet Dyer, Jeremy Sims, Brenton Thwaites, Robyn Nevin, Jack Thompson, Aaron Bertram.
Directed by Brendan Cowell.

Ruben Guthrie proudly and facetiously states his claim at his first AA Meeting, “My Name Is Ruben Guthrie and I’m in Advertising”. He also acknowledges his mother who has brought him long. Prior to this, we have seen him alcohol and drug-high, not the type that most of us would want to meet, even if we were in advertising. During a party at his lavish waterside home, he goes up onto the roof and jumps into his swimming pool - defiance, stupidity, death wish? Or all three?

When you come to think of it, Ruben Guthrie, when sober, is a more acceptable but not all that attractive, character.

What has happened is that Ruben, an acclaimed advertising personality, winner of international awards, hail-fellow-well-met, is challenged by his girlfriend of six years, Czech-born model, Zoya, Is so exasperated with his behaviour that, despite loving him, she tells him she is going back home and will return after a year and that he has to stay off the drink in the drugs for that period. Actually, he does.

The screenplay emphasises this by placing the particular number of days sober on the screen.

The screenplay was written by Brendan Cowell, based on his own drinking experiences (and the influence of his mother), and was based on a successful play for the theatre. Patrick Brammall (Upper Middle Bogan, Glitch) is Cowell’s alter ego and does quite a successful job of interpreting his character, making him quite interesting at times while not particularly likeable. Robyn Nevin plays his mother and Jack Thompson his easy-going father. Abbey Lee plays Zoya. And Alex Dimitriades is his gay best friend, ’If you can’t drink one, then why not ten’.

At work, Ruben is pressurised by his boss, Jeremy Sims, to go back on the drink and to regain his mojo, to improve the quality of his campaigns. At the office is a kind of whizzkid, oblivious of what anybody else thinks about him, all cheeky hail-fellow-well-met much more then he realises - a very humorous cameo from rising star, Brenton Thwaites.

Ruben does gain some friends during the year, especially the big and burly Ken (Aaron Bertram) from the meetings who offers good advice and Virginia (Harriet Dyer), also from the group, but preoccupied with trends and what is politically correct, who entangles herself in Ruben’s emotions, building up to the encounter with at Zoya on her return.

As with so many Australian films, the reviewers have been fairly severe, more so than if it were the equivalent story from Britain or the United States - it is not meant to be a profound character analysis, the Brendan Cowell would hope that it does offer an image of a highflier, overconfident, not prone to have regard for others, challenged to do something different with his life, trying to go through some means to achieve this, but putting his foot in it, socially, emotionally, along the way.
(And Brendan Cowell got over his lapses to become a successful playwright and to continue his successful acting career.)


US, 2015, 117 minutes, Colour.
Ryan Reynolds, Natalie Martinez, Matthew Goode, Ben Kingsley, Victor Garber, Derek Luke, Michelle Dockery.
Directed by Tarsem Singh.

The premise of this drama which, perhaps unfortunately for the very serious-minded, becomes something of an action and shootout film towards the end rather than staying with the implications of the drama, is very interesting. Some films explore cryogenics in which the person pays a company to freeze their body, to be thawed later so that the person might have a new life - later. The premise of this one is that a scientist has worked out a process by which an ageing and ill person can have a soul or a self-transfer from the debilitated body to a healthy body and come alive, younger, stronger. The limit, however, is that the transferee should not having any contact with their past.

In the early moments of this film, billionaire Ben Kingsley, a sometimes ruthless head of business, who is alienated from his social-minded protester daughter, Michelle Dockery of Downton Abbey, decides that he will make the transfer. He is in the power of a young, rather cool and calculating scientist played by Matthew Goode.

If you have read the credits on the advertising and seen Ryan Reynolds as the star of the film, you will quickly realise that he is the one who provides the body for the transfer.

Were this a documentary, that might be the end of it as the new person lived happily ever after this breakthrough process. But this is never the case in science-fiction. Writers and audiences seem to prefer the Frankenstein mythology, that the scientist or the doctor usurps their human capacities with hubris that makes them want to “play God” and they create a monster.

It is slightly more subtle here, with reminiscences of people who believe in reincarnation and have memories from their past. The billionaire in his new body, initially wants to live the high life of self-gratification, but images surface, images from the past, from the character of the body they now inhabit. Here is a moral dilemma. Does the new inhabitant suppress the memories of the past or encourage them, follow them through, search out the story of the original person in the body.

