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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, October 2015

  • INTERN, The
  • MARTIAN, The
  • PAN
  • unIndian
  • VISIT, The
  • WALK, The


US, 2015, 96 minutes, Colour.
Jesse Eisenberg, Kristen Stewart, Connie Britton, Topher Grace, Bill Pullman, Walter Goggins, Tony Hale, John Leguizamo.
Directed by Nima Nourizadeh.

Somebody in Hollywood may have made a bet that it would be impossible to write a screenplay for Jesse Eisenberg (always on edge and nerdy), when he would play an action hero. This could be the result of the bet - and everyone has their cake as well as eating it because Jesse Eisenberg plays a slacker-stoner as well as an action hero, all in one character!
Another famous use of the word ultra is by droog, Alex, the clockwork thug of A Clockwork Orange, indulging in a little bit of the “ultra-violence”. We may not think that this would be true of this film in the first part, but, once Eisenberg’s character, Mike, is seen like one of the killers elite, it is a bit full-on - amazing what he can do with a simple spoon as well as the technique of holding up a frying pan to deflect a bullet and its ricocheting into the attacker!

Michael lives in a small town in West Virginia, enjoys getting high, works at a store with specials on Monday (and is taking out on mon and putting intues for Tuesday). He lives with his stoner girlfriend, Phoebe, who works in a bail bond office, Phoebe, Kristin Stewart.

Then we are introduced to Langley, spy satellites, agents, program of mind altering and character ordering, placing sleepers in a community, taking mentally ill characters and transforming them into “assets”. When agent Victoria Lasseter (Connie Britton) comes to town to see Mike, so does her rival, Topher Grace, and his squad of agents and assets.

Poor Mike doesn’t know what is going on, finds he has no memories of his past, and wonders whether he is a robot. Even when the armed agents attack and Mike dispatches them, he is still bewildered, is taken to prison, handcuffed, in a cell with Phoebe only to discover that the whole town is sealed off and everyone is after him.

So, what begins as a slacker comedy, with poor Mike subject to panic attacks, even about getting on a plane to go to Hawaii with Phoebe, becomes a high-powered action show, to borrow a phrase from another series, “Kick-ass”.

Absurd and weird are two words that do come to mind as we watch all these goings on and the ultimately triumphant Mike and Phoebe, his kneeling to propose to her in the middle of all the chaos…

Mike also indulges in creating a graphic comic himself, the Astronaut Monkey (who appears in great detail during the final credits). So, what we have is a kind of pleasant backwoods story turning into a graphic novel and indulging in plenty of the conspiracy theories and activities.


US, 2015, 122 minutes, Colour.
Jonny Depp, Joel Edgerton, Dakota Johnson, Kevin Bacon, Peter Sarsgaard, Jesse Plemons, Rory Cochrane, David Harbour, Adam Scott, Corey Stoll, Julianne Nicholson, Bill Camp, Juno Temple.
Directed by Scott Cooper.

Anyone expecting the dramatisation of religious sacrilege or of demonic rituals will be quite disappointed. This is an urban crime story, a portrait of a ruthless gang leader and the role of the FBI. A Black Mass involves the worship of Satan – and this may serve as a metaphor for the central relationship of the film, and a deal with the devil, in the form of Jimmy “Whitey” Bulger of Boston and his school friend, John Connolly, an FBI agent, who makes a deal with Bulger to bring down the Italian Mafia in the city.

Many audiences will find that they are observing the characters and the action rather than becoming involved. While the central character is completely sinister and brutal, there is no identification with him – unless one is something of a psychopath. The film opens with one of his drivers being interrogated by the FBI and giving up information about his boss, so the audience knows that it is a portrait of a loathsome criminal, becoming even more loathsome as we see him as a personality and in action. Throughout the film, other members of his gang are interrogated by the FBI offering further information about him.

He is played by Johnny Depp, in almost the opposite extreme from his Captain Jack Sparrow in the Pirates of the Caribbean. He looks older, pasty-faced, sometimes hooded eyes, bad teeth when he sometimes smiles, receding hairline, quietly spoken but intensely single-minded and ruthless. Joel Edgerton plays John Connolly, a more complex character, who had grown up with the Bulger brothers in South Boston, Irish background, antagonistic towards the Italians, and determined to bring down the Italian Mafia. His deal but the devil, with Bulger, is getting information for the FBI about the Italians from Bulger himself, while protecting him in his empire building.

Actually, Bulger had spent 10 years in prison before the film opens but has a group of reliable henchman around him, gets rid of those he considers disloyal, and is involved in all kinds of rackets, drug-dealing, extortion. He ruled in Boston from 1975 to 1995.

Also in the picture is Bulger’s younger brother, Billy Bulger, who is a Massachusetts Senator – and a strange piece of casting with Benedict Cumberbatch as Billy Bulger, who has an ambiguous attitude towards his brother. Also in the picture is Kevin Bacon as the officer in charge of the FBI in Boston who becomes impatient when Bulger doesn’t supply sufficient information for attacks on the Italian Mafia.

For a moment, we think that Bulger might be a nice kind of person underneath as he is very kind to an old lady in the neighbourhood but this is soon dispelled. His child develops a fever, illness taken to hospital, put on life support which his partner wants to switch off but elicits an eruption of anger from Bulger who cannot bear to think of his dead child.

For those who have seen films like The Departed, Martin Scorsese’s film about racketeers in Boston and undercover agents (on both sides), a lot of the action will seem familiar. There are visits to Florida, business deals which go sour and end in murders, minor vicious criminals, like one played by Peter Sarsgaard, who is brutally murdered on screen. There is a good cameo by Juno Temple as a young prostitute, sure that she has not yet given any information to the police, but nevertheless to be got rid of.

This couldn’t last. Dissatisfied henchman are prepared to open up to the FBI. A new, straight-down-the-line FBI head, played by Corey Stoll, comes to Boston and targets John Connolly as well as Bulger.

There is a lot of detail in the film, performances, crisp dialogue, action sequences that are worthwhile – but, on the whole, we are observing rather than becoming involved.


Australia, 2015, 95 minutes, Colour.
Voices of: Ryan Kwanten, Robin McLeavey, Richard Roxburgh, Deborah Mailman, Barry Humphries, Tony Collette, David Wenham, Rufus Sewell, Barry Otto.
Directed by Deane Taylor, Noel Cleary.

It was interesting to realise that Blinky Bill sprang into life as early as 1933. Illustrator of the first book, New Zealand born Dorothy Wall, continued to write Blinky Bill stories into the 1940s. Bill has also had a life on various television series and a feature film in 1992, produced by top animator, Yoram Gross. Nothing like Wikipedia to furnish a few details like the fact that Bill appeared on a stamp in 1985 – and, with the permission of the Wall estate, Blinky Bill is the official mascot of the Republican Movement.

Bill and his family and friends have been stable entertainment for youngsters and his new animation film is designed especially for the littlies. Littlies who have grown up a little may still have fond memories and so enjoy this film as well. And well-meaning parents, especially taking young children to see the film, will probably enjoy it as well.

The animation repeats the illustrations of the earlier times, a recognisable Blinky, his mother and father, his friend Nutsy, all the inhabitants of Greenpatch and more besides.

The children will enjoy the voices, and adults, especially if they recognise the voices as they watch the characters, double enjoyment. Popular star, Ryan Kwanten, voices Bill. And Richard Roxburgh and Deborah Mailman the voices of mum and dad. The large wombat with trousers at half mast is Barry Humphries. The villain of Greenpatch, the goanna Cranklepot is Barry Otto. The principal villain is the feral cat, a British immigrant, Sir Cedric, is voiced by Rufus Sewell. And, as Bill and Nutsy (Robin McLeavey) go to rescue Bill’s Dad, they are accompanied by a very Australian-accented lizard, David Wenham, and, very amusingly, two emus, Cheryl and Beryl, both voiced by Toni Collette as if the two emus were auditioning for roles in Kath and Kim.

There is an open cricket match with two kookaburras commenting, one sounding like Richie Benaud (and the sequence is dedicated to him in the least cricketer, Phillip Hughes). All live happily in Greenpatch, but then decides to go on a quest and doesn’t return for a year, with Cranklepot taking over, so that Bill decides to go to find his Dad. He discovers roads, trucks, advertisements for tea which he thinks thinking that they are real. Defines a supermarket, aisles, sweets… And fights with Sir Cedric. Finds a caged koala, Nazi who accompanies him through the desert, encountering dangers, giant crocodiles, he is finally trapped in the zoo where, of course, he finds his Dad. Mum is in pursuit with Wombo and Cheryl and Beryl.

It Is a blend of adventures, not too scary, even with the evil cat, lots of very Australian comic touches, a little bit of romance, and a happy ending.

Blinky Bill still lives.


US, 2015, 135 minutes, Colour.
Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda, Peter McRobbie, Austin Stowell, Jesse Plemons, Sebastien Koch.
Directed by Steven Spielberg.

Here is a film that will satisfy an audience looking for intelligent and interesting entertainment. It takes us back to the late 1950s, the period of the Cold War, the tensions between the United States and the Soviet Union.

It has been directed by Steven Spielberg. 2015 sees the 40th anniversary of his classic, Jaws. While Spielberg is universally remembered for the broadly popular films like the Indiana Jones series, ET, Jurassic Park, he won an Oscar in 1993 for his very serious film, Schindler’s List. Since then he has made a number of dramas for adult audiences including Saving Private Ryan and, more recently, Lincoln.

Many of his films have a distinctly patriotic American tone as does Bridge of Spies. But it is not jingoistic. Rather, there is a deep humanism and respect underlying Spielberg’s films. And, in this film, he is aided by the presence of Tom Hanks who over the years has become something of an icon of an American character who is motivated by a sense of decency.

