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  65. Interstellar
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  88. A Walk Among the Tombstones
  89. Whiplash
  90. Wintersleep
  91. The Young and Prodigious T.S. Spivett
  92. The Vatican Museums
  93. When the Queen Came to Town
  94. SIGNIS Statement on "Exodus: Gods and Kings"
  95. SIGNIS Film Reviews: October 2014
  96. 20,000 Days on Earth
  97. Advanced Style
  98. Annabelle
  99. The Boxtrolls
  100. Dracula Untold
  101. The Equalizer
  102. The Giver
  103. Gone Girl
  104. The Grand Seduction
  105. If I Stay
  106. The Immigrant
  107. The Infinite Man
  108. Into the Storm
  109. I, Origins
  110. Jodorowsky’s Dune
  111. John Doe Vigilante
  112. The Judge
  113. Land of the Bears
  114. Life of Crime
  115. The Little Death
  116. Locke
  117. The Maze Runner
  118. Planes: Fire and Rescue
  119. The Reckoning
  120. Siddharth
  121. The Skeleton Twins
  122. Son of a Gun
  123. Step Up All In
  124. Teenage Mutant Ninja Turtles
  125. Tusk
  126. Wetlands
  127. Wish I Was Here
  128. SIGNIS Film Reviews: Summer 2014
  129. The Hundred Foot Journey
  130. The 100-Year-Old Man who Climbed out a Window and Disappeared
  131. Begin Again
  132. Boyhood
  133. Charlie’s Country
  134. Devil’s Knot
  135. The Expendables 3
  136. Felony
  137. Freedom
  138. Get on Up
  139. God’s Not Dead
  140. God’s Pocket
  141. The Inbetweeners 2
  142. Magic in the Moonlight
  143. Night Moves
  144. Predestination
  145. Snowpiercer
  146. These Final Hours
  147. What We Do in the Shadows
  148. All this Mayhem
  149. And So It Goes
  150. Beatriz’s War
  151. Belle et Sebastien
  152. Bethlehem
  153. Deliver us from Evil
  154. Ernest et Celestine
  155. The French Minister/ Quai d’Orsay
  156. Galore
  157. Guardians of the Galaxy
  158. Hercules
  159. Jersey Boys
  160. The Keeper of Lost Causes
  161. Lucy
  162. The Lunchbox
  163. A Most Wanted Man
  164. Mrs Brown’s Boys, D’Movie
  165. Reaching for the Moon/ Flores Raras
  166. Rio 2
  167. Sex Tape
  168. The Selfish Giant
  169. Still Life
  170. Rising from the Ashes
  171. Transformers: Age of Extinction
  172. Venus in Fur/ Venus a la fourrure
  173. Volcano
  174. Words and Pictures
  175. 22 Jump Street
  176. Any Day Now
  177. Blended
  178. The Face of Love
  179. Edge of Tomorrow
  180. The Fault in our Stars
  181. Frank
  182. Good Vibrations
  183. The Last Impresario
  184. A Million Ways to Die in the West
  185. Omar
  186. Once My Mother
  187. The Rover
  188. The Trip to Italy
  189. X-Men Days of Future Past
  190. Yves Saint Laurent
  191. SIGNIS Film Reviews: June 2014
  192. 52 Tuesdays
  193. The Amazing Spiderman 2: Rise of Electro
  194. The Armstrong Lie
  195. The Babadook
  196. Bad Neighbours
  197. Belle
  198. Blue Ruin
  199. The Broken Circle Breakdown
  200. Canopy
  201. Captain America: Winter Soldier
  202. A Castle in Italy/ Un Chateau en Italie
  203. Chef
  204. Child’s Pose
  205. Divergent
  206. The Double
  207. Fading Gigolo
  208. Faith Connections
  209. Gore Vidal: the United States of Amnesia
  210. Gabrielle
  211. Gardening with Soul
  212. Grace of Monaco
  213. Godzilla
  214. Hannah Arendt
  215. Half of a Yellow Sun
  216. Healing
  217. Heaven is for Real
  218. How to Train Your Dragon 2
  219. Ida
  220. The Invisible Woman
  221. Like Father, Like Son
  222. Living is Easy with your Eyes Closed
  223. Man of Tai Chi
  224. Maleficent
  225. Miniscule: the Valley of the Lost Ants
  226. Missing Picture/ L’Image Manquant
  227. Mr Morgan’s Last Love
  228. Mr Peabody and Sherman
  229. Muppets Most Wanted
  230. My Sweet Pepper Land
  231. Need for Speed
  232. Next Goal Wins
  233. Noah
  234. Nymphomaniac Volume 2
  235. Only Lovers Left Alive
  236. The Other Woman
  237. Out of the Inferno
  238. Pompeii
  239. The Raid 2
  240. Ride Along
  241. Seduced and Abandoned
  242. Sunshine on Leith
  243. Transcendence
  244. Under the Skini
  245. Wadjda
  246. Jeune et Jolie/ Young and Beautiful
  247. The Zero Theorem
  248. SIGNIS Film Reviews: February/March 2014
  249. ’71
  250. Aloft
  251. Beauty and the Beast
  252. The Better Angels
  253. Black Coal, Thin Ice/ Bari Ri Yan Huo
  254. Blind Massage/ Tui Na
  255. Calvary
  256. The Darkside
  257. The Grand Budapest Hotel
  258. Historia do Meida/ History of Fear
  259. Jack
  260. Kraftidioten/ In Order of Disappearance
  261. Kreuzweg/ Stations of the Cross
  262. The Little House/ Chiisiai Ouochi
  263. Love is Strange
  264. Macondo
  265. The Monuments Men
  266. Mo Jing/ That Demon Within
  267. N - Madness of Reason
  268. No Man’s Land/ Wu Ren Qu
  269. Praira do futuro/ Beach of the Future
  270. Stratos/ The Storm Within
  271. Things People Do
  272. The Third Side of the River
  273. To Singapore, With Love
  274. The Two Faces of January
  275. Two Men in Town
  276. Unfriend
  277. Viharsorok/ Land of Storms
  278. Zwischen Welten/ Inbetween Worlds
  279. 3 Days to Kill
  280. 300: The Rise of an Empire
  281. All is Lost
  282. Chinese Puzzle/ Casse-tete chinois
  283. Dallas Buyers Club
  284. Endless Love
  285. The Grand Budapest Hotel
  286. I, Frankenstein
  287. In a world...
  288. The Monuments Men
  289. Non-stop
  290. Nymphomaniac Volume 1
  291. Out of the Furnace
  292. Robocop
  293. Romeo and Juliet
  294. Tracks
  295. Nebraska
  296. Vampire Academy
  297. A Winter’s Tale/ A New York Winter’s Tale
  298. Wolf Creek 2
  299. SIGNIS Film Reviews: Berlinale 2014
  300. SIGNIS Statement: Kreuzweg (Stations of the Cross)