Since this is a science-fiction film, it is obvious that the billionaire is going to try to find out what happens, discovering the truth, discovering the motivation of the man for surrendering his body, the repercussions for his wife and daughter.

And, of course, the scientist will be none too pleased (and there is an interesting twist on his identity as well) and repercussions for a close friend of the billionaire and his sickly son.

The writers of this film are in fact Spaniards, the Pastor Brothers, who have written some horror stories in the past. It means then that their road towards culmination will draw from action and horror rather than from psychological resolution, which will not only involve guns but also a flamethrower.

While this means that what might have been something of an art-house science-fiction exploration of identity, the nature of the self, the self becoming less than it was, and the potential for selflessness in the altruistic sense (and all those meanings are included in the title of the film), it goes to a more multiplexed mentality culminating in action, melodrama, but not without romantic hope.


Australia, 2015, 112 minutes, Colour.
Nicole Kidman, Joseph Fiennes, Hugo Weaving, Madison Brown, Nicholas Hamilton, Meine Wyatt, Lisa Flanagan.
Directed by Kim Farrant.

Strangerland was filmed around Broken Hill, a location that may seem familiar to many Australian audiences but, in fact, is rather remote. The town in the film resembles many country towns, especially those in the outback, small towns, for instance, in north-western Queensland. Which means that this is a strangerland to most audiences.

We are introduced to the Parker family who have moved to this town from another not so far away - although the reason is not made clear until later in the film and is key to understanding the tensions within the family. The mother, Catherine, is played with quite some intensity by Nicole Kidman. Her husband, Matthew, played by Joseph Fiennes, is the local pharmacist. They have two children, Lily, a rather precocious and sexually curious teenager, and Tommy, younger, intense, who tends to brood.

The film is beautifully photographed, catching both the dreariness of living in this town as well as the beautiful desert and mountain scenery that surrounds it.

Many audiences could identify with the seeming ordinariness of the Parker family, the tensions with the children, the mother and her concern, the father and his strictness, the daughter and her wanting to, rebel, going down to the local skateboard rink and flirting with the teenagers - and more, using her brother as a cover.

The key element of the film is the disappearance of the children and the search for them in the desert and the hills, led by the local policeman, played by Hugo Weaving. Early in the search, it is impeded by an enormous sand storm enveloping the town, the locals having to clean up before they can go to search.

While the policeman is quite phlegmatic, Catherine and Matthew are highly emotional, Catherine sometimes going, over the top, especially in some sexual advance sequences as well as her going out into the desert, stripping, and walking through the main street. Matthew is too often restrained in his emotions, but bursting out in anger, against a teacher who had a relationship with his daughter, against a young aboriginal man who works at his house, suddenly breaking loose and bashing him.

The cross-section of people in the town is familiar enough, the tendency to redneck attitudes, the idle teenagers, the aborigines who are part of the town and yet not quite.

While the film does come to some kind of resolution, it is not quite... Which leaves the audience identifying with the situation, if not the exact feelings, of the parents, realising that this kind of disappearance can easily happen, happens quite often, leaving a hole in the lives of the parents.

With interesting performances, with fine photography, there are many things to commend about Strangerland - but, while watching it, there is the feeling that for many, situations, performances are sometimes too melodramatic to be satisfying.


UK/New Zealand, 2015, 84 minutes, Colour.
Kodi Smit-McPhee, Michael Fassbender, Ben Mendelsohn, Caren Pistorius.
Directed by John Maclean.

The title is descriptive - but it also serves as a warning for those who might be expecting a lively Western, fast-pace, instead of a slow West.

The film is also brief, the first film by Scottish director John Maclean, and winner of the Grand Jury prize at the Sundance Festival in 2015.

The main feature that makes this Western distinctive is that it was filmed in New Zealand, the terrain not looking exactly like the familiar West or even Colorado where the film is set, but the mountains and planes, often bare, that audiences know from their seeing scenes of Peter Jackson’s Middle Earth sagas. In some ways, this distances the action from the familiar West, but also involves us more in the characters who pass through these landscapes.