The film sets its scene by the introduction of a spy, Abel, played with car calm self-possession by British actor, Mark Rylance. He is a loner, a loyal Russian, a painter, adept at eluding followers, shrewd in his way of communicating messages – but the FBI are aware of him and take him in. While the American authorities and public opinion want him condemned, even executed, they think that there should be a show of American justice and Jim Donovan, Hanks, an insurance lawyer who had been present at the Nuremburg prosecutions, is the person to defend him.

When Jim Donovan meets Abel, he offers him a proper defence, discusses the situation, suggests to listeners, and to his upset family, that Abel is not a traitor but a loyal soldier to his cause. Nevertheless, the presiding judge does not see it that way and, very quickly, Abel is found guilty.

But one of the points of the film is that with growing espionage during the 1950s, if the Soviet Union interrogates a captured American spy, there will be a parallel condemnation. Donovan makes the case for a prison sentence so that a Russian spy could be available when the Americans are in need for an exchange.

Older audiences may remember the Francis Gary Powers case where an American air force man flying photography missions over Soviet space is shot down, captured and interrogated. The Americans don’t want Powers giving information to the Soviets and the Soviets don’t want Abel giving information to the Americans. An exchange of Spies becomes an important factor in American-Soviet relations, especially under the CIA leadership of Alan Dulles.

All this makes the first part of the film very interesting, an exploration of American values at the time, given the context of paranoia about possible nuclear terror attacks, children being indoctrinated at school, becoming afraid at home, and the way of coping with the bomb, Duck and Cover.

The latter part of the film finds Jim Donovan asked by Dulles to negotiate the exchange, but without any authority from the American government. He goes to Berlin, warned about East Germany and its totalitarian regime, and Berlin as a divided city. This is the period of the building of the Berlin Wall and the film shows this in some detail as well is the case of an American student who wants to bring his girlfriend and her professor father from the East into West Berlin but is captured and interned.

There is a great deal of suspense, and some very good dialogue as Donovan has to meet with the Soviet authorities, the head of the KGB in Eastern Europe, with an East German lawyer and an East German official, trying diplomatic shrewdness in order to achieve the exchange. Donovan includes the freeing of the young student as well as Powers.

The film is continually interesting, especially for those who remember some of these years and this history. Perhaps audiences not so familiar with this era may find it something of a history lesson – but that is not a bad thing.

Steven Spielberg will soon be 70 with many years of filmmaking ahead of him, a very good thing in light of his success with Bridge of Spies.


Australia, 2015, 94 minutes, Colour.
Sullivan Stapleton, Alex Russell, Jessica de Gouw, Kerry Walker.
Directed by Tony Ayres.

Cut Snake is a psychological crime thriller, opening in New South Wales but most of the action taking place in Victoria. It was directed by Tony Ayres, who directed a number of interesting films including the semi-autobiographical Home Song Stories and the film on homosexuality, Walking on Water. In later times, he has worked on television, especially in production and direction of The Slap.

The initial focus of the film is an ex-convict, Jimmy (Sullivan Stapleton), nickname Pommy, walking along the streets, hitching a ride, trying to track down a friend from prison days, visiting friend’s mother, getting the address, finding his friend, Merv, working in a factory. At first, it just seems to be making re-acquaintance – but there is a certain look and expression on Jimmy’s face.

In the meantime, Merv (Alex Russell), has settled down after his prison sentence, working in a factory, engaged to an attractive young woman, Paula (Jessica De Gouw). At which stage, audiences become wary of Jimmy and his presence in the house, seemingly friendly, doing the washing up, yet with something of a sense of menace.

Which seems to be a catalyst for some kind of action is the fact that Paula and her friend, Yvonne, take Merv and Jimmy to a club, with performances by drag queens, which seems to upset Jimmy. In fact, he still has robberies on his mind and really wants Merv to take part in the jobs.

While there is some activity, especially some bashings, and Merv, losing his cool as a reformed X-prisoner, indulges in the brutality, the film becomes more of a psychological drama, the conflict escalating between Jimmy and Merv, Paula learning more about her fiance’s past which, of course, upsets her.

As might be expected, there is a buildup to a showdown, the crisis between Merv and Paula and her shock and his taste and whether it will be resolved, and how will Jimmy fare in his persuading Merv to go on a job with the but also to continue a relationship that began in prison.

This kind of psychological interaction, with crime background, always has some interest but, on the whole, this is something of an average entertainment.


US, 2015, 121 minutes, Colour.
Jason Clarke, Josh Brolin, Emily Watson, Jake Gylenhaal, John Hawkes, Ciaran Knightley, Martin Henderson, Sam Worthington, Elizabeth Debicki, Robin Wright, Michael Kelly, Ingvar Eggert Baltasarsson.
Directed by Baltazar Komakur.

One of the questions this film raises is, of course, why would people want to put themselves in such danger and such physical exertion, demands on mental stability, to climb Mount Everest. The screenplay does mention the obvious ones, because it’s there, and because someone can. But that is not enough to explain the exertions of Edmund Hillary and Sherpa Tenzing in 1953, the success of individuals and groups who have worked their way to the summit, and the guided climbs of the 1990s – of which this true story is one.

Sources for the film include a book by journalist John Krakauer, Into Thin Area, which became a television film in 1997, Into Thin Air: Death on Everest. Krakauer himself did reach the top as he observed those were climbing, those were guiding, those who were the supports both on the mountain and at base camp. Another source is by Beck Weathers, Left for Dead: My Journey Home from Everest. Preparatory filming was done in the Himalayas some years before production and photography in the Alps supplied for snow, ice and avalanche sequences.

Interestingly, the director, Baltazar Kormakur, is a native of Iceland.

Rob Hall, a New Zealander, had a company in the 1990s which arranged for clients to go to the summit. Here, he is played by Jason Clarke, a sympathetic guide, concerned about individuals and groups going up the mountain, in contact with his pregnant wife (Keira Knightley with a Kiwi accent). There are some glimpses of his American counterpart, Scott Fischer, played by Jake Gylenhaal, rather devil-may-care climber, with his support team who shunned the use of oxygen high up.

The audience leaves New Zealand with Hall and with Helen Winton, the person in charge for the base camp, played by Emily Watson, something of a strange experience hearing her also speaking with the New Zealand accent. She is the mother-figure at base camp, sympathetic but also resourceful.

Then the audience arrives in Nepal with the group, travels through the countryside, reaches the Himalayas, goes across gorges on precipitous bridges, arrives at base camp, where they relax, prepare psychologically and physically, with the help of the company doctor, Elizabeth Debicki.

Hall’s group includes a Texan, Beck Weathers, played by Josh Brolin, seemingly full of confidence, but prone to depression which disappears when he is climbing mountains. He keeps in touch with his wife (Robin Wright) and his children back home. Then there is Doug (John Hawkes), a postman who has made several attempts and has promised the children in his home town that he, just an ordinary man, will plant a flag on the summit. There is a Japanese climber, a woman who has succeeded on six challenging peaks, Everest being her seventh. Amongst the support group are Sam Worthington and Martin Henderson.

The film presents the Himalayas in all their beauty, their ruggedness, not underestimating in any way the physical and psychological challenge, the realities of some people dropping out, unable to continue, and some reaching the top, almost exhausted, planting a flag, being photographed, a lifetime achievement no matter what happens afterwards.

Perhaps there are too many characters to deal with within the running time, and the film spreads itself amongst all, But, the focus is on Hall, Fischer, Weathers and Doug, Helen and the support team.

Maybe there are a couple in the audience who would be so moved by watching this vigorous film that they would opt for a trip to Everest – but most of us will appreciate seeing this visualising of the story, its achievement as well is its tragedy, will be quite willing to stay home.


Australia, 2015, 109 minutes, Colour.
David Wenham, Shahana Goswami, Jacqueline McKenzie, Hannah Friedricksen, Terry Norris, Genevieve Picot, Kim Gyngell, Deidre Rubenstein.
Directed by Paul Cox.

Paul Cox is one of Australia’s most celebrated film directors. He has been making films since the 1960s, quite prolific, sometimes a film each year, working on small budgets – but a man who was often cranky, critical of the government, eccentric in his presentation of his stories, yet provocative and evocative storyteller nonetheless, an explorer of human nature.

Some years ago, Paul Cox was diagnosed with liver cancer and given a short time to live. However, he was approved to be placed on a donor list, and ready for the possibility of a transplant if a liver became available. In fact, a liver did become available and Cox experienced the transplant, resuming his career but devoting much of it to appreciation of what had happened to him and an appeal to the general public to be organ donors.

This is his fictional story.

The central character, Paul Cox’s alter ego, is a sculptor called Robert, played with his usual strength and charm by David Wenham. Wenham is younger in age than Cox was at the time of his illness. Cox has always been interested in a variety of arts as well as his cinema work and this is evident in this film, not only in Robert’s sculpting work and the camera’s eye for detail about his work and exhibition, but also introducing a great deal of music, and also dance.

The other central character in the story is an Indian woman, Maya, Shahana Goswami, an attractive personality, who is introduced to Robert and they become friends. Robert has been married but is separated from his wife, Hannah, Jacqueline McKenzie, and they have a daughter who is devoted to him, Poppy, Hannah Friedrichsen. These characters move in and out of Robert’s life, his ex-wife wanting to be a support but his finding her sometimes intrusive, but he always has time for his loving daughter. The friendship with Maya increases, her taking him to a concert, experiencing Indian songs and dancing, the visit to her dying uncle, a wise figure in her life, and her returning to India at the time of his death.

The friendship moves into love and sexual companionship, especially important for Robert as he thinks he is about to die.

Other characters, in Cox fashion, include cameos from longtime friends including Kim Gyngell as a doctor, Terry Norris as Robert’s father, Deidre Rubenstein as a gallery director.