  301. SIGNIS Statement: Calvary
  302. Labor Day
  303. Mandela: Long Walk to Freedom
  304. The Past/ Le Passe
  305. Blue is the Warmest Colour/ La Vie d’Adele - Chapitres 1 et 2
  306. 12 Years a Slave
  307. 47 Ronin
  308. Anchorman 2: The Legend Continues
  309. Are We Officially Dating?/ That Awkward Moment
  310. Drinking Buddies
  311. Free Birds
  312. La Grande Bellezza/ The Great Beauty
  313. Her
  314. Inside Llewyn Davis
  315. Jack Ryan: Shadow Recruit
  316. Lone Survivor
  317. Paranormal Activity: The Marked Ones
  318. Saving Mr Banks
  319. The Secret Life of Walter Mitty
  320. Short Term 12
  321. The Wind Rises/ Kaze Tachinu
  322. The Wolf of Wall Street
  323. 20 Feet from Stardom
  324. Apres Mai/ After May
  325. American Hustle
  326. August: Osage County
  327. Blackfish
  328. Backyard Ashes
  329. The Book Thief
  330. Carrie
  331. Cloudy with a Chance of Meatballs 2
  332. Delivery Man
  333. Fill the Void
  334. Filth
  335. Frozen
  336. The Gilded Cage/ La Cage Doree
  337. The Hobbit: The Desolation of Smaug
  338. Homefront
  339. How I Live Now
  340. Last Vegas
  341. Le Weekend
  342. One Chance
  343. The Railway Man
  344. Si Parla Italiano: Lygon Street
  345. Adoration
  346. Ain’t Them Bodies Saints
  347. Alan Partridge: Alpha Papa
  348. Austenland
  349. Big Ass Spider
  350. Blancanieves
  351. Captain Phillips
  352. Closed Circuit
  353. The Counselor
  354. Ender’s Game
  355. Enough Said
  356. Escape Plan
  357. The Fifth Estate
  358. Fruitvale Station
  359. The Hunger Games: Catching Fire
  360. Insidious Chapter 2
  361. Jackass Presents: Bad Grandpa
  362. Kill Your Darlings
  363. Machete Kills
  364. Magic Magic
  365. Mary Meets Mohammad
  366. Mr Pip
  367. SIGNIS Statement: "Philomena"
  368. SIGNIS Film Reviews: November/December 2013
  369. Mystery Road
  370. Patrick
  371. The Spectacular Now
  372. Thor: the Dark World
  373. Walesa - Man of Hope
  374. 2 Guns
  375. About Time
  376. The Act of Killing
  377. The Butler
  378. Diana
  379. The East
  380. Fallout
  381. The Family
  382. Gravity
  383. Grown Ups 2
  384. The Human Cargo/ La Nave Dolce
  385. I Am a Girl
  386. In Bob We Trust
  387. I’m So Excited
  388. The Interval/ L’Intervallo
  389. Lasseter’s Bones
  390. Paranoia
  391. Parker
  392. Percy Jackson: Sea of Monsters
  393. Planes
  394. Prisoners
  395. The Red and the Blue
  396. Renoir
  397. Riddick
  398. RIPD
  399. Runner Runner
  400. Rush
  401. Stories We Tell
  402. Thanks for Sharing
  403. Turbo
  404. The Best Offer
  405. Blue Jasmine
  406. Elysium
  407. Gambit
  408. The Gatekeepers
  409. A Hijacking/ Kapringen
  410. Jobs
  411. Kickass 2
  412. Mood Indigo/ L’Ecume des Jours
  413. The Mortal Instruments: City of Bones
  414. Much Ado About Nothing
  415. Pain & Gain
  416. Red 2
  417. Red Obsession
  418. The Rocket
  419. Stoker
  420. The Turning
  421. Upstream Color
  422. V/H/S/2
  423. We’re the Millers
  424. What Maisie Knew
  425. White House Down
  426. The World’s End
  427. You’re Next
  428. SIGNIS Film Reviews: July/August 2013
  429. 100 Bloody Acres
  430. After Earth
  431. The Audience
  432. Behind the Candelabra
  433. Beyond the Hills
  434. The Blind Detective
  435. The Bling Ring
  436. Cloudburst
  437. The Conjuring
  438. Despicable Me 2
  439. Epic
  440. Errors of the Human Body
  441. Everybody Has a Plan/ Todos Tenemos un Plan
  442. Furious 6/ The Fast and the Furious 6
  443. A Gun in Each Hand
  444. Happiness Never Comes Alone/Le bonheur n’arrive jamais a seul
  445. The Heat
  446. The Internship
  447. In the House/ Dans La Maison
  448. Lady in Paris/ Une Estonienne a Paris
  449. The Lone Ranger
  450. Man of Steel
  451. Metro
  452. Monsters University
  453. Now You See Me
  454. One Mile Above/ Kora
  455. Only God Forgives
  456. Pacific Rim
  457. Le Prenom/ What’s in a Name
  458. Reality
  459. Satellite Boy
  460. This is the End
  461. The Way, Way Back
  462. The Wolverine
  463. Still Mine
  464. To the Wonder
  465. World War Z
  466. You Ain’t Seen Nothin’ Yet
  467. The Big Wedding
  468. Broken
  469. The Call
  470. Camille Redouble/ Camille Rewinds
  471. Dead Man Down
  472. Evil Dead
  473. The Great Gatsby
  474. The Hangover Part III
  475. Jagten/ The Hunt
  476. Mud
  477. The Reluctant Fundamentalist
  478. Scary Movie 5
  479. Snitch
  480. Spring Breakers
  481. Star Trek Into Darkness
  482. Adventures in Zambezia
  483. Antiviral
  484. Chasing Ice
  485. Cheerful Weather for the Wedding
  486. The Company You Keep
  487. Drift
  488. Vic and Flo Meet a Bear
  489. Side Effects
  490. Promised Land
  491. Prince Avalanche
  492. Parde (Closed Curtain)
  493. Paradies
  494. Nobody’s Daughter Haewon
  495. Night Train to Lisbon
  496. The Necessary Death of Charley Countryman
  497. La religieuse (The Nun)
  498. Maladies
  499. Lovelace
  500. The Look of Love
  501. A Long and Happy Life
  502. In the Name of...
  503. Harmony Lessons
  504. The Grandmaster
  505. Gloria
  506. Gold
  507. Frances Ha
  508. An Episode in the Life of an Iron Picker
  509. Elle s’en va (On Her Way)
  510. Dark Blood
  511. The Croods
  512. Camille Claudel 1915
  513. Before Midnight
  514. Escape from Planet Earth
  515. First Position
  516. Haute Cuisine/ Les Saveurs de Palais
  517. Identity Thief
  518. Iron Man 3
  519. No
  520. Oblivion
  521. Olympus Has Fallen
  522. The Other Son/ Le Fils de L’Autre
  523. The Place Beyond the Pines
  524. Rust and Bone
  525. Le Skylab
  526. Sleepwalk with Me
  527. Song for Marion
  528. Therese Desqueyroux