Some of the film was made in Scotland, especially the establishing sequences and some flashbacks where we learn the story of the teenager whom we find riding through Colorado on a quest to find Rose, the young woman with whom he was infatuated back home, and whom he has idealised, but who has fled to America with her father after the death of the young man’s father. The young men is wealthy and so is able to afford this trip even though he is completely inexperienced and soon finds himself in trouble.

The young man, Jay, is played by Australian actor Kodi Smit-McPhee, who is been appearing in Australian films like Romulus, My Father and Matching Jack as well as international film is like Let Me In and The Road. A tall thin figure, dressed rather properly, he seems completely out of place as he rides his horse through the West.

Michael Fassbender, becoming well known as a leading man and character actor, Prometheus, Shame, 12 Years a Slave, is Silas who has been a member of a gang riding the West (led by Australia’s Ben Mendelsohn), but has gone out on his own. He saves Jay, accompanies him something like a chaperone, helping him out in difficult circumstances. Jay encounters some Native American Indians fleeing from the military who are shooting them down. He also encounters the gang and its leader. And he finds a man in the desert, studying Indian customs and writing up their extinction, who welcomes him but then takes his goods, leaving him only a note with an arrow pointing west (which he picks up as it blows away and, of course, has no idea where West is).

The film highlights the is isolation when Silas and Jay find a store in the middle of nowhere, only to have a desperate man and his wife hold up the store, leading to deaths, and two young orphans stranded. There is also a strange looking cleric - and we know he could not be in any way a cleric.

The quest leads to the house where Rose and her father live, but there is a bounty of $2000 on them, dead or alive. This means that the alleged cleric arrives and sets up his rifle. The gang arrives, also after the bounty. And Jay walks into the middle of things, happy at last to have finished his quest, to have found Rose.

But this is not a Hollywood picture, rather, an independent small-budget film, so that, while there is something of a happy ending, there is something of a very unhappy ending as well.

Fine to look at, interesting performances, tantalising interpretation of loners in the West, gunfighters and bounty hunters, it is a well-made film that will appeal more to an arthouse audience.


Georgia/Estonia, 2014, 87 minutes, Colour.
Lembit Ulfsak, Elmo Nuganen, Girogi Nakashidze, Misha Keshkhi.
Directed by Zaza Urushadze.

A fine film.
Tangerines is translated in the subtitle as clementines, while listening to the dialogue and looking at the fruit in the orchards, there is reference to mandarins. No matter what the actual translation, the abundant fruit in the orchard, its fruitfulness, the fact that it needs to be picked and collected, offering food for nourishment, and the fear that if it is not picked, it will perish, means that tangerines is an evocative symbol for this film.

Audiences may wonder about the connection between Estonia and Georgia and the film as a co-production. As we wonder about this, the pre-credits inform us that there were colonies of Estonians in the Caucasus, in Georgia, living and working in peace. But, at the outbreak of war between Georgia and Akhbasia in 1992, most of the Estonians went back to their homeland leaving empty villages and houses.

We immediately see an old man, a grandfather, Ivo, working with wood in his workshop, making crates that can be used for the collection of the tangerines. Almost immediately, he is visited by two Chechen mercenaries, Russian-backed mercenaries who are fighting against the Georgians. They want food, treat Ivo well, but warn him of the dangers of the war and that others will not be so kind.

Ivo has an Estonian friend, Margus, who tends the tangerine trees. When a skirmish between Chechens and Georgians leads to deaths outside Ivo’s house, Ivo tends the wounds of Ahmed who had just visited him. As they bury the dead, they discover that one of the Georgians, Nika, is still alive and Ivo and Margus rescue him, calling on an Estonian doctor who treats each soldier equally.

What the film offers is an opportunity to appreciate the people who get caught up in the war, not be any part of its making, who live a simple life, only in indirect contact with the battles, but suffering the consequences, uncertain of what is happening, the times of war when each side is dominant and then overcome. In the uncertainty, what the two Estonian men have two offer is sympathy, healing, some understanding, and the pledge that the two enemies, despite their rivalry, will not kill each other in the house. Gradually, the kindness and dignified bearing of Ivo and his saving the lives of each of the men has quite an impact as they begin to treat each other as human beings rather than as enemies. Ivo hears their stories, as the audience hears them and appreciates the common humanity of each of the men, despite one being a mercenary and the other an actor who has felt an obligation to defend his country.