Most of Cox’s films are also characterised by a particular visual style, the inclusion of home movie material, sometimes blurred in movement, but challenging the audience to think about the characters in a different way – and there is quite a deal of footage like this in this film.

The audience knows that ultimately there is happy ending, that Robert will receive a transplant and that it will be successful, as happened to Cox and his experience in making this film. The writing, Robert’s voice-over reflections, and empathy with Robert and his situation, mean that the audience identifies with the character and the situation, sharing it, its alarm, its psychological and physical pain, the emotional repercussions, the need for independence yet the sometimes desperate in the for support.

On interest in itself and its theme of organ donation, it is, of course, a must for those who have been following Paul Cox’s life and career.


France, 2014, 113 minutes, Colour.
Karidja Toure, Assa Sylla, Lindsay Karamoh, Idriss Diabate, Djibril Gueye.
Directed by Celine Sciamma.

Director’s Celine Sciamma has made a number of interesting films with female themes, Water Lilies and Tomboy. She continues with this film, somewhat more ambitious than her previous films, a wider scope.

The setting is France, the outer rim of Paris, the neighbourhood with many migrants, especially from Africa. Most of the girls in the film are black with this background. The central character is first seen playing football in the mud, audiences probably expecting to see boys, but the girls are celebrating their play and their victory, then walking home through the housing estate.

The principal focus is on the teenage girl, Marieme (Karidja Toure). She seems an agreeable young girl, but audiences will begin to understand the complexity of her life, at home with younger sisters, caring for a little one, bonding with the other, but generally intimidated by their brother and his strict injunctions. Marieme wants to go to high school but is already repeating a year and the careers’ adviser suggests she go to a training school rather than high school.

But, it is the summer vacation, Marieme decides to join with a group of girls, mixing with the boys, but she is really attracted to a young man, Ismael.

After some severity from her brother, Marieme is sitting alone in a restaurant and is approached by a local leader, Abou, who invites her to become one of his girls. At first reluctant, she decides to accept his invitation, packs up and leaves home. Abou is involved in local crime, especially drugs, and uses Marieme as a deliverer, bright red dress, white wig, moving sleekly among younger society and doing her job. However, she still values some independence and when Abou tries to kiss her, she reacts hostilely and decides to leave.

And, of course, this is where the film ends, leaving her future open. Audiences have got to know her but will continue wondering about what will happen, hoping for the best for her. But, in this kind of world…


US, 2015, 103 minutes, Colour.
Bel Powley, Kristen Wiig, Alexander Skarsgaard, Christopher Meloni, Abby Wait, Madeleine Waters.
Directed by Marielle Heller.

Despite publicity highlighting comic aspects of this story, it is a rather depressing film to watch. There are many films where the central characters go down into their depths, experiencing the worst and their accepting the fact that there is some need for change and for redemption. In this case, this is the journey down of 15-year-old girl.

The setting is post-hippie San Francisco in 1976. There is a permissive atmosphere around in the adult generation and also to be found in the teenage generation. British actress, Bel Powley (Princess Margaret in A Royal Night Out), plays the teenage girl of the title, Minnie, who announces right at the beginning of the film with some glee that she has just had sex. Then back we go as she tells the story – and then again to her present situation, her emotional tangles, her relationship with her mother and sister, her moral recklessness.

Minnie comes across as very strongly self-willed. However, she keeps communicating that she has a very low self-image, a poor bodily image of herself (which she does her best to rectify), feels that she is loved, and feels the need for some kind of touch, bodily contact, to prove to her that she exists and has some worth.

The target of her sexual sights is the boyfriend of her mother, whose husband has walked out on her and who is let herself go – played rather quietly by Kristin Wiig. The boyfriend, Monroe, is something of a slacker though he has commercial ambitions. He responds to Minnie sexual proposal and then continues the relationship, realising after a while that she has been seductive and manipulating him.

In the meantime, she has begun a diary, recorded diary as she talks into a tape recorder, feeling the need to confide in someone or something, speaking out her desires, her experiences, her exhilaration – something which she also shares on the phone with her best friend.

The film traces the changes in Minnie’s character and perspective, the effect of the affair and its being prolonged, her desires which at some moments are insatiable, her response to a young student and sexual exploitation of him, as he of her. Throughout the film there are a number of sketches and animated sequences because one of Minnie’s skills is sketching. After the relationship with the student, there is an animated version of the giant Minnie, stomping through the city, the boy in her hand and her just throwing him away. With her best friend, as well as a drug addicted girl who comes on to her, Minnie, may be just 16, but pretending at one stage to be a prostitute, indulges in some gross sexual behaviour – which, she ultimately regrets.

Ultimately, this is a film with some kind of hope, in her beginning to realise what she has done, the effect she has had on others, and some realisation that she has to have some love for herself, some kind basis for others to love her.

The setting is 1976 but, with social media and a selfie culture and instant rapid communication amongst teenagers in these times, the film could have contemporary setting. But, with the contemporary setting, the character of Monroe could be charged with sex abuse and sexual relationships with a minor. Many things have changed, but many things have not.


US, 2015, 110 minutes, Colour.
Robert De Niro, Anne Hathaway, Anders Holm, JoJo Kushner.
Directed by Nancy Meyers.

If only.…

That was the thought continually coming up while watching this very nice film. If only life were a little more pleasant and like the characters and situations in this film, not that everything is perfect, but there is a great wish as well as efforts that life could be as perfect as possible.

One hopes that a younger audience will enjoy it, identifying with the charming Anne Hathaway as well as the young men who work in her company, an online fashion sales company, A Good Fit, that she founded and has prospered enormously in 18 months. Plenty to encourage enterprise in the younger generation.

But, this is a film mainly for the over 60s and, especially, the 70s and over. It is optimistic towards the older generation, wants to offer them possibilities for creative retirement, shows how they can draw on experience, and contribute on a business level and, especially, on a personal level at this stage of their lives.

An intern?

Robert De Niro as Ben Whitaker has never been more genial, showing a good sense of humour as well as indicating that under the at times stern exterior, there is a heart of, as he says, mush! He explains himself, aged 70, widower after more than 40 years of marriage, having the taken all the opportunities for travel, sport and golf, new languages, hobbies, still has a great deal of energy and wants to fill that hole in his life. He also finds himself going to a lot of funerals. He notices an advertisement for senior interns, makes a video interview and is accepted.

Anne Hathaway portrays Jules Ostin, who had been very enterprising and started from scratch this online company, something of a workaholic, not remembering that she had approved the Seniors experiment and finding herself allotted Ben in order to be example for the rest of the company. Initially, she is not impressed.

There is quite a deal of plot: at the company, especially with Jules wondering whether she should employ a CEO because she is flat out with the work and it is having a toll on her health. We discover that she is married and has a little daughter of school age. She doesn’t give Ben much to do. The audience can enjoy the range of characters working around the office and Ben’s finding that the company’s massage expert, played by Renée Rosso, is a most congenial friend.

We know that there is going to be a rapport between Jules and Ben but we don’t quite know how. As the screenplay gradually breaks down something of the barriers, there is a lot of interesting, mostly genial, sometimes humorous interchanges between the two. And Ben is welcome in the house, bonding well with the little daughter (though with her dictating car routes, he realises that she is something of a clone!), and befriending the father who is the home carer.

There is a family plot development that we didn’t quite see coming – but that is nature of this kind of plot development. It means that Jules has to open herself up more personally to Ben and he serves as a kindly guide and wisdom figure.

There are also some episodes which are added to the plot, often enjoyably, especially with a special mission led by Ben with his co-workers trying to break into Jules’s mother’s house to delete an email that Jules has sent her by mistake, an entertaining split-timing episode.

The film does have a great deal to say about the place of women in society, in business, with opportunities, as well as opportunities for the older generation, men and women.

As has been suggested, the screenplay, by Nancy Meyers, is nicely optimistic, even in troubles and challenges – and only one expletive to be heard and a written suggestion of one and hardly a situation where an expletive would be required.

Nice entertainment. If only…


US, 2014, 91 minutes, Colour.
Patricia Clarkson, Ben Kingsley, Grace Gummer, Sarita Choudhury, Jake Weber, Matt Salinger.
Directed by Isabel Coixet.

Perhaps before we even go into see the film, but certainly after the initial sequences, we are in no doubt as to the meaning of the title and its metaphor and its meaning. While Wendy, Patricia Clarkson, does take driving lessons under the guidance of Darwan, Ben Kingsley, Wendy is not just trained how to manage a car, but is being guided as to how to reflect on her life and change its meaning. And the same is true of Darwan’s life, although he seems in command, but has to deal with personal relationships.

This is the kind of film that is popular with older audiences, who can identify with the characters and their situations, may share some of their experiences, and want to see how they deal with them – and with some hope.

It is at this point that it is probably best to introduce the word ‘raunchy’, because many audiences attracted by the film and the publicity may think that this will be an enjoyable PG portrait of adult characters. and, by and large it is. Just a warning for the unsuspecting that there is some raunchy verbal humour as well as a sex scene that might be more explicit than they are anticipating.

That said, there is much to commend the film to its target audience.

Patricia Clarkson, over the years, has given some very fine performances, able to bring to life on screen a middle-aged woman, life problems, emotional tensions. She appeared in a somewhat similar-themed film some years earlier, Cairo Time. This time she comes on screen full-blast, her husband of 21 years having just announced in public that he is leaving her. She is shocked, emotionally devastated, and going through a desperate tantrum in a cab on the way home, being driven by Darwan who has two jobs, one as a driving instructor during the day, the other as a New York cab driver at night.

Wendy has a daughter, played by Grace Gummer (one of Meryl Streep’s actress daughters) whom she is putting through college and who is working on the land in Vermont. Wendy goes into depression, wants her husband to return, finds that he has proceeded with separation papers, comes to collect his books and she finds that she is ousted from her own house and has to find somewhere else to live. She would like to go to visit her daughter but has never found the time or the will to learn to drive. She has, upset, left a manuscript (she is a writer and reviewer of books) in Darwan’s cab and he courteously returns it.