  529. Trance
  530. SIGNIS Film Reviews: Berlinale 2013
  531. 21 and Over
  532. Blinder
  533. Broken City
  534. GI Joe: Retaliation
  535. Goddess
  536. A Good Day to Die Hard
  537. Hansel and Gretel: Witchhunters
  538. Hara-Kiri: Death of a Samurai
  539. The Host
  540. Hyde Park on Hudson
  541. The Incredible Burt Wonderstone
  542. In the Fog
  543. Jack the Giant Slayer
  544. Mama
  545. The Paperboy
  546. Performance/ A Late Quartet
  547. Return to Nim’s Island
  548. Underground: the Julian Assange Story
  549. SIGNIS Film Reviews: February 2013
  550. Zero Dark Thirty
  551. Anna Karenina
  552. Compliance
  553. Django Unchained
  554. Flight
  555. Gangster Squad
  556. The Impossible
  557. The Guilt Trip
  558. Last Dance
  559. Life of Pi
  560. Lincoln
  561. Parental Guidance
  562. Rise of the Guardians
  563. Save Your Legs
  564. The Silver Linings Playbook
  565. Wreck-it Ralph
  566. This is 40
  567. 2 Days in New York
  568. 360
  569. Alex Cross
  570. All the Way Through Evening
  571. American Mary
  572. The Angel’s Share
  573. Argo
  574. Bachelorette
  575. Back to 1942
  576. Beasts of the Southern Wild
  577. Breaking Dawn, Part 2
  578. Dangerous Liaisons
  579. Dead Europe
  580. The Do-Deca Pentathlon
  581. Dredd
  582. End of Watch
  583. Fun Size
  584. God Bless America
  585. Hail
  586. Here Comes the Boom
  587. Hitchcock
  588. The Hobbit, an unexpected journey
  589. Jack Reacher
  590. The Intouchables/ Les Intouchables/ Untouchables
  591. I Wish
  592. Killing Them Softly
  593. Lawless
  594. Les Miserables
  595. Liberal Arts
  596. Lockout
  597. Love is All You Need
  598. Lore
  599. The Man with the Iron Fists
  600. The Master
  601. Mental
  602. Miss Bala
  603. A Monster in Paris
  604. Paris - Manhattan
  605. The Odd Life of Timothy Green
  606. People Like US
  607. Pitch Perfect
  608. Paranormal Activity 4
  609. The Perks of Being a Wallflower
  610. SIGNIS Film Reviews: December 2012
  611. Quartet
  612. The Raven
  613. Robot & Frank
  614. Ruby Sparks
  615. The Sessions
  616. Seven Psychopaths
  617. Sinister
  618. Skyfall
  619. Savages
  620. Sound of My Voice
  621. Taken 2
  622. To Rome with Love
  623. Trouble with the Curve
  624. Tu seras mon fils/ You Will Be My Son
  625. The Words
  626. Wuthering Heights
  627. Wunderkinder
  628. "Aristides de Sousa Mendes": The Angel of Bordeaux
  629. On the Road
  630. Looper
  631. Damsels in Distress
  632. Holy Motors
  633. Arbitrage
  634. SIGNIS Film Reviews: September 2012
  635. Lore
  636. Chinese Take-away/ Un cuento chino
  637. Bait
  638. Hotel Transylvania
  639. The Watch
  640. Resident Evil: Retribution
  641. Barrymore
  642. Being Venice
  643. The Bourne Legacy
  644. Bully
  645. The Expendables 2
  646. Hope Springs
  647. Kath and Kimderella
  648. Madagascar 3: Europe’s Most Wanted
  649. Monsieur Lazhar
  650. Moonrise Kingdom
  651. Total Recall
  652. Your Sister’s Sister
  653. SIGNIS Film Reviews: July/August 2012
  654. SIGNIS Film Reviews: June 2012
  655. SIGNIS Film Reviews: May 2012
  656. Beauty/ Skoonheid
  657. The Sapphires
  658. Hysteria
  659. And if we all lived together/ Et si on vivait tous ensemble
  660. The Door
  661. Not Suitable for Children
  662. In Darkness
  663. Magic Mike
  664. The Dark Knight Rises
  665. The King is Dead!
  666. You Instead
  667. The Amazing Spiderman
  668. Where do we go now?
  669. The Three Stooges
  670. I Am Eleven
  671. Polisse
  672. Ted
  673. Ice Age: Continental Drift
  674. Snow White and the Huntsman
  675. Take This Waltz
  676. That’s My Boy
  677. Rock of Ages
  678. Comme un chef/ The Chef
  679. Brave
  680. Marley
  681. The Cabin in the Woods
  682. The Innkeepers
  683. Margaret
  684. What to Expect When You’re Expecting
  685. Elena
  686. Prometheus
  687. Anton Chekhov’s The Duel
  688. Friends with Kids
  689. Get the Gringo
  690. Game Change
  691. Declaration of War/ La guerre est declaree
  692. Men in Black 3
  693. Empire of Silver
  694. Silent Souls/ Ovsyenki
  695. The Dictator
  696. Swerve
  697. Once Upon a Time in Anatolia
  698. Careless Love
  699. Dark Shadows
  700. La Delicatesse/ Delicacy
  701. Iron Sky
  702. Trishna
  703. W./E
  704. 21 Jump Street
  705. Act of Valor
  706. Amour de Jeunesse/ Goodbye, First Love
  707. The Avengers
  708. Battleship
  709. Cafe de Flore
  710. The Deep Blue Sea
  711. Dr Seuss’ The Lorax
  712. The Footnote
  713. Ghost Rider: Spirit of Vengeance
  714. Hotel Lux
  715. The Hunger Games
  716. Irvine Welsh’s Ecstasy
  717. Kongen av Bastoy? King of Devil’s Island
  718. Kid with a Bike/ Le Gamin au Velo
  719. The Lady
  720. Le Havre
  721. The Lucky One
  722. Mirror, Mirror
  723. Les Neiges de Kilimandjaro/ The Snows of Kilimanjaro
  724. Pirates: Band of Misfits!
  725. The Raid
  726. Rebellion/ L’Ordre et La Morale
  727. The Rum Diary
  728. Romantics Anonymous/ Les Emotifs Anonymes
  729. Safe
  730. Salmon Fishing in the Yemen
  731. The Sorcerer and the White Snake
  732. La Source des femmes/ The Source
  733. Spud
  734. This Must be the Place
  735. Tomboy
  736. The Woman in Black
  737. Wish You Were Here
  738. La Femme de Vieme/ The Woman in the Fifth
  739. The Five-Year Engagement
  740. La Fille du Puisatier/ The Well Digger’s Daughter
  741. The Wrath of the Titans
  742. SIGNIS Film Reviews: March 2012
  743. Any Questions for Ben?
  744. 50/50
  745. The Artist
  746. The Best Exotic Marigold Hotel
  747. Buck
  748. Carnage
  749. Chronicle
  750. Contraband
  751. A Dangerous Method