The cast is small in number, but the key characters are well-delineated, well-written, excellently acted. In fact, the film is beautifully crafted, and, despite some scenes of shooting deaths, a film that pleads for peace.

Audiences, for whom the Caucasus countries may seem remote, will begin to understand traditional communities, the local wars can break out, civil wars - which has happened at various times with different states of Georgia wanting to secede, relying on Russian backing. The film also throws light on what life in the countryside of eastern Ukraine is like with fights for secession, independence.


US, 2015, 115 minutes, Colour.
Mark Wahlberg, Seth MacFarlane, Amanda Seyfriedd, Jessica Barth, Giovanni Ribisiy, Morgan Freeman, Sam J.Jones, Patrick Warburton, Michael Dorn, Bill Smitrovich, John Slattery, John Carroll Lynch, Ron Canada, Liam Neeson, Jay Leno, Dennis Hayesbert,.
Directed by Seth MacFarlane.

Fastidious is the word that comes to mind while watching Ted and Ted 2. Not that the Ted and the films are fastidious in any aspect. Rather, it is the warning that comes to mind that any potential audiences which see themselves as fastidious should not go to see Ted.

That being said, it also has to be said that the two films are very funny. And it is somewhat embarrassing to admit this, given the nature and subject of many of the jokes as well as the continued crass language that comes from the mouths of Ted (voiced by writer and director, Seth MacFarlane) and his great friend, John (Mark Wahlberg).

Ted made a great impact in 2012, with a modern urban fairytale (with grit and with attitude) where a little boy, John, wishes that his teddy bear could come alive - and his wish is granted. Ted seems a nice cuddly companion to a little boy - but, then he grows up, and takes on some of the less ingratiating aspects of the culture, no limits on his language, few limits on his blunt expressions, and a preoccupation with aspects of sex and his not being a stranger to drugs.

We all have our areas of reservation and this reviewer wishes that there wasn’t such a constant emphasis on casual drugtaking and its consequences - making it look too easy, too irresponsible.

At the opening of this sequel, after a couple of minutes of an extraordinary prologue, song and dance routine to Irving Berlin’s Steppin’ out with my Baby, filmed in Busby Berkeley 1930s musical style, quite lavish and entertaining - and with Ted joining in with the dancers, it is Ted’s wedding to his girlfriend Tammy - and everybody, including the audience, takes it for granted that Tammy and Ted will make a happy couple. Not always. Clashes, some fights - and they even have some rivalry at the local supermarket where they both work as cashiers.

One way to save the marriage is to have a child. There are some extraordinarily un-fastidious comedy sequences in the attempt to get a sperm donation. And then Tammy, this time quite seriously, is told that her drugtaking has ruined her reproductive system. And when they try to adopt, it emerges that Ted cannot be registered as a person but simply as property.

This leads the film in another direction, court cases to establish Ted’s identity and his rights as a person. John and Ted employ a young lawyer, Amanda Seyfried, as Samantha L Jackson (with jokes accordingly proving that Sam has little knowledge of popular culture). She is also into drugs, quite extensively, though allegedly to soothe her migraines. Needless to say, Ted and John think she is the ideal lawyer - and, it provides an opportunity for the touch of romantic comedy.

Court cases - and Ted losing his case, and the possibility of going to New York City to enlist the help of a very serious and senior lawyer, Morgan Freeman - who does give Ted quite a lecture, very serious in tone, about his wayward lifestyle.

But, before everything can be solved, Ted encounters his nemesis, Donnie (Giovanni Rib easy), who was obsessed with Ted in the first film and tries to do a deal with Hasbro to make the Ted bear as marketable. This finale happens at the huge Comic Con show in New York City, loads of fans (and fanatics) all dressed as characters from Star Wars, Star Trek, Mutant Turtles...

There is happy ending - but, in case you’re wondering what actually happens and whether Ted could be a person, there are two solutions: one is to see the film, the other, for the fastidious, is to ask someone who has gone and enjoyed the comedy to reveal what happed.

(The joke with Liam Neeson continues after the final credits.)


US, 2015, 126 minutes, Colour.
Arnold Schwarzenegger, Jason Clarke, Emelia Clark, Jai Courtney, J.K.Simmons, Courtney B. Vance, Byung-hun Lee, Sandrine Holt.
Directed by Alan Taylor.