As expected, she contacts him to take driving lessons.

We would all we should all be so lucky to have such a competent, calm, focused driving instructor like Ddarwan. Ben Kingsley has gone back to his roots, his Indian roots. Darwan is a Sikh, our Prof, imprisoned in India, accepted as a refugee in the United States, a calm man, a man of principle, training Wendy to be calm, conscious of the rules of the road, focused and not committing to distractions. She is prone to distraction, and it is no surprise that she has a crash, fails her first test.

The film also shows a lot of Darwan’s background, his living in digs with quite a number of Indian workers, not always possessing papers as we see when they are rounded up. He cares for his nephew, while his nephew’s mother, Darwan’s sister, is busy trying to arrange a marriage. His prospective wife arrives in New York City, Jasleen (Sarita Choudhury), a middle-aged woman who cannot read, does not speak much English, is fearful of going out, and is not a good cook. There is a beautiful ceremony in the Sikh tradition but then comes the hardships of daily life.

So, Wendy has to learn how to cope with her new life, without her husband, taken unwillingly on a double date by her sister (and going home with the prospective husband), but learning a great deal from Darwan and quietly discussing the meaning of his marriage with him so that he might do something positive to encourage Jasleen.

Well, the metaphor is obvious – but, nonetheless, it is interesting and entertaining to see how it works out.


UK, 2015, 131 minutes, Colour.
Tom Hardy, Emily Browning, Paul Bettany, Taron Egerton, Christopher Eccleston, David Thewlis, Colin Morgan, Aneurin Barnard, Tara Fitzgerald, Kevin McNally, Chaz Palminteri, Sam Spruell.
Directed by Brian Helgeland.

Interesting that the title for this film about the infamous Kray brothers settles for “legend”. It has been said in the past that Americans making gangster films, Francis Ford Coppola for The Godfather series, Martin Scorsese for Goodfellas, go beyond legend into the area of “myth”, not just a history of the exploits of these gangsters but creating tales that, while not necessarily glorifying them, puts them on some kind of higher plane.

During Legend, the characters have quite a number of cups of tea. Frances, Reggie Kray’s wife, does the voice-over commentary, a means for getting the audience to identify with her and her perspective on the Krays. It is she who makes the comments about locals always relying on a cup of tea to solve everything. So, it might be said, that the Krays were very cup of tea gangsters and so, the stuff of legend rather than myth.

It is half a century since the Kray brothers dominated London, from the East End where they grew up and began their criminal activities (while being very kind and neighbourly, with pleasant words and donations to the locals), getting money from protection extortion, trying to go somewhat legitimate by having clever accountants work for them, buying up clubs, sponsoring gambling, going more up-market as time went on, attracting a great number of celebrities who traded on the reputation of the Krays. They became gangster celebrities in their own world and a little beyond (the Mafia becoming interested in them with London as a possible English Las Vegas but a bit bewildered by the British style, less flamboyant than Italian gangsters, their heightened self-image and their families and mamas).

There was a film, The Krays, in 1990 with the twins, Gary and Martin Kemp in the central roles, but with a very strong focus on their mother, Violet, played by Billie Whitelaw. While Violet does appear briefly in this film, especially providing cups of tea and plates of cake, the focus is definitely on the twin brothers. And the key arresting aspect is Tom Hardy, always an excellent actor, who plays both brothers. We recognise him as he plays Reggie Kray, the brains behind the duo, the leader, decision-maker. It is far more difficult to recognise him as Ronnie Kray, different head, chubby face, spectacles, and a certified psychopath. Hardy gives two tour-de-force performances.

The London 1966 world is well recreated, streets and facades of old homes, local shops, restaurants and, then, the clubs. There is quite a range of songs from the period, strongly reinforcing the atmosphere.

The film traces the career of the Krays, their self-image, their ambitions, their being in love with the idea of the gangster, putting it into practice in their rather limited world, building up a group of thugs around them, moving somewhat into the big time, even with political connections. Yet, Reggie agreeably goes to jail for six months, they indulge in intimidation of witnesses in court cases, and Reggie sees himself as just another character, or rather a dominating character, around the East End.

Ronnie, on the other hand, finds himself very early in a mental institution, his brother intimidating a psychiatrist, who privately acknowledges Ronnie’s madness, to declare him fit for release – surviving as long as he takes his tablets. The other complication is that Ronnie is unembarrassedly homosexual, two young men always in tow, wanting to build a village in Nigeria for helping the locals, trying to get political endorsement and finance but only linking himself with Lord Boothby and homosexual orgies. This is brought to the attention of Harold Wilson, trying to deal with scandals and political motivations before an election.

And, in the meantime, Scotland Yard tails Reggie Kray who chats with them, offers the officers cups of tea, taunts them. Inspector Read is played with single-minded determination by Christopher Eccleston.

As has been mentioned, the voice-over is by Frances, Emily Browning. Her brother works for the Kray, she marries him, but fails in her ambitions to reform him and she takes an overdose.

For those who do not know the ending, they might expect gangsters to go out in a blaze of the ending gun glory, something like the American gangsters. On the contrary, Ronnie after an attempted murder is confined to a psychiatric institution for almost three decades. Reggie Kray, after a brutal murder, spends more than thirty years in prison. But, they caught the British imagination, and here they are still living as cinema legends.


UK, 2015, 113 minutes, Colour.
Michael Fassbender, Marion Cotillard, Sean Harris, David Thewlils, Paddy Considine, Elizabeth Debicki, Jack Raynor, David Hayman.
Directed by Justin Kurtzell.

When there is a theatrical production of Macbeth, the cast and staff usually have a tradition/superstition of not mentioning the play by name. Rather, they call it “the Scottish Play”.

The Scottish aspect of this film version, directed by Australian Justin Kurtzell, is very much to the fore. For a start, most of the actors speak with the Scottish accent, or a Scottish burr, which doesn’t make it necessarily easier to understand for the wider audience – but it does give it that feel of authenticity. There is even more authenticity in the locations where the film was made, the Scottish Highlands, the mountains and crags, the rather desolate looking plains, primitive-looking dwellings and church, a large castle, and some scenes by the sea. It is, to say the least, very atmospheric.

Irish actor, Michael Fassbender, is a physically imposing Macbeth, seen early in the film in full battle mode, wielding his broad sword. But he is a man of intense complications, sometimes pausing before lines, within lines, thinking, reflecting, even brooding. He is certainly influenced by the three witches who are not terrifying hags but rather ordinary looking women, one with a child standing by her, the other holding a baby – who reappear at crucial times, especially in the finale, when their prophecy that Macbeth will be killed by someone who is not human born and Macduff’s premature s birth is explained to him - they stand and then walk away, to do some prophesying elsewhere.

This means that we are constantly re-assessing Macbeth, perceiving his ambitions, the influence of Lady Macbeth (even with sexual impetus and persuasion), the truly bloodthirsty killing and repeated stabbings of Duncan, Macbeth’s hypocritical pretences after the murder, and his mental deterioration, especially at the banquet scene, and seeing Banquo’s ghost. His madness and cruelty assert themselves, especially with the alarming murder of Lady Macduff and her children, tied to the stake to be burnt. With Lady Macbeth’s death, his soliloquy, tomorrow and tomorrow and tomorrow is delivered so quietly, almost with a whisper, and deep interiority.

Audiences may well be surprised at the interpretation of Birnam Wood’s coming to Dunsinane and not in the way that has been traditionally presented but this time in apocalyptic fire. This certainly gives a dramatic turn to the finale, the confrontation and fight with Macduff, the arrival of Malcolm through the flames – and Macbeth still kneeling, dead, on the battlefield.

It is surprising to see French Marion Cotillard as Lady Macbeth, ruthless in a more subtle way, more feminine than is usual (rather than her cry of “unsex me”). She is very much complicit in the murders, devoted to her husband, but having to take control when Macbeth appears more and more berserk at the banquet. Her final soliloquy is very impressive, all in close up, the camera not moving to her hands and her awareness of the blood on them.

Veteran British character actors are in support: Duncan, David Thewliss, Banquo, Paddy Considine, and a very effective Sean Harris as Macduff.

The text has been significantly abridged, the film running under two hours, and there is no Porter’s scene, for instance. Rather, this adaptation focuses on Macbeth, Lady Macbeth, Macduff and the restoration of the damaged kingdom under Malcolm. There are many vistas of the bleak Scottish landscapes, but a great deal of the drama is communicated by intense close-ups, individuals, two people speaking to one another. Mostly it is dark but there are some surprising sequences in the light.

There are complaints when the film is re-made, many critics comment on the value of the original (even when it is decades since they have seen it). With Shakespeare’s plays, audiences do not worry about having seen many versions, learning something different from each, enjoying making comparisons. This version is a significant contribution to the impact of Shakespeare’s tragedies and of the Scottish play.


US, 2015, 141 minutes, Colour.
Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Pena, Sean Bean, Kate Mara, Sebastian Stan, Aksel Hennie, Chiwitel Ejiofor, Mackenzie Davis, Donald Glover.
Directed by Ridley Scott.

Most audiences will find The Martian very interesting and, with its blend of serious and comic touches, satisfying entertainment.

It is based on a novel by Andy Wier and the screenwriter, Drew Goddard, best known for a number of television series (Lost, Alias, Buffy), offers a very intelligent interpretation of the material, the work of NASA, space exploration, the possibilities for assessment of Mars, space technology, travel, and responding to crises.

Every reviewer has already said it but it is worth noting the impact that Gravity had several years ago and the impact of Interstellar. Interstellar was futuristic and took us into the exploration of what might be and its scientific implications as well as its transcendent cosmological implications. Gravity had a small focus, Sandra Bullock as an astronaut trying to deal with malfunction for survival, inviting the audience to share a dangerous and heroic space experience.