  752. The Devil Inside
  753. Gone
  754. Headhunters/ Hodejegerne
  755. Project X
  756. John Carter
  757. One for the Money
  758. Safe House
  759. This Means War
  760. Tyrannosaur
  761. 1911
  762. 30 Minutes or Less
  763. Apollo 18
  764. A Better Life
  765. Everything Must Go
  766. A Few Best Men
  767. Flypaper
  768. The Grey
  769. Journey 2: The Mysterious Island
  770. J. Edgar
  771. Killer Elite
  772. Like Crazy
  773. Man on a Ledge
  774. My Week with Marilyn
  775. Retreat
  776. Shame
  777. Trespass
  778. The Vow
  779. A Moi Seule/ Coming Home
  780. Aujourd’hui/ Today
  781. Barbara
  782. Bel Ami
  783. Captive
  784. Cesare deve morire/ Caesar Must Die
  785. Cherry
  786. Dictado/ Dictation/ Childish Games
  787. Dollhouse
  788. Don 2: Don Must Die
  789. L’Enfant d’ en haut/ Sister
  790. Extremely Loud and Incredibly Close
  791. Flowers of War
  792. Flying Swords of Dragon Gate
  793. Gnade/ Mercy
  794. Haywire
  795. In the Land of Blood and Honey
  796. Jayne Mansfield’s Car
  797. Keep the Lights on
  798. Just the Wind/ Csalk a Szel
  799. La Mer a L’Aube/ Calm at Sea
  800. Meteora
  801. My Brother the Devil
  802. Postcards from the Zoo
  803. Rebelle/ War Witch
  804. A Royal Affair
  805. Shadow Dancer
  806. Tabu
  807. La Vierge, Les Coptes et Moi...
  808. Was Bleibt/ Home for the Weekend
  809. White Deer Plain
  810. Wilaya
  811. SIGNIS Film Reviews: Berlin 2012 Special Edition
  812. SIGNIS Film Reviews: January 2012
  813. Too Big to Fail
  814. The Descendants
  815. Arietty
  816. Autoluminiscent
  817. Hugo
  818. The Muppets
  819. Young Adult
  820. Sherlock Holmes: A Game of Shadows
  821. The Adventures of Tintin
  822. Waste Land
  823. Happy Feet Two
  824. We Bought a Zoo
  825. Dolphin Tale
  826. Albert Nobbs
  827. Courageous
  828. New Year’s Eve
  829. Restless
  830. The Tall Man
  831. The Skin I Live In
  832. Tower Heist
  833. We Need to Talk About Kevin
  834. Another Earth
  835. The Iron Lady
  836. Jack and Jill
  837. Melancholia
  838. Mission Impossible - Ghost Protocol
  839. The Orator/ O Le Tulafale
  840. The Yellow Sea/ Hwanghae
  841. Yes Madam, Sir
  842. SIGNIS Film Reviews: October/November 2011
  843. Breaking Dawn Part I
  844. Attack the Block
  845. The Debt
  846. Habemus Papam (We Have a Pope)
  847. The Ides of March
  848. Immortals
  849. I Don’t Know How She Does It
  850. The Inbetweeners
  851. Moneyball
  852. Puss in Boots
  853. Toomelah
  854. Machine Gun Preacher
  855. Ages of Love (Manuele d’ Am3re)
  856. Arthur Christmas
  857. Shark Night 3D
  858. L’Amour Fou
  859. Country Strong
  860. Oakie’s Outback Adventure
  861. Surviving Georgia
  862. Cedar Rapids
  863. Our Idiot Brother
  864. In Time
  865. The Cup
  866. Don’t be Afraid of the Dark
  867. Contagion
  868. What’s Your Number?
  869. The Three Musketeers
  870. Midnight in Paris
  871. Higher Ground
  872. The Thing
  873. Project Nim
  874. Footloose
  875. Take Shelter
  876. Crazy, Stupid, Love.
  877. The Whistleblower
  878. Monte Carlo
  879. Spy Kids 4: All the Time in the World
  880. Submarine
  881. The Eye of the Storm
  882. Fire in Babylon
  883. Tabloid
  884. Snow Flower and the Secret Fan
  885. Red State
  886. Real Steel
  887. Johnny English Reborn
  888. The Hunter
  889. Fright Night
  890. Abduction
  891. 13 Assassins
  892. Guilty Pleasures
  893. Client 9: the Rise and Fall of Eliot Spitzer
  894. Colombiana
  895. Zookeeper
  896. Final Destination 5
  897. The Change-Up
  898. Face to Face
  899. Win Win
  900. The Rise of the Planet of the Apes
  901. Horrible Bosses
  902. Hobo with a Shotgun
  903. The Help
  904. Conan the Barbarian
  905. Chalet Girl
  906. Beastly
  907. Priest
  908. The Woman
  909. The Greatest Movie Ever Sold
  910. Friends with Benefits
  911. Secuestrados (Kidnapped)
  912. Jane Eyre
  913. Big Mamma’s Boy
  914. Cowboys & Aliens
  915. Green Lantern
  916. Senna
  917. Tucker and Dale vs Evil
  918. The Illusionist
  919. The Conspirator
  920. Love Crime
  921. Captain America, the First Avenger
  922. Precious Life
  923. Bad Teacher
  924. The Eagle
  925. Five Days of August/ Five Days of War
  926. Mars Needs Moms
  927. Stake Land
  928. Beautiful Lies (De Vrais Mensonges)
  929. Meek’s Cutoff
  930. Cars 2
  931. The Last Circus (La Balada Triste de la Trompeta)
  932. Kung Fu Panda 2
  933. Harry Potter and the Deathly Hallows Part 2
  934. Larry Crowne
  935. The Trip
  936. Transformers: Dark of the Moon
  937. Special Treatment (Sans Queue ni Tete)
  938. Mr Popper’s Penguins
  939. Mozart’s Sister
  940. Love and Other Impossible Pursuits/ The Other Woman
  941. All Good Things
  942. Crazy on the Outside
  943. The Tree of Life
  944. SIGNIS Film Reviews: May/June 2011
  945. Faith, Fraud + Minimum Wage
  946. Super 8
  947. Blame
  948. Bridesmaids
  949. Little White Lies
  950. Here I Am
  951. X Men: First Class
  952. The Tunnel
  953. Babies
  954. The Hangover Part II
  955. Carlos
  956. Oceans
  957. Angele et Tony
  958. Soul Surfer
  959. Julia’s Eyes
  960. Mrs Carey’s Concert
  961. Pirates of the Caribbean: On Stranger Tides
  962. SIGNIS Statement: Oranges and Sunshine
  963. Burke and Hare
  964. Water for Elephants
  965. Hanna
  966. Source Code
  967. Hoodwinked Too: The Battle Between Hood and Evil
  968. Fast Five/ The Fast and the Furious 5
  969. Diary of a Wimpy Kid: Rodrick Rules
  970. Your Highness
  971. Thor
  972. Something Borrowed
  973. Snowtown
  974. Scream 4
  975. Rio
  976. La Rafle/ The Round Up
  977. Le Quattro Volte
  978. Paul