Somebody replied that they would never see a film which could not spell Genesis correctly in its title. Well, it is not that Genesis - rather, it is her world conspiracy for machines taking over power, a new beginning, so why use the traditional name? This is a new Genisys.

But, that is getting ahead of things.

The original to Terminator films became classics soon after the release, James Cameron (pre-Titanic and pre-Avatar) directed them to quite some critical acclaim as well as huge box office. There was another Terminator film, Terminator: Salvation, with Christian Bale but, it soon became lost to memory. So, why another? Why not?
Arnold Schwarzenegger has finished his time as Governor of California and has returned to his screen career. Since The Terminator films were some of his biggest successes, time to capitalise on him. But, isn’t he too old? That is a question that recurs in the screenplay - with the wonderful response, consoling to those who are not as young as we used to be, “old but not obsolete”.

In fact, Schwarzenegger is not obsolete - and has an opportunity to appear in several incarnations of the Terminator. There is some footage from the first film with his coming back from the future to menace the young woman, Sarah Connor, who is to be the mother of the future saviour, John Connor. That was The Terminator. The character in Terminator 2: Judgement Day was much more benign, sent as a protector. It is he who is still around, vanquishes the killer machine and continues with his duties. Since these are all time-travel films, this terminator has survived from 1984 to 2017, becoming a little more wrinkled, and much greyer... But not obsolete!

To get us in the mood, with the touch of the post-apocalyptic, there is a pre-credit sequence where San Francisco is spectacularly destroyed. Then to the future, a grim place, where the machines have practically taken over and the rebellion against them is led by John Connor (Jason Clarke). There are to be two raids on the machine centres, in Colorado and at the core factory in San Francisco. But, John wants to send a loyal lieutenant back into the past to care for his mother because time can be altered and San Francisco could escape destruction. The earnest young time traveller is Kyle, Jai Courtney.

While the Terminator films are meant to be rather escapist, you have to try to keep your wits about you as you time travel with the characters, try to work out what has changed and what has not, The time travel takes Kyle back to 1984 (with some flashbacks to Sarah Connor and her childhood to remind us of her story in case we had forgotten) and the period before the destruction of San Francisco. Can Kyle and Sarah travelled forward to 2017 and prevent the destruction?

The answer is obviously use, but much more easily said than done. Off they go, pursued by the police, pursued by disguised machines, melting and recovering as they did in the previous films, hoping to find the old terminator, affectionately called Pops, who does eventually turn up but has been delayed by the traffic! There is a further complication as they find John Connor in 2017, not exactly the John that Kyle had had known before he was sent back to the past.

At this point, it is best to surrender the mind and just respond to the visuals and the emotions, the split-second timing, helicopter flights, Pops doing all he can to help - and reassuring Sarah, “I’ll be back”, getting into the centre, the attempts with weapons and explosives to destroy Skynet (the name given to the machines’ plan for domination) and a whole lot of mano a mano fights.

So, it is more or less as expected, despite the time and plot complications, an entertainment for the fans - and the final credits evaders will miss the throbbing clue to indicate, of course, that Skynet still lives.

Australia, 2015, 99 minutes, Colour.
Darren Gilshennen, Deborah Kennedy, Louis Alexander.
Directed by Gillian Armstrong.

To be told that this very interesting documentary is about costume designer, Orry-Kelly, may not ring many bells with contemporary audiences - with an exception for those who avidly read all the credits on the films from the golden years of Hollywood, especially those from Warner Brothers. His name occurs regularly during the 1930s and 1940s.

This means that he is of particular interest to film buffs. But, director Gillian Armstrong has opened up Orry-Kelly’s career for Australian audiences. He was from the coastal town of Kiama, south of Sydney, growomg there at the beginning of the 20th century, was awkward at sport yet skilled in following his father’s tradition as a tailor, but more interested in women’s clothes. Off he went to Sydney, to King’s Cross where he started to work as a painter, living in Woolloomooloo and aware of this seedier sides of life in Sydney, while working in a bank. He was keen on theatre and was to appear with one line in a show starring Roy Rene, Mo.

However, off he then went to the United States, living in New York City, becoming involved in musical theatre but, after dropping some of the chorus girls, literally, he felt that he was better suited to stage work and costume design. People began to take notice and he eventually went out to Hollywood, made an impression on Jack Warner, and became, for many years, the top costume designer at Warner Brothers, not without clashes with the boss.