There was some sense of realism in Gravity, but the sense of realism, even naturalism, is the strength of The Martian. It is written and it is all presented as if this could be happening right now and in this way. There was something mythic about Interstellar and Gravity. This is realism that audiences can identify with, certainly the vastness of space and the enormous distances through space, the role of Mars in our consciousness, the skills and work of astronauts and their coping with crises. The dialogue is realistic, lots of (or not quite appropriately phrased) down-to-earth language, including some earthy expletives, and a background of popular songs including Starman by David Bowie, Abba’is Waterloo and, in part of the final credits, very appropriately, Gloria Gaynor’s I Will Survive.

British Ridley Scott has been making films for almost four decades, with one of his earliest films being the space drama with touches of horror, Alien. He has had an interest in the future, Blade Runner as well as returning to science-fiction-fantasy with Prometheus (and the promise of a further Prometheus episode). This time, his material and treatment is much more assured, consistent, audience-friendly as well as audience-challenging.

We all have some idea of what Mars could look like, the red planet. Jordan was chosen as one of the locations for Martian-like scenery. As the film opens, a team is collecting samples when, suddenly, an enormous storm looms up and the decision has to be made to return to earth. Botanist, Mark Watney, is knocked over by debris and thought to be dead. The team, with great reluctance, leaves Mars and returns to Earth. Mark is not dead and is faced with the options of succumbing and dying or to find ways of surviving and even communicating. (Memories of Robinson Crusoe, Cast Away - and even the 1960s Robinson Crusoe on Mars.)

Matt Damon is completely at home in the role, is always popular with audiences, and this serves him very well in getting audience sympathy and understanding as he confides to his in-space-suit camera and to cameras within the centre, how he is dealing with a stranded situation.

Two things to note. The film is highly optimistic in its perspective: that it is possible for the astronaut to survive for a long time, using his intelligence and wits, drawing on skills in improvising; and, secondly, that science is most important for survival. Advocates for the study of science will find this film a huge morale-booster and those who are not skilled in science will find that they have a greater appreciation of the need for scientific knowledge, investigation, and collaboration between nations (and collaboration with Chinese experts in this film is topical for the relationship between the US and China).

The film is quite long and great deal of it is devoted to Mark’s survival, saving machinery, making oxygen, sowing potatoes and using tarpaulins and engines to produce moisture, getting space vehicles going in order to rendezvous with the next Mars mission in several years time.

The film also has many sequences on earth, with the different NASA officials dealing with the situation, how much the public should be told, even whether to tell the homecoming astronauts of Mark’s survival, but all the time using expertise and lateral thinking to make communication with Mark, to find ways of landing supplies, of an ultimate rescue.

Everything does not go according to plan (although Mark is lucky not to have any major health and medical problems during his stay on Mars), there are some crises, differences of opinion between the experts, some individual decisions with touches of rebellion, and the use of common sense, practical expertise and deep knowledge.

On earth, the authorities include Jeff Daniels as the head of NASA, Chiwitel Ejiofor as the supervisor for the missions, Sean Bean as an expert, Kristen Wiig (moving to more serious roles lately although she stands out more in comedies). Jessica Chastain is the commander on the returning spaceship.

Because the film seems so topical, contemporary realistic, it does not come across as futuristic or as science-fiction. But it is most interesting and entertaining on these themes, building its tension and suspense in the final moments of the rescue mission.


US, 2015, 132 minutes, Colour.
Dylan O’Brien, Ki Hong Lee, Kaya Scodelario, Thomas Brodie-Sangster, Dexter Darden, Alexander Flores, Jacob Lofland, Rosa Salazar, Giancarlo Esposito, Patricia Clarkson, Aidan Gillan, Barry Pepper, Lili Taylor.
Directed by Wes Ball.

It is probably best to have seen the original film before seeing this sequel (which will also lead to a third part of the trilogy). Some recapitulation information is offered right at the beginning, but it goes straight into the new action, the group of young people who have escaped from the Maze, who have entered into a post-apocalyptic world, and have little idea where this is going to lead.

We have also been introduced to the organisation, WCKD, presided over by Patricia Clarkson, which is involved in experiments to find a serum to counterbalance the infection that has pervaded survivors of the catastrophe. Hence, the important of young people, like the group from the Maze, who can be used in experiments – which are shown to be rather dire and destructive.

They are welcomed into a centre for young people by the smiling Mr Janson (Aidan Gillen) but we are immediately suspicious that his smiles are not as pleasant as they are cracked up to be. When another young boy alerts the leader of the group from the Maze, Tom (Dylan O’Brien), about the nature of the experiments, they organise an escape which leads them into the outer world. In terms of set design and production, the picture of the destroyed city, the wrecked tall buildings, the imminent danger of collapse, is quite striking.

The rest of the film consists of trials that they experience out in the world which is called The Scorch, involves them meeting up with some strange characters, some ready to exploit them, some willing to help, voyage out into the desert to reach the refuge of the mountains and further, into a rebel stronghold, where they come under attack, and experience betrayal, but surviving nonetheless for a future episode. Younger audiences would identify with the characters, their age, their experiences, the dangers, the quest, the hope for some kind of overcoming of the tyrannical and experimenting regime.

And then the film ends, everyone looking at Tom and asking what his plan is… To be answered in the next episode.


Australia, 2015, 90 minutes, Colour.
Shane Jacobson, Sarah’s Luke, Alan Tudyk, Deborah Mailman,
Directed by Stuart McDonald.

Oddball is a very easy film to watch – especially if you love dogs and, an added bonus would be a love for the fairy penguins. This is mostly what the film is about.

The setting is the Victorian southern coast, along the Great Ocean Road, the coastal town of Warrnambool. Since much of the film was made there, along with a great deal of added footage of the 12 Apostles (or however many there are these days) which should do wonders for the Victorian Tourist Commission, with the backing behind the final credits continuous helicopter turns around the cliffs and the Apostles.

And, again, this is a true story, with a comment at the end that it served as an example for other organisations and local councils for protection of endangered creatures.

On the human side, the main star is Shane Jacobson, as Swampy Marsh, big and cuddly in many ways, memorable, of course, for being Kenny, but appearing in quite a number of films, including the Jack Irish television movies. This time he is the, scruffy, bearded, a local organic egg producer – with a large pet dog, a Mareeba, who is also cuddly - if one could get one’s arms around him. But when they go into town, Oddball inevitably causes all kinds of rumpus and destruction. We see him at a rehearsal for the opening of a model village, with all kinds of technical equipment, all up-ended and a lot of it in smithereens. At a local council meeting, Oddball is roundly condemned and confined to Swampy’s farm. But there is sympathy from the Mayor, who has a soft spot for Swampy (Deborah Mailman).

And as if acting with an animal and with penguins was not enough, Swampy also has one of those screen-cute granddaughters, Olivia (Coco Jack Gillies), living with her single mother who is the local officer on Middle Island, a walk through the tide from the beach, for the preservation of the Penguin Colony. The famous W. C. Fields’ dictum of not acting with animals or children does not seem to phase Shane Jacobson. In fact, when they find an injured penguin, he and his granddaughter discover that Oddball is attracted to the Penguin in a most protective kind of way.

Since the penguin population is going down on the island and there is a threat of funding being stopped, Swampy’s daughter, Emily (Sarah Snook), who has inherited the job and interest from her late mother, the penguins have to be protected from a marauding fox.

And, there is a little bit of romance, as Emily is attracted to a visiting American (Alan Tudyk) who works for tourism, responsible for the creation of the historical village, and interested in whale-sighting, suggests that the family might move to the United States if the penguin colony fails.

The screenplay indulges in a little bit of anti-Americanism, especially when someone fires a relaxant dart at Oddball and introduces a fox. Actually, we were all a bit anticipatory in thinking about the American.

All in all, this is the kind of film that we would watch comfortably in the cinema and families would enjoy watching on DVD and television, a nice Australian film, emphasising Australian characteristics and accents, which, one might say, is in something of the tradition of films like Storm Boy and Red Dog.


US, 2015, 111 minutes, Colour.
Hugh Jackman, Levi Miller, Rooney Mara, Garrett Hedlund, Amanda Seyfried.
Directed by Joe Wright.

There must be some producers and audiences out there who like this film but it did not appeal at all to this reviewer. And there have been quite a lot of films about Peter Pan, including the classic Disney film 1953, the story of J.M.Barrie with Johnny Depp, Finding Neverland, 2004, a live action remake of the basic story by Australia’s P.J.Hogan, Peter Pan, 2003, and a British miniseries, Neverland, 2011, with a plot that he is very similar to the present one.

The action is updated to World War II, with the Peter dropped at an orphanage by his mother, Mary, who actually comes from Neverland. The dreadful orphanage is borrowed from Dickens’ Oliver Twist, including the need for more porridge. Many will find these sequences obnoxious especially Catholic audiences. The orphanage of the Sisters of the Eternal Prudence, looking like Daughters Charity in the past, ruled by large tyrannical superior, Mother Barnabas, who and bearing woman beating the children, hiding an enormous amount of gold coins in the basement along with a huge supply of food, despite wartime rationing. There also secret files on all the orphans.

There is a particularly distasteful scene where Peter sees the traditional statue of the Virgin Mary and tweaks her nose - which opens the door into the basement. This aspect seems unnecessarily offensive. And the film returns at the end to the orphanage and the comeuppance of Mother Barnabas.

Hoping that the scenes in Neverland its would overcome some of these memories, this reviewer was very disappointed to find that the action was a conglomeration of hodgepodge, magic galleons sailing out of reach from British artillery during the Blitz, to find Neverland when Captain Blackbeard the pirate rules tyranically, boys captured from orphanages working in mines to discover fairy dust. He puts scapegoats to the plank, including Peter who survives by being able to fly. It would be nice to say the Blackbeard was a good part for Hugh Jackman but he performs with dastardly bombast.