  979. Oranges and Sunshine
  980. Murundak
  981. Main Street
  982. Mad Bastards
  983. The Lost Bladesman
  984. Insidious
  985. Incendies
  986. The Human Resources Manager
  987. Get Low
  988. Catfish
  989. Arthur
  990. SIGNIS Film Reviews: March/April 2011
  991. Hop
  992. Sucker Punch
  993. Potiche
  994. Goethe!
  995. The Day I Wasn’t Born (Das lied in mir)
  996. Limitless
  997. Haevnen (In a Better World)
  998. A Heartbeat Away
  999. The Lincoln Lawyer
  1000. The Reef
  1001. Red Riding Hood
  1002. The Company Men
  1003. Battle Los Angeles
  1004. Just Go With It
  1005. Howl
  1006. The Girl Who Kicked the Hornet’s Nest
  1007. Almanya - Willkommen in Deutschland
  1008. Ausente (Absent)
  1009. Cave of Forgotten Dreams
  1010. Come Rain, Come Shine
  1011. Coriolanus
  1012. Dance Town
  1013. The Devil’s Double
  1014. Les Femmes du 6eme Etage (Women of the 6th Floor/ Service Entrance)
  1015. The Forgiveness of Blood
  1016. The Future
  1017. Griff the Invisible
  1018. The Guard
  1019. If Not Us, Who (Wer Wenn Nicht Wir)
  1020. Invisible (Lo Roim Alaich)
  1021. Late Bloomers
  1022. Margin Call
  1023. Mein Bester Feind (My Best Enemy)
  1024. Un Mondo Misterioso (A Mysterious World)
  1025. Nader and Simin: a Separation
  1026. Odem (Lipstikka)
  1027. SIGNIS Film Reviews: Berlinale 2011 Special Edition
  1028. Our Grand Despair
  1029. Pina
  1030. El Premio (The Prize)
  1031. Romeos
  1032. Schlafkrankheit (Sleeping Sickness)
  1033. Swans
  1034. Tambien la lluvia (Even the Rain)
  1035. Tropa de Elite 2 (Elite Squad 2 - The Enemy Within)
  1036. True Grit
  1037. Unknown
  1038. Utopians
  1039. Vampire
  1040. V Subottu (Innocent Saturday)
  1041. Wind and Fog
  1042. Yelling to the Sky
  1043. The Rite
  1044. La Tete en Friche (My Afternoons with Margueritte)
  1045. Rango
  1046. SIGNIS Statement: The Rite
  1047. The Way Back
  1048. Wasted on the Young
  1049. Secretariat
  1050. Season of the Witch
  1051. No Strings Attached
  1052. Never Let Me Go
  1053. Nenette
  1054. A LIttle Bit of Heaven
  1055. Inside Job
  1056. I Am Number Four
  1057. Hall Pass
  1058. Gnomeo and Juliet
  1059. Conviction
  1060. Big Momma. Like Father Like Son
  1061. The Adjustment Bureau
  1062. Rabbit Hole
  1063. Hereafter
  1064. SIGNIS Statement: Brighton Rock
  1065. Barney’s Version
  1066. The Green Hornet
  1067. The Next Three Days
  1068. Ramona and Beezus
  1069. SIGNIS Film Reviews: January 2011
  1070. The Mechanic
  1071. How Do You Know
  1072. The Romantics
  1073. 127 Hours
  1074. Black Swan
  1075. The Fighter
  1076. Burlesque
  1077. The Dilemma
  1078. Takers
  1079. Stone
  1080. Arctic Blast
  1081. Out Of The Silence
  1082. Helen
  1083. Morning Glory
  1084. Yogi Bear
  1085. Korkoro
  1086. Unstoppable
  1087. Tangled
  1088. The Tourist
  1089. Sarah’s Key (Elle s’appelle Sarah)
  1090. Gulliver’s Travels
  1091. Little Fockers
  1092. Love and Other Drugs
  1093. SIGNIS Film Reviews: December 2010
  1094. The King’s Speech
  1095. Heartbreaker (L’Arnacoeur)
  1096. Somewhere
  1097. Desert Flower
  1098. Tron: Legacy
  1099. Megamind
  1100. The Chronicles of Narnia: Voyage of the Dawn Treader
  1101. Devil
  1102. Rare Exports - A Christmas Tale
  1103. The Last Exorcism
  1104. Due Date
  1105. SIGNIS Film Reviews: October/November 2010
  1106. SIGNIS Film Reviews: September 2010
  1107. Beneath Hill 60
  1108. Monsters
  1109. Harry Potter and the Deathly Hallows Part I
  1110. Machete
  1111. Sisters of War
  1112. Wild Target
  1113. Skyline
  1114. The American
  1115. Winter’s Bone
  1116. The Loved Ones
  1117. Paranormal Activity 2
  1118. Saw 3D (Saw VII)
  1119. The Social Network
  1120. Gainsbourg
  1121. Detective Dee and the Phantom Flame
  1122. You Don’t Know Jack
  1123. Life as We Know It
  1124. Made in Dagenham
  1125. Red
  1126. Let Me In
  1127. The Town
  1128. Resident Evil: Afterlife
  1129. Copacabana
  1130. La Danse
  1131. The Human Centipede (First Sequence)
  1132. The Clinic
  1133. Eat Pray Love
  1134. Buried
  1135. Legend of the Guardians. The Owls of Ga’hoole
  1136. Dinner for Schmucks
  1137. The Least of These
  1138. The City of Your Final Destination
  1139. Sagan
  1140. Summer Coda
  1141. Diary of a Wimpy Kid
  1142. Cats and Dogs: the Revenge of Kitty Galore
  1143. I’m Still Here
  1144. The Other Guys
  1145. The Last Airbender
  1146. Easy A
  1147. Tomorrow When the War Began
  1148. Despicable Me
  1149. Letters to Father Jakob (Postia poppi Jaakobille)
  1150. The Sorcerer’s Apprentice
  1151. Salt
  1152. The Girl Who Played with Fire
  1153. Piranha 3D
  1154. Vampires Suck
  1155. Matching Jack
  1156. SIGNIS Film Reviews: Summer 2010
  1157. Cairo Time
  1158. Peepli [Live]
  1159. The Expendables
  1160. Second Hand Wedding
  1161. Splice
  1162. Step Up 3D
  1163. Scott Pilgrim vs. the World
  1164. The Special Relationship
  1165. South Solitary
  1166. Killers
  1167. Leaving (Partir)
  1168. Inception
  1169. Tinker Bell and the Great Fairy Rescue
  1170. Boy
  1171. The Waiting City
  1172. Knight and Day
  1173. L’Herisson (Hegehog)
  1174. The Runaways
  1175. Predators
  1176. The Karate Kid
  1177. Eclipse (The Twilight Saga: Eclipse)
  1178. Toy Story 3
  1179. New York, I Love You
  1180. The A-Team
  1181. Get Him to the Greek
  1182. Accidents Happen
  1183. L’Affaire Farewell
  1184. Animal Kingdom
  1185. City Island
  1186. Le Concert
  1187. I Love You Too
  1188. The Kings of Mykonos
  1189. Letters to Juliet
  1190. Mademoiselle Chambon
  1191. Mother and Child
  1192. Shrek Forever After