On a personal level, he lived in a relationship with Cary Grant for many years, rather more open about his sexuality than Cary Grant was, or Randolph Scott with whom Cary Grant lived.

Where the film is telling for movie buffs is in the information about the stars that Orry-Kelly dressed with many sequences from the films, especially those of Bette Davis, with explanations of why a particular costumes and design, colours, were chosen to contribute to the drama and its cinematic impact. This continued into the 1940s when he was fired by Warner Brothers, found some work at MGM, including sharing an Oscar for the costume designs for An American in Paris, 1951.

Orry-Kelly had relationship problems, as well as drinking problems, but worked to overcome the latter. And, generally every year, he would go home to visit Australia and his mother. One of the devices the film uses is to have an actor, Darren Gilshennen, playing Orry-Kelly, mainly sitting in a rowing boat, sometimes on the water, sometimes on a studio stage with sea background, using the image of his sailing, paddling, going in circles, venturing out, to dramatise the developments in his life. Actress Deborah Kennedy plays his mother, talking to camera while hanging out the washing in Kiama in his early years, then dressed rather fashionably, sitting at a table, still talking to camera, explaining her son’s success.

In his later years, in the late 1950s and into the 1960s, he won Oscars for costumes for Some Like it Hot, 1959, and Irma La Douce, 1963.

Gillian Armstrong is in no way intrusive as a director. She illustrates Orry-Kelly’s biography. She includes many interviews, from contemporary costume designers like Catherine Martin, Baz Luhrman’s Oscar-winning wife, some Hollywood designers and some of the stars, like Jane Fonda, whom Orry-Kelly dressed in several films. Women He’s Undressed is quite lavish in the many, many clips which illustrate not only his design, but his intuitions and intelligence behind designs - for the many Hollywood women that he dressed.


Israel, 2014, 97 minutes, Colour.
Dana Igvy, Nelly Tagar, Shani Klein.
Directed by Talya Lavie.

Some commentators have suggested that while motivation is appropriate the title of the film in translation, the original Hebrew is better translated as “people skills”. This describes the three central characters. People skills are not their forte.

This is an Israeli multi-award-winning film, was written and directed by a woman and has women as the main characters, a film about women, their personalities, interactions, and how the Israeli Army deals with women, especially in administrative roles.

This may make the film sound much more serious than it is. In fact, it is a comedy, with an ironic, very often sardonic treatment, with some slapstick moments - and with quite some pathos.

The film consists of three stories: the first is called The Replacement, the second is The Virgin and the third, The Commander. The first story is about a young woman who arrives at the base and is seen by Daffi, who works in the office, in charge of shredding papers, as the replacement she has been writing to officials about, for her anxiously-sought move to Tel Aviv. In fact, the new girl is an impostor, not detected by any of the guards or the authorities, who is really coming to the base to make contact with the soldier that she had met earlier and with whom she is infatuated. Quite a lot of complications, rather to the detriment of the soldier in the film’s criticism men and the exploitation of women.

Another key character is Rama, the female officer who heads the administrative bureau, demanding, lacking people skills, impossibly bossy, who imposes her moods and commands on the girls who spend a lot of time trying to avoid her or defy her.

The second story focuses on Zohar, tough girl, with more than a touch of what people call “attitude”. She doesn’t want to be in the army, whiles a lot of time away, is friendly with Daffi but has impeded the request for her transfer to Tel Aviv. With Daffi moved to officer training, Zohar is left alone to think about herself, especially sexual relationships - with a rather sobering experience with a visiting paratrooper who turns out to be certainly not the man of her dreams, but who is completely humiliated by Irena, who takes up Zohar’s support. There is a climactic moment when she is commanded by Rama to tidy the office - and does so in a shredding spree.

The third story has Daffi back after her officer training, still dreaming of Tel Aviv but transferred back to the base to take Rama’s place. The tension between Zohar and Daffi reaches a height, including a battle in the office with each having a staple gun and firing and Daffi making quite a mess with the computers.

Obviously, this film will make an impact on Israeli audiences, especially with their experience of military national service and its consequences - audiences around the world will observe with a mixture of humour and wondering what the long-term consequences will be for the characters caught up in this military service.

Peter Malone

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