There are various tribes in Neverland, with rather absurd costumes, ceremonials and rituals, especially for Rooney Mara as Tiger Lily – until she takes off an odd headdress and seems more normal, a cheerful point in the film. James Hook, later to become an enemy, is an ally of Peter, with Garrett Hedlund and his abroad American accent and his eye firmly on the exploits of Indiana Jones.

Later there are battles with the magical little fairies.

Not sure who the film was intended for – some children’s audiences may find the adventures enjoyable, but for parents and adult audiences, it is a rather trying experience, all the more disappointing for the talent behind the scenes, the cast, including young Levi Miller, quite creditable as Peter, special effects and stunts, huge budget for costumes and design, and director Joe Wright (Pride and Prejudice, Atonement, The List, and Karenina).


US, 2015, 85 minutes, Colour.
Jemaine Clement, Regina Hall, Jessica Williams, Stephanie Allynne, Michael Chernus, Aundrea Gadsby, Gia Gadsby.
Directed by James C.Strouse.

This is quite a pleasant film to watch, brief, some serious themes, but with the light and comic touch. It is a New York story.

Over the years, New Zealand actor and comic style, Jemaine Clement has made something of an international impact, especially with the television series Flight of the Conchordes. But he has had something of a Hollywood career as well, evil in Men in Black 3, and dastardly comic villain, Chevalier, in Gentleman Bronco. And a sinister voice character in the Rio films. More recently, he was Vladislav, one of the several funny Wellington vampires in their flat in What We Do in the Shadows.

This time he is a rather simple soul, Will, always trying to do his best, an artist, working on cartoon panels as well as a graphic novel. It is his twin daughters’ fifth birthday and, suddenly, he discovers his partner being unfaithful and accusing him of being to blame. He is both flabbergasted and dismayed, not understanding how the relationship could have collapsed, with still loving his partner.

Move forward a year, the twins’ sixth birthday party, a very modest episode compared with the year before. Will has the girls for a party but they are living with their mother and her new partner, a seemingly inoffensive comedian, specialising as a monologist. In the meantime, Will is making very slow progress with his book, sketching rather sad cartoons, with him as a bewildered victim. He also lectures at a college, explaining to his students how cartoons work in terms of storytelling.

One of the students invites him home to meet her mother, a professor of literature at Columbia, and, after some pleasant moments, they begin to argue, she never having read a graphic novel, thinking that they did not belong to literature – and feeling somewhat guilty because she does not approve of her daughter’s study course.

The film shows some of the ups and downs in Will’s life, taking his daughters at weekends, wanting to have more time with them and experiencing a whole lot of tangles in getting them to school on time, finding one day that there is a bomb alarm and relying on his student to babysit them for the day – leading to more complications, and something of a reconciliation between himself and the Columbia professor.

His ex-partner tells him that she is going to marry the monologist. He is rather dismayed, but is still hoping for a reconciliation. But, as so often, he has misread the situation but does go to the wedding ceremony.

Is there hope for Will? Can he once again make contact with the professor? how will he relate to his daughters? There are indications of the end of the film but no answers – it leaves it all up to our own hopes and imaginations.

Nicely watchable.


US, 2015, 106 minutes, Colour.
Adam Sandler, Kevin James, Michelle Monaghan, Peter Dinklage, Josh Gadd, Matt Lintz, Brian Cox, Sean Bean, Fiona Shaw, Jane Krakowski, Dan Aykroyd, Lainie Kazan, Tom McCarthy, Serena Williams, Martha Stewart.
Directed by Chris Columbus.

This is definitely a film to exercise the imagination.

And one of the exercises for a wild imagination is the application of the premise that every American could become president - it is seen that the President in this film is played by Kevin James! How he ever got there is a minor miracle of the imagination – but, once he is there, we take it for granted, especially since he has to save the world. And even more exercising the imagination, the saviour of the world is Adam Sandler.

This is a film for those who love computer games, who think and imagine computer games, who play and are fiercely competitive – and the film reminds us that this has been the case for a long time, opening with competitions in 1982, when arcades were the place where the groupies played and there were no such things as personal Play Stations. In 1982, there are three young friends, Brenner, Cooper and Ludlow and their arch-rival, Eddie, who nicknames himself The Fireblaster and who wins the competition, especially Donkey Kong.

Over 30 years later. Brenner (Adam Sandler as per usual) has a company called NE RD, for installation of televisions and other technical work. Ludlow (Josh Gadd in a now familiar kind of role) is a conspiracy theorist, living in a kind of nerd isolation. And Cooper is the President of the United States.

This is where we really have to work hard with our imagination. Earth is being invaded by aliens. They have collected the time capsule sent into space in 1982 with all kinds of computer game data and the aliens have decided that this is a challenge to their authority and they intend to play, win and take over and/or destroy Earth.

Brenner has had a bad encounter with a mother (Michelle Monaghan) whose husband has left her, but then discovers that she is high-powered military at the Pentagon and amazed that Brenner should be arriving at the White House at the same time as she – and one ups him as she goes towards the War Room, while he then one ups her, smugly invited to speak with the President.

Now, we see where this is all going. The military chief, Brian Cox, is not particularly impressed, especially when Brenner and Ludlow have to train Navy seals to play computer games, discover patterns, fire their weapons to destroy the aliens. In a move that will please British audiences, the first confrontation is to occur in London, in Hyde Park, with the President conferring with British authorities, especially the Prime Minister, Fiona Shaw, who is doing an extreme parody of Margaret Thatcher. The British forces are led by a very aggressive Sean Bean.

Needless to say…

The next encounter is to happen in New York City, a Pacman confrontation – which means they have to track down Eddie, who is in jail for fraud, still extraordinary self-assertive but the Pacman champion. He is played with aggressive vigour, taking time off from Game of Thrones, by Peter Dinklage. There is even a scene with the Japanese inventor of Pacman.
Needless to say…

Many in the audience may have thought that this was the grand climax and finale of the film – big mistake. The last game is donkey Kong, a chance for Brenner to beat Eddie who had defeated him 30 years earlier. And, by this time, there is a thing going between the military lady and Brenner, cheered on by her young son. Eddie has been promised a reward, a choice between a date with at the White House ball with either Serena Williams or Martha Stewart. We all know the Serena Williams is definitely a good sport and she enjoys herself with this cameo appearance, with a supplementary moment by Martha Stewart.

Those not in the know about pixels and computer games and play stations will find that the screenplay (written by Tim Herlihy who had written ten of Adam Sandler’s films) conveys enough information so that they do not feel quite out of it.

Nonsense (we hope) but enjoyable nonsense nonetheless.


US, 2015, 121 minutes, Colour.
Emily Blunt, Benicio Del Toro, Josh Brolin, Jon Bernthal, Victor Garber, Jeffrey Donovan, Daniel Kaluua.
Directed by Denis Villeneuve.

Sicario is strong stuff, in a good, if dismaying, sense.

In 2014, there were reports from Mexico about the murder of over 40 students and the disappearance of their bodies. Blame has since been laid on the authorities in the town where were they killed, the Mayor as well as some police.It seemed like a headline at the time: how could 40 students just disappear? The opening sequence of this film shows how it could be alarmingly true.

Sicario is the word used in Mexico for hitman. The film has the advantage of having been co-written and directed by Canadian, Denis Villeneuve. He was nominated for an Oscar for his powerful French-language film, Incendies in 2011, a story of Palestine and Canada at the end of the 20th century. He also made a powerful police investigation film, Prisoners with Hugh Jackman and Jake Gylenhaal (whom he also directed in an enigmatic short feature in which Gylenhaal two characters who became interchangeable, Enemies). This is his first Hollywood film but he does not seem to have been restricted in any way by interfering producers.

And the central character is female, an FBI agent, Kate, played with a blend of steel and vulnerability by Emily Blunt. She is involved in the opening sequence, an FB I raid on a suspected dealer’s house only to find no one at home except a man who seemed to be guarding a wall – and when the wall was broken down, bodies were found as were many others concealed in corridors throughout the house. Information is given that this was the work of a respected Hispanic- American businessman who was linked to a major cartel.

Enter some mysterious agents, especially Josh Brolin as a rather laid-back, cheerful agent who is combining in operations with a lawyer from Columbia whose wife and daughter have been killed by the cartels, Benicio Del Toro, to go from El Paso into neighbouring Juarez to capture a suspect and interrogate him (not without pressure and touches of torture) to reveal information about the cartel bosses. Kate is invited to come along, observing, somewhat alarmed at the personalities and the tactics, but a successful mission although it leads to an ambush and day huge shootout on the freeway before the border controls back into the US.

But that is only the beginning. There are plans to entice the Hispanic-American back into Mexico by creating trouble that he has to handle their and then confronting him and getting him to lead them to the overall boss. It is no spoiler to say that this mission is achieved – but the interest of the film is in how it is achieved, the role of the seemingly quiet, eyes-shaded, Benicio Del Toro, with touches of revenge. The film also shows how Kate is involved, disregarding some warnings from the agents, who are CIA, of course, which leads to dangers for herself, especially in the final action within a tunnel under the Mexican-American border.

Nor is there an easy ending, especially with pressures on Kate’s conscience about the mission and how it was carried out.

Those who like action features will find plenty to draw them in, strong, well-paced, sometimes disturbingly violent. But, all the time, there is much to provoke the moral conscience of the audience, questioning the role of the agencies and their methods, questioning the role of American agencies and their interventions in other countries, and personal moral dilemmas for those who become involved.