  1193. Valhalla Rising
  1194. SIGNIS Film Reviews: Cannes 2010 Special Edition
  1195. Abel
  1196. Les Amours Immaginaires
  1197. Another Year
  1198. Aurora
  1199. Biutiful
  1200. Blue Valentine
  1201. Burnt by the Sun 2: The Exodus
  1202. Carancho
  1203. Chonqing Blues (Rizhao Chongqing)
  1204. Copie Certifie (Certified Copy)
  1205. Des Hommes et des Dieux (Of Gods and Men)
  1206. Fair Game
  1207. Hahaha
  1208. L’homme qui crie (A Screaming Man)
  1209. Hors-la-loi (Outside the Law)
  1210. The Housemaid
  1211. Kaboom
  1212. Life, Above All
  1213. Lung Boonmee Rachuak Chat (Uncle Boonmee who can Recall Past Lives)
  1214. Marti, Dupa Craciun (Tuesday after Christmas)
  1215. My Joy
  1216. La Nostra Vita
  1217. SIGNIS Statement: "Des hommes et des dieux" (Of Gods and Men)
  1218. Octubre
  1219. Outrage
  1220. Poetry
  1221. La Princesse de Montpensier
  1222. Robin Hood
  1223. Rebecca H. (Return to the Dogs)
  1224. Route Irish
  1225. Simon Werner e Disparu... (Lights Out)
  1226. The Strange Case of Angelica
  1227. Szerid Teremtes - A Frankenstein Terv (Tender Son - the Frankenstein Project
  1228. Tamara Drewe
  1229. Tournee (On Tour)
  1230. The Tree
  1231. Wall Street: Money Never Sleeps
  1232. You Will Meet a Tall Dark Stranger
  1233. SIGNIS Film Reviews: April/May 2010
  1234. Brooklyn’s Finest
  1235. Tooth Fairy
  1236. Sex and the City 2
  1237. The Losers
  1238. Rec 2
  1239. Prince of Persia: the Sands of Time
  1240. Gentlemen Broncos
  1241. Cop Out
  1243. Hot Tub Time Machine
  1244. A Room and a Half
  1245. Psych 9
  1246. A Nightmare on Elm Street
  1247. Furry Vengeance
  1248. Four Lions
  1249. The Backup PLan
  1250. Iron Man 2
  1251. Revanche
  1252. The Last Song
  1253. The Disappearance of Alice Creed
  1254. SIGNIS Statement: Agora
  1255. SIGNIS Statement: The Calling
  1256. The Joneses
  1257. Dogtooth
  1258. Centurion
  1259. It’s a Wonderful Afterlife
  1260. Cherrybomb
  1261. Date Night
  1262. Io Sono L’Amore (I Am Love)
  1263. Pazar (The Market - a Tale of Trade)
  1264. City of Life and Death
  1265. Cemetery Junction
  1266. Ghost (The Ghost Writer)
  1267. Dear John
  1268. Repo Men
  1269. Crying with Laughter
  1270. Boogie Woogie
  1271. Donne-moi La Main (Give Me Your Hand)
  1272. Shelter
  1273. The Infidel
  1274. Whip It
  1275. I Know You Know
  1276. SIGNIS Statement: Lourdes
  1277. SIGNIS Statement: No Greater Love
  1278. Shank
  1279. How to Train Your Dragon
  1280. Clash of the Titans
  1281. Remember Me
  1282. Kick Ass
  1283. Nanny McPhee and the Big Bang
  1284. The Blind Side
  1285. I Love You, Phillip Morris
  1286. The Bounty Hunter
  1287. My Last Five Girlfriends
  1288. The Spy Next Door
  1289. Sons of Cuba
  1290. Salvage
  1291. The Scouting Book for Boys
  1292. House of the Devil
  1293. Green Zone
  1294. Hachi: a Dog’s Tale
  1295. Shutter Island
  1296. The Girl with the Dragon Tattoo
  1297. The Kreutzer Sonata
  1298. The Father of My Children (Le Pere de Mes Enfants)
  1299. Chloe
  1300. Battle for Terra
  1301. The Wolfman
  1302. Oorlogswinter (Winter in Wartime)
  1303. Valentine’s Day
  1304. Solomon Kane
  1305. Powder Blue
  1306. The Crazies
  1307. Case 39
  1308. Anonyma
  1309. Alice in Wonderland
  1310. Percy Jackson and the Olympians: the Lightning Thief
  1311. Ondine
  1312. Micmacs
  1313. Legion
  1314. Leap Year
  1315. From Paris with Love
  1316. Extraordinary Measures
  1317. Everybody’s Fine
  1318. Crazy Heart
  1319. SIGNIS Film Reviews: Berlin 2010 Special Edition
  1320. SIGNIS Film Reviews: January/February 2010
  1321. L’Arbre et La Foret (Family Tree)
  1322. L’Autre Dumas (The Other Dumas)
  1323. Bal (Honey)
  1324. David Wants to Fly
  1325. Exit Through the Gift Shop
  1326. En Familie (A Family)
  1327. Father of Invention
  1328. Die Fremde (When You Leave)
  1329. Greenberg
  1330. Jud Suss: Rise and Fall
  1331. The Kids are All Right
  1332. The Killer Inside Me
  1333. Mine Vaganti (Loose Cannons)
  1334. My Name is Khan
  1335. Na Putu (On the Path)
  1336. Otouto (About Her Brother)
  1337. Please Give
  1338. Red Hill
  1339. Shahada (Faith)
  1340. Son of Babylon
  1341. Submarino
  1342. When I Want to Whistle, I Whistle
  1343. A Woman, A Gun and a Noodle Shop
  1344. Invictus
  1345. The Book of Eli
  1346. Astro Boy
  1347. Youth in Revolt
  1348. Up in the Air
  1349. Tony
  1350. A Single Man
  1351. Romeo and Juliet (Indonesia)
  1352. Holy Water
  1353. Exam
  1354. It’s Complicated
  1355. 44 Inch Chest
  1356. Nine
  1357. St Trinians: the Legend of Fritton’s Gold
  1358. Ninja Assassin
  1359. Daybreakers
  1360. Armored
  1361. Edge of Darkness
  1362. Motherhood
  1363. Brothers
  1364. Breathless
  1365. Bran Nue Dae
  1366. All About Steve
  1367. The Princess and the Frog
  1368. Talentime
  1369. Troubled Water (De Usynlige)
  1370. Extract
  1371. Shrink
  1372. Sex & Drugs & Rock & Roll
  1373. Diamant 13
  1374. Old Dogs
  1375. Did You Hear about the Morgans?
  1376. Mao’s Last Dancer
  1377. Sherlock Holmes
  1378. The Lovely Bones
  1379. Prime Mover
  1380. The Brothers Bloom
  1381. Avatar
  1382. SIGNIS Film Reviews: October/November/December 2009
  1383. The Other Man
  1384. Post Grad
  1385. Unmade Beds
  1386. Where the Wild Things Are
  1387. Planet 51
  1388. Only When I Dance
  1389. Nowhere Boy
  1390. The Merry Gentleman
  1391. Me and Orson Welles
  1392. The Girlfriend Experience
  1393. Le Premier Jour du Reste de ta vie (The First Day of the Rest of Your Life)
  1394. The Descent: Part 2
  1395. Cracks
  1396. The Box
  1397. Nativity!
  1398. Paranormal Activity
  1399. Law Abiding Citizen
  1400. Bunny and the Bull
  1401. Machan
  1402. The Boys are Back
  1403. New Moon (The Twilight Saga: New Moon)
  1404. Glorious 39
  1405. A Serious Man
  1406. Examined Life
  1407. Un Barrage Contre le Pacifique (The Sea Wall)
  1408. Harry Brown
  1409. Amelia
  1410. 2012
  1411. The Fourth Kind
  1412. An Education
  1413. A Christmas Carol
  1414. The Men Who Stare at Goats
  1415. The Cove
  1416. The Horseman
  1417. Jennifer’s Body
  1418. Fantastic Mr Fox
  1419. Saw VI
  1420. Coffin Rock
  1421. Dead Man Running
  1422. Stone Bros.
  1423. Disgrace
  1424. My Year without Sex
  1425. This Is It
  1426. Blessed
  1427. Cirque du Freak: the Vampire’s Assistant
  1428. Cedar Boys
  1429. Beautiful Kate
  1430. 9
  1431. Pontypool
  1432. Couples Retreat
  1433. Halloween II
  1434. Ong Bak: the Beginning
  1435. Zombieland
  1436. Capitalism: A Love Story
  1437. The Informant!
  1438. Pandorum
  1439. My Life in Ruins (Driving Aphrodite)
  1440. Surrogates
  1441. The Invention of Lying
  1442. Whiteout
  1443. Sorority Row
  1444. The Soloist
  1445. Management
  1446. Julie & Julia
  1447. Jack Said
  1448. Gamer
  1449. The Firm
  1450. Fame
  1451. Dorian Gray
  1452. The Crimson Wing
  1453. Creation
  1454. Cloudy with a Chance of Meatballs
  1455. Blind Dating
  1456. Away We Go
  1457. Adventureland
  1458. SIGNIS Film Reviews: Summer 2009
  1459. District 9
  1460. (500) Days of Summer
  1461. The Red Baron
  1462. Sztuczki (Tricks)
  1463. Shorts
  1464. Funny People
  1465. The Time Traveler’s Wife
  1466. A Perfect Getaway
  1467. I Love You, Beth Cooper
  1468. The Final Destination
  1469. Dance Flick
  1470. Bandslam
  1471. Aliens in the Attic
  1472. Orphan
  1473. Adam
  1474. GI Joe: The Rise of Cobra
  1475. Home
  1476. The Ugly Truth
  1477. G-Force
  1478. The Taking of Pelham 123
  1479. Land of the Lost
  1480. Crossing Over
  1481. Mad, Sad and Bad
  1482. Coco Avant Chanel (Coco Before Chanel)
  1483. The Limits of Control
  1484. The Hurt Locker
  1485. Villa Amalia
  1486. Antichrist: An Essay/Review
  1487. The Proposal
  1488. Just Another Love Story
  1489. Charles Dickens’ England
  1490. Soul at Peace (Pokoj v Dusi)
  1491. Bist (Twenty)
  1492. Un Age a la Mer (Angel at Sea)
  1493. Tutta Colpa di Giuda
  1494. Swinki (Piggies)
  1495. Goodbye, Solo
  1496. Moon
  1497. Martyrs
  1498. The Informers
  1499. Lake Tahoe
  1500. Harry Potter and the Half-Blood Prince
  1501. Frozen River
  1502. Cold Souls
  1503. Bruno
  1504. Red Mist
  1505. Public Enemies
  1506. Ice Age 3: Dawn of the Dinosaurs
  1507. Shirin
  1508. Blood: the Last Vampire
  1509. My Sister’s Keeper
  1510. Sunshine Cleaning
  1511. Rudo y Cursi
  1512. Sin Nombre
  1513. Year One
  1514. The Last Thakur
  1515. The Last House on the Left
  1516. Doghouse
  1517. Everlasting Moments (Maria Larsson’s Everlasting Moments)
  1518. Telstar
  1519. Gigantic
  1520. Red Cliff
  1521. Helen
  1522. The Hangover
  1523. O’Horten
  1524. The Children of the Silk Road (The Children of Huang Shi/ Escape from Huang Shi)
  1525. Sex Drive
  1526. Terminator Salvation
  1527. Tormented
  1528. Sugar
  1529. Pour Elle (Anything for Her)
  1530. Max Manus
  1531. Last Chance Harvey
  1532. The Hide
  1533. Awaydays
  1534. Angels & Demons
  1535. Fighting
  1536. Drag Me to Hell
  1537. Night at the Museum: Battle for the Smithsonian
  1538. Endgame
  1539. Obsessed
  1540. Viva
  1541. French Film
  1542. Das Weisse Band (The White Ribbon)
  1543. Visage
  1544. Vincere
  1545. Vengeance
  1546. Up
  1547. The Tsar
  1548. The Time that Remains
  1549. Thirst: Ceci est mon Sang
  1550. Tales from the Golden Age
  1551. Taking Woodstock
  1552. The Silent Army
  1553. Samson & Delilah
  1554. Un Prophete
  1555. Precious
  1556. Police, Adjective
  1557. Nobody Knows About Persian Cats
  1558. My Neighbour, My Killer
  1559. Mother
  1560. Map of the Sounds of Tokyo
  1561. Manila
  1562. Looking for Eric
  1563. Jaffa
  1564. Kinatay
  1565. Irene
  1566. Inglourious Basterds
  1567. Independencia
  1568. The Imaginarium of Doctor Parnassus
  1569. La Fille du RER (The Girl on the Train)
  1570. Fish Tank
  1571. Eyes Wide Open
  1572. Enter the Void
  1573. Demain des L’Aube
  1574. Coco Chanel & Igor Stravinsky
  1575. Chun Fen Chen Zui De Ye Wan (Spring Fever)
  1576. Cendres et Sang (Ashes and Blood)
  1577. Bright Star
  1578. L’Armee du Crime
  1579. A L’Origine
  1580. Los Abrazos Rotos
  1581. SIGNIS Film Reviews: Cannes 2009 Special Edition
  1582. SIGNIS Statement: Angels and Demons
  1583. Good
  1584. Coraline
  1585. Star Trek
  1586. Wolverine: X Men Origins
  1587. SIGNIS Film Reviews: April 2009
  1588. Is Anybody There?
  1589. Momma’s Man
  1590. Shifty
  1591. Seraphine
  1592. Villa Jasmin
  1593. Snow (Snijeg)
  1594. Four Nights with Anna
  1595. Fermat’s Room (La habitacion de Fermat)
  1596. Wrong Rosary
  1597. Tear This Heart Out (Arrancame la vida)
  1598. Skin
  1599. Si Puo Fare (We Can Do It/ It Can Be Done)
  1600. Scratch (Rysa)
  1601. Hannah Montana: the Movie
  1602. Blue Eyelids (Parpados Azules)
  1603. Crank: High Voltage
  1604. The Empty Nest
  1605. The Market - a tale of Trade
  1606. Rain
  1607. The Necessities of Life (Ce qu’il faut pour vivre)
  1608. State of Play
  1609. Observe and Report
  1610. Outlander
  1611. Hassan and Morkos
  1612. Departures (Okuribito)
  1613. Dansen (Dancers)
  1614. Blind Sunflowers (Los Girasoles Ciegos)
  1615. 35 Rhums (35 Shots of Rum)
  1616. In the Loop
  1617. Not Easily Broken
  1618. Five Minutes of Heaven
  1619. Let the Right One In
  1620. I Love You, Man
  1621. Fifty Dead Men Walking
  1622. Dragonball: Evolution
  1623. 17 Again
  1624. Fast and Furious
  1625. Tony Manero
  1626. Race to Witch Mountain
  1627. SIGNIS Film Reviews: March 2009
  1628. SIGNIS Statement: Religulous
  1629. Cherry Blossoms (Kirschebluten/Hanami)
  1630. Monsters Vs Aliens
  1631. The Boat that Rocked
  1632. I Can’t Think Straight
  1633. The World Unseen
  1634. Religulous
  1635. The Uninvited
  1636. Little Ashes
  1637. The Haunting in Connecticut
  1638. Knowing
  1639. The Life Before Her Eyes
  1640. Traitor
  1641. Genova
  1642. The Damned United
  1643. Duplicity
  1644. Diminished Capacity
  1645. Paul Blart: Mall Cop
  1646. Lesbian Vampire Killers
  1647. The Age of Stupid
  1648. Flash of Genius
  1649. Bronson
  1650. Hush
  1651. The Great Debaters
  1652. The Young Victoria
  1653. Wendy and Lucy
  1654. Watchmen
  1655. Reverb
  1656. A Short Stay in Switzerland
  1657. Flammen & Citronen (Flame & Citron)
  1658. The Burning Plain
  1659. American Teen
  1660. SIGNIS Film Reviews: Berlin 2009 Special Edition
  1661. Yarwng (Roots)
  1662. The Crew
  1663. He’s Just Not That Into You
  1664. Push
  1665. Confessions of a Shopaholic
  1666. SIGNIS Film Reviews: February 2009
  1667. The International
  1668. New in Town
  1669. The Unborn
  1670. Franklyn
  1671. Cadillac Records
  1672. Hotel for Dogs
  1673. Friday the 13th
  1674. Gran Torino
  1675. All About Elly (Darbareye Elly)
  1676. Alle Anderen (Everyone Else)
  1677. An American in New York
  1678. Ander
  1679. Beast Stalker
  1680. The Bone Man (Der Knochenmann)
  1681. Burrowing (Man Tanker Sitt)
  1682. Cheri
  1683. The Countess
  1684. Deutschland 09
  1685. Eden a L’Ouest (Eden is West)
  1686. End of Love
  1687. The Fish Child (El Nino Pez)
  1688. Forever Enthralled
  1689. Gigante
  1690. Happy Tears
  1691. John Rabe
  1692. Just Walking (Solo Quiero Caminar)
  1693. Katalin Varga
  1694. Letters to the President
  1695. London River
  1696. Mammoth
  1697. The Messenger
  1698. Milk of Sorrow (La Teta Asustuda)
  1699. My One and Only
  1700. Pedro
  1701. The Private Lives of Pippa Lee
  1702. Rage
  1703. Ricky
  1704. Ruckenwind (Light Gradient)
  1705. Storm
  1706. Tatarak (Sweet Rush)
  1707. Welcome
  1708. Winterstilte (Winter Silence)
  1709. Notorious
  1710. The Pink Panther 2
  1711. The Spirit
  1712. The Square
  1713. Bottle Shock
  1714. Bolt
  1715. JCVD
  1716. Cronoscrimines (Time Crimes)
  1717. Valkyrie
  1718. Nick and Nora’s Infinite Playlist
  1719. Henry Poole is Here
  1720. The Broken
  1721. Battle in Seattle
  1722. Underworld: The Rise of the Lycans
  1723. Tokyo Sonata
  1724. The Punisher: War Zone
  1725. Who Killed Nancy?
  1726. My Bloody Valentine 3D
  1727. SIGNIS Film Reviews: January 2009
  1728. My Mom’s New Boyfriend
  1729. Lucky Miles
  1730. Marley and Me
  1731. Gabriel
  1732. Bride Wars
  1733. Monkey PUzzle
  1734. Doubt
  1735. Frost/Nixon
  1736. Defiance
  1737. Revolutionary Road
  1738. Roman de Gare
  1739. The Sisterhood of the Travelling Pants 2
  1740. Seven Pounds
  1741. Transsiberian
  1742. Garbage Warrior
  1743. Yes Man
  1744. The Grocer’s Son
  1745. Slumdog Millionaire
  1746. The Reader
  1747. Far North
  1748. Bedtime Stories
  1749. Beverley Hills Chihuahua
  1750. Newcastle
  1751. Fugitive Pieces
  1752. Gonzo, the Life and Times of Dr. Hunter S. Thompson
  1753. The Wrestler
  1754. A Bunch of Amateurs
  1755. Twilight
  1756. The Tale of Despereaux
  1757. Milk
  1758. The Curious Case of Benjamin Button
  1759. Australia
  1760. SIGNIS Film Reviews: December 2008
  1761. The Church in Transition: Doubt
  1762. Faintheart
  1763. Dean Spanley
  1764. Trade
  1765. The Stone of Destiny
  1766. Nordwand (North Face)
  1767. Love and Honour
  1768. Inkheart
  1769. The Day the Earth Stood Still
  1770. Choke
  1771. Madagascar Escape 2 Africa
  1772. My Best Friend’s Girl
  1773. The Secret Life of Bees
  1774. Quarantine
  1775. Summer
  1776. Julia
  1777. Four Christmases
  1778. Il Vento Va il Suo Giro (The Wind Blows Around)
  1779. Un Poco de Chocolade (A Little Bit of Chocolate)
  1780. Transporter 3
  1781. The Girl in the Park
  1782. Les Lignes du Sang (Rivals)
  1783. Bonneville
  1784. The Children
  1785. The Express
  1786. Lakeview Terrace
  1787. SIGNIS Film Reviews: October-November 2008
  1788. Body of Lies
  1789. The Oxford Murders
  1790. Flawless
  1791. Dialogue avec mon Jardinier (Conversations with My Gardener)
  1792. The Warlords
  1793. Easy Virtue
  1794. Fine, Totally Fine
  1795. Max Payne
  1796. Pride and Glory
  1797. Zach and Miri Make a Porno
  1798. Choking Man
  1799. The Baader Meinhof Complex
  1800. Scar 3D
  1801. W
  1802. Kit Kittredge: An American Girl
  1803. Quantum of Solace
  1804. High School Musical 3: Senior Year
  1805. Incendiary
  1806. Of Time and the City
  1807. Le Ring
  1808. A nyomozo (The Investigation)
  1809. Rumba
  1810. Saw V
  1811. Un Coeur Simple (A Simple Heart)
  1812. Non Pensarci (Don’t Think About It)
  1813. Eagle Eye
  1814. Igor
  1815. The Rocker
  1816. Free Jimmy
  1817. Young @ Heart
  1818. La Zona
  1819. Rachel Getting Married
  1820. Bigga than Ben
  1821. Vinyan
  1822. Nights in Rodanthe
  1823. City of Ember
  1824. Mirrors
  1825. Brideshead Revisited
  1826. Mutant Chronicles
  1827. The House Bunny
  1828. Fly Me to the Moon 3D
  1829. SIGNIS Statement: Brideshead Revisited and its Catholicism
  1830. SIGNIS Film Reviews: September 2008
  1831. Tropic Thunder
  1832. 88 Minutes
  1833. How to Lose Friends and Alienate People
  1834. Good Dick
  1835. Die Welle (The Wave)
  1836. Rocknrolla
  1837. Redbelt
  1838. Righteous Kill
  1839. The Foot Fist Way
  1840. Death Race
  1841. Bangkok Dangerous
  1842. Appaloosa
  1843. The Women
  1844. Taken
  1845. Eden Lake
  1846. Babylon AD
  1847. Live!
  1848. Burn After Reading
  1849. The Boy in the Striped Pyjamas
  1850. Disaster Movie
  1851. Myrin (Jar City)
  1852. Partition
  1853. The Strangers
  1854. Step-Brothers
  1855. SIGNIS Film reviews: August 2008
  1856. Puffball
  1857. Times and Winds (Bes Vakit)
  1858. The Wackness
  1859. Wild Child
  1860. Shoot on Sight
  1861. Daylight Robbery
  1862. El Cantante
  1863. Somers Town
  1864. You Don’t Mess with the Zohan
  1865. Get Smart
  1866. Ben X
  1867. College Road Trip
  1868. Hellboy II: the Golden Army
  1869. Man from Plains
  1870. Three and Out
  1871. Vexille
  1872. Angel
  1873. The Clone Wars
  1874. Miss Pettigrew Lives a Day
  1875. The Karamazovs
  1876. SIGNIS Statement: The X-Files: I Want to Believe
  1877. The Mummy: Tomb of the Dragon Emperor
  1878. CJ7
  1879. Make it Happen
  1880. Tropa de Elite (Elite Squad)
  1881. Renard et L’Enfant (The Fox