US, 2015, 147 minutes, Colour.
O’Shea Jackson, Corey Hawkins, Jason Mitchell, Paul Giamatti, Neill Brown Jr, Aldis Hodge, R. Marcos Taylor.
Directed by F. Gary Gray.

It would help a great deal to have some knowledge of the ghetto music of the 1980s and 1990s, the development of rap music, especially the lyrics of the gangster rap which emerged in Los Angeles, much of it as an anti-authoritarian reaction, especially to the treatment of African-Americans by the police. The Rodney King incident occurs in the middle of this story, giving a great deal of objective criticism to the implications in the rap lyrics.

Straight Outta Compton has been very successful at the American box office. The guess would be that it is extremely popular with African-American audiences. Which means that it plays well to its target audience. Audiences outside the United States will find that they are observers to this culture, to this music, to the social crises – although, with the release in 2015 of the film, there have been so many headlines in the US, read about outside the US, of police violence towards African-Americans, and a number of police shootings of unarmed black men.

There is a prologue in a house in Compton, and the clash between drug dealers and the police, invading the house and destroying it with the tank like vehicle. Later, the musicians themselves are harassed by the police, made to lie down on the sidewalk – and then Rodney King incident, the riots, the charges against the police, the heightened feelings and rioting, the police officers being found it not guilty. We, the audience are now caught up in this atmosphere of injustice.

There are also the musicians who soon became, especially Ice Cube, Dr Dre, Eazy E… These men came from the streets, with a love of music, way a with words, who developed what became known as gangster rap, with its frank lyrics, the accusations against the police, the taunts. With the help of the producer, a white man, Jerry Heller (Paul Giamatti), a businessman but ambiguous in his deals, they record the songs, producing a record, Straight Outta Compton, and go on a national tour with enormous audiences identifying with the musicians and the songs, enthusiastically embracing lyrics. the policing threatening the singers. In Detroit, a shot rings out, panic, chases, arrests – and still defiant musicians during their press conferences.

The cast is quite convincing in its representing the different singers, and audiences who are not familiar, may be surprised to find O’Shea Jackson Jr in the role of ice Cube, bearing quite a physical resemblance to the original. He ought to. Ice Cube’s actual name is O’Shea Jackson and this is his son playing him.

Cinema buffs amongst the audience may remember the films about the gangster clashes between recording studios and personalities from the East Coast and the West Coast, especially the stories of Biggie Smalls and Tupac Shakur, ending with murders. This is reflected here as the original group NFW breaks up, Ice Cube going out on his own, successful as a singer, and beginning a career as a screenwriter and film star. Dr Dre was also a success as a musician and moved on from his Death Row Records which was being controlled by thugs. Eazy E died early, having contracted AIDS.

The film is long, almost two and a half hours, but it creates it atmosphere, shows the personalities involved in the movement, the music and the lyrics and the popular repercussions as well as the social repercussions. Perhaps it is not surprising to find in the final credits that two of the producers for this film were Ice Cube and Dr Dre.

This film contributes to the popular musical history of the US in the late 20th century.


France, 2015, 96 minutes, Colour.
Ed Skrein, Ray Stevenson, Loan Chabanol.
Directed by Camille Delamarre.

Well, that’s not a bad title for a rebooting of the Transporter franchise. And, at least given the car chases in this one, the re-fuelling title is quite fitting.

The new transporter is Frank Martin, played by British actor Ed Skrein, tall, a bit gaunt though muscular, fashionable stubble, taking his dark glasses on and off… And his accent is a bit more upmarket than that of his predecessor, Jason Statham. One of the things with Jason Statham is that he could play everything straight but, with slight tongue in cheek and, often, more than a touch of irony. The new transporter is not so much into irony but into a relationship with his father who keeps calling him Junior.

For those who like car chases, there are two big ones – and in the first, it is the police who need better stunt drivers because all of their cars crash quite spectacularly. So that when the time comes for the second chase, this time on the tarmac at Nice Airport, a pilotless plane moving towards crashing, when we see the cars with the label Gendarmes, we know that the worst will happen, that is for the police and their cars. And so it happens. For those who enjoy the chases, lots of glimpses of the French coast, the Riviera, the beaches and mountains. And for those who do not enjoy the chases, lots of glimpses of the French coast, the Riviera, the beaches and mountains – which may bring back memories of visiting these locations. But nothing like the potential crash at Nice airport!

The new transporter, looking like a model in an advertisement on a billboard, has been something of a mercenary and eventually falls foul of fellow soldiers from Eastern Europe who are now controlling prostitution on the Riviera, having promptly massacred the previous African pimps. One of the girls sold into prostitution has decided to get revenge and involves Frank in driving her associates but, to make sure, she and abducts his father who, on retiring from being a spy, is living a life of luxury. He is liberated but very soon after he is abducted again - by the pimps.

Which means a lot of action, the girls getting Frank into all kinds of trouble, Anna, the ringleader setting up a scheme to transfer all the pimp’s finances and causing trouble amongst the men which leads, of course, to a shootout. Except for the main villain who makes a run to escape, to the top of the cliff, the venue, of course, for a spectacular fall after he is shot!

But there is a fair deal of plot, quick editing and pace, a touch of romance, Frank still needing to develop some more humane acting skills to be a romantical lead. And there are some comic touches in the repartee between dad (a genial Ray Stevenson) and Junior.

The film was directed by Camille Delamarre who directed the third of the transporter films as well as Taken 3. The Transporter Refuelled is designed for transporter fans – and, apart from getting over the loss of Jason Statham, they probably won’t be disappointed.


India, 2015, 98 minutes, Colour.
Suraj Sharma, Tony Revelori.
Directed by Prashant Nair.

Umrika.. as in America, the United States. It is the way that villagers in India pronounce this dream country, Umrika?

This is a film for Indian audiences, but is also a film that has a wide reach to audiences outside India. It offers the possibility for outsiders to enter into India, into a country village and its way of life, the simplicities of tradition, changes for a new life. It also has sequences in the city, the enormous contrast to the village, the busy streets and population, the difficulty in getting jobs, the possibilities for getting entangled in debt, in criminal activities – and all with the dream of getting away to the United States.

The film opens with scenes of the village, and the farewell to Udai on his way to America, fulfilling his mother’s dream when her uncle came back from United States with wealth, and this is what she has wished for her beloved son. There is voice-over, from Udai’s younger brother, Rama, not so well loved by his mother, but devoted to his father, having his brother on a pedestal. For some months there is a crisis as there is no letter from Udai as he has promised. And then, letters arrive regularly, full of news, details of life in the United States, with pictures accompanying the letters.

By this time, Rama (Suraj Sharma, an engaging screen presence) has grown up. When his father dies, he discovers some surprising truths about the letters and decides that he will go to Umrika to track down his brother. What happens is that he is trapped in the city, given accommodation by a cousin and making friends, getting a job delivering sweets, but also stealing a bicycle to help him on his way. His friend Lalu (Tony Revelori, from The Grand Budapest Hotel and Dope) arrives in the city, a blunter and more direct personality, yet support for Rama.

Rama might imagine that he could be a Slumdog Millionaire, but there is no television competition here, no easy money, on the contrary, some surprises, some disillusionment, some indebtedness to shady entrepreneurs.

The film ends just as we have reinvigorated our hopes that there will be a future for Rama, and an audience desire to know what will happen to him, whether he really will get to Umrika and what he will do there.

This is a very humane and genial film, with plenty of the flavour of India, and a pleasing invitation for the audience to immerse itself in Indian life.


Australia, 2015, 102 minutes, Colour.
Tanishta Chatterjee, Brett Lee, Arka Das, Maya Sathi, Sarah Roberts, Adam Dunn, Nicholas Brown, John Howard, Tiriel Mora, Anupam Sharma.
Directed by Anupam Sharma.

Local audiences may not know that there is an Australian Indian film foundation. It is Australian-based and, the company hopes that this film will be popular with Australian audiences, and, of course, with Indians who have settled in Australia. It is to be hoped that it will be popular in India but it does tackle some social problems that may be too much sometimes for Indian censorship.

Not that the film needs much censorship. Rather, it is a very cheerful film which provides quite a number of laughs, quite a number of emotional moments, does send up some of the stereotypes of Indian in-laws as well of Ocker Australians.

One of the key publicity aspects for both Australia and India is the fact that it stars veteran test cricketer, Brett Lee. While Lee has his done a number of commercials, he is not generally thought of as a movie leading man. Actually, he is quite a pleasant screen presence, cheerful, genial, and his romancing is quite credible.

The film spends a lot of time with Meera () and her 10-year-old daughter, Smitha. Meera has settled well in Australia, works as an executive for the firm Cochlera which promotes cochlear implants for hearing impaired people – and Cochlear is one of the sponsors of the film (with Brett Lee, in fact, as its international ambassador). Meera’s parents are of the old school, her mother busy ritually incensing a new house, planning to marry her daughter off to a surgeon (Indian background of course) and interfering in a stereotypical way. Her father is low key, less prone to action.

Brett Lee teaches a course at the University of New South Wales (well promoted in the film – for prospective students – and also a sponsor of the movie.). His course is a specialty, on Australian culture, training the overseas students to immerse themselves in Australian culture, vocabulary, accents and pronunciations – and quite a few funny scenes concerning Australian slang and, especially, the pronunciation of the word mate with its difficult vowel for newcomers to the country. There is a little drama of the department wants to axe the course – and the media comes to the rescue in the form of coverage by SBS.

It’s one of those love at first sight stories, at least on Brett Lee’s part. He seems to be meeting Meera all over the place, at an Indian celebration with people blowing paint all over each other, at some cricket practice, and then doing camera work for his close friends, TK and Mitch, for a TV series on cooking.

So, this is a film about courting, about parental disapproval, about coffee and romance.

Towards the end, there are some more serious themes, especially about Meera’s ex-husband and the fact that he is gay and the issue of his coming out, of his wanting to abduct his daughter and take her back to India – and there is some apprehension on the part of the film makers that this may not be too welcome in India and might damage the film’s distribution.

Be that as it may, this is a film that for audiences wanting an easy night out will be easy to enjoy and get some laughs. And, maybe, Brett Lee will get to do another film!


US, 2015, 94 minutes, Colour.
Olivia De Jonge, Ed Oxenbould, Kathryn Hahn, Peter McRobbie, Deanna Dunagan.
Directed by M. Night Shayamalan.

M. Night Shayamalan, born in India, reared in the Philadelphia, has become something of a sign of contradiction in film critical circles. He was critically lauded for his first film, The Sixth Sense, an intriguing psychological drama with something of a supernatural twist. It has been the “something of a supernatural twist” which has been at the core of all the directors of films, including this one.

By 2006, especially with his Lady in the Water, Shayamalan had become a critical target, compounded with his successive, rather than successful, films, The Happening, the fantasy, Last Airbender and a rather doomed interplanetary adventure After Earth, with Will Smith and his son, Jaden. The Visit will probably not fare any better.

On the other hand, there is a public that goes to see his films, quite enjoys them without raving about them. They probably say that they didn’t mind seeing the films – which is the perspective of this reviewer. No great claims for the films, but not minding seeing them.

The film’s title is fairly straightforward. Two teenagers, wanting to give their mother, whose husband had abandoned her and the children several years earlier, some space to make something of her life. They decide to go to visit their grandparents, their mother’s parents, who had cut her off when she left home at the age of 19 and whom she has not seen since. So far, so ordinary.

However, the director has immediately introduced the making of a documentary, the daughter, aged 15, interviewing her mother and planning, quite efficiently at times, to film all that happens to her and to her brother, during the visit to the grandparents. The brother is younger and has quite a way with words, knowing his film vocabulary – and priding himself on his capacity for rap words and singing (twice during the film and once during the final credits).

What the director is also doing is following in the line of the “found footage” films, the seemingly amateur footage that is discovered, edited together, with some eerie scenes and some eerie results. This makes more sense in this film because the hand-held camera footage as well as the fixed camera are all part of the documentary which the audience more readily accepts.

One doesn’t have to be Sherlock Holmes to suspect that there will be some strange happenings during the visit. While the grandparents are welcoming, the grandfather seems somewhat aloof, a farmer who seems a bit old for his work, and the surprising news that he and his wife act as counsellors at the local hospital. Nana is more welcoming and is a dab hand at cooking. But, Nana also exhibits quite some odd behaviour, especially after lights out at 9:30 pm. However, the children take it more or less in their stride but documenting it all in their film.

The days go by. They Skype their mother who is enjoying her time off. They go to town where the grandfather suddenly turns on a young man violently accusing him of stalking them. Some characters turn up at the door with information. Clues and strange events compound the eerieness of the household and the visit.

Of course, it has to build up to a more than eerie climax, the audience realising that the grandparents went off the deep end long since and are more than menacing (with a nice Hansel and Gretel episode with Nana enticing the daughter to get into the oven to clean it, twice, but this is just a distraction).

Deanna Dunagan’s Nana is a combination of the charming and nice with sudden mood changes. Peter McRobbie is just suspiciously sinister. Kathryn Hahn is the mother, quite effective in her scenes talking straight to camera about her life and the conclusions at the end of the visit. Surprisingly, the teenagers are played by Australian actors, believable as American children, Olivia De Jonge as the daughter and Ed Oxenbould as the brother (so effective in Paper Planes as well as Alexander and the Terrible, Horrible, Not Good, Very Bad Day).

This reviewer didn’t mind it.


US, 2015, 122 minutes, Colour.
Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, Clement Sibony, James Badge Dale, Cesar Domboy, Steve Valentine, Benedict Samuel.
Directed by Robert Zemeckis.

The title seems rather innocuous, but the actual walk, and its repetitions, are far from simple. This is no walk in the woods but rather, a wire walk from one of the Twin Towers in New York City to the other, 101 stories above Manhattan.

Movie audiences may be familiar with the story from the excellent documentary made by James Marsh, Man on Wire. It relied on the walker himself, Philippe Petit, as does this film, based on his book, To Reach the Clouds, as he himself served not only as adviser but as coach for the walking on wire sequences.

A warning that this film is not for the vertiginously- challenged, especially the 3D version which is very vivid. Audiences are invited to identify with Philippe and the walks, especially those on high buildings like the Cathedral of Notre Dame in Paris as well is the Twin Towers. He spent a lot of his time on the sides of buildings, on roofs, with practically nothing between himself and thin air. For those of a more adventurous sensibility, the film will probably be very exciting.

It comes as something of a shock at the beginning to find Joseph Gordon-Levitt, portraying Frenchman, Philippe, standing on the lamp on the Statue of Liberty – where he remains throughout the film narrating his story with the action in flashbacks. He speaks his English with a broken-French accent.

Philippe’s father was not very impressed with his little son’s delight in going to circuses, watching the wire acts, trying to emulate them – his father dismissing him as a circus clown. While trying his feet on the wire in the big top, he is caught by a master wire walker, Papa Rudy (Ben Kingsley), who eventually reveals to him many of the secrets of his trade. Which makes the audience aware that is not simply a matter of balance but there is much technical work to be done, the setting up of a wire safely, testing it, testing whatever holds it on each side of the space, and the engineering feats required for the higher the walk and the longer the walk. Philippe just simply didn’t get the bright idea of walking between the Twin Towers (well, perhaps he did) but it required a great deal of preparation, planning and meticulous execution.

Philippe is a Frenchman, works as an entertainer in the streets of Paris, initially clashes with a young woman, Annie, singing and playing in the same square where he was writing on a minor cycle – but, they do click, and she becomes one of his staunchest allies. Then there is a photographer, Jean-Louis, who admires Philippe and becomes his photographer and his assistant.

They take all their equipment, especially the wire and tools, and are let into the US by a customs officer who is slightly amused at their bravado, not believing it for a minute. They spend a lot of time scouting the Twin Towers which were in 1974 in a state of near-completion, which helps and impedes access to the buildings. But, a businessman who works in the towers and had seen Philippe in his Notre Dame feat, also becomes an ally giving him access to the building. And when they go to buy communications, the American who is trying to sell them wire-less, is revealed also as a Frenchman and he becomes an enthusiastic helper. There are two others, one of them perpetually high, who decide to some of the drudge work, carrying the big box with all the materials into the towers but running away, especially when the police begin to make their presence felt.

For dramatic effect (and probably happened in real life) there are a number of difficulties in getting the box up to the floor, in security guards being present, in the arrow shot from one building to the other almost not landing – and all the preparation done during the night, especially the cable going from one building to the other.

As might be expected, the film builds up a lot of tension before the walk and there is some shared exhilaration with Philippe not only as he walks but as he goes back and forth, explaining the exhilaration of his being one with the wire, and that this being his vocation in life.

The film has been directed by Robert Zemeckis, who has shown versatility of interest over many decades: Romance in the Stone, Who Framed Roger Rabbit, Forest Gump, Beowulf, Flight…

Philippe’s feat was not simply a walk in the clouds but the work of a single-minded artist/athlete, working without permissions…, who achieved his dream, quite a spectacular dream.


US, 2015, 104 minutes, Colour.
Robert Redford, Nick Nolte, Emma Thompson, Mary Steenburgen, Nick Offerman, Kristin Schaal.
Directed by Ken Kwapis.

A lot of people have read Bill Bryson’s books, his travel, his observations of nature and history, his sense of humour as he encounters people, especially in the United Kingdom where he lived for many years, his return to his roots in the United States, other travels including Australia. Fans of his books may be interested to see how well they translate on to the screen. Of course, opinion is divided, some happy to share in Bryson’s experiences, others highlighting the limitations of a 104 minutes adaptation.

Many will appreciate Robert Redford’s presence as Bill Bryson. Again, on the other hand, Redford is decades is older than the real Bryson. In fact, Robert Redford at 78 when he made this film and, despite the dyed hair, generally looks his age or a touch beyond. But, he looks reasonably good in comparison with his companion on the Trail, Stephen Katz, the fictitious name for a real character from Bryson’s past who accepts invitation to do the walk (after so many friends him turned down, reasonably, especially one who had died sometime earlier!). Katz is played by Nick Nolte, looking larger than life, unkempt, lumbering around, certainly not a likely candidate to do this long hike.

As with Wild, the 2014 film about walking the Pacific Trail with Reese Witherspoon, there is activity, a long hike, expending energy, and looking at a lot of attractive scenery – perhaps enticing sitting-down audiences to venture out to see more of the US.

There is a great deal of humour in the repartee between the two (and more than a touch of compensation as they reminisce about sexual experiences and enjoy quite a bit of innuendo). It is inevitable that there are funny sequences as two old men, at times with the touch of the grumpies, pitch their tents, are enveloped in a snowstorm, fall into a river, gingerly walk along a ledge to little avail is over they go, try to frighten away huge bears…

There are also the people they meet along the way, generally friendly and helpful, although there is single-minded hiker called Mary Ellen (Kristen Schaal) who is absolutely full of herself, talks incessantly, is critical of the old men, praises herself for her achievement and is not plagued for a second by self-doubt. While irritating to them and to us, she stands out as one of the livelier characters of the film.

This is an opportunity to see something of the countryside of the United States, along the eastern rim, the Appalachian Trail. But, as maybe with the book, it is really a series of anecdotes any one of which could be eliminated, and any other one substituted in its place. While this does make the film enjoyable in its way, the anecdotal overcomes any of the more serious possible themes.

A great plus for the film, at the beginning and at the end, is the presence of Emma Thompson as Catherine Bryson.

A film night out rather than any deeper exploration of characters and their motivations.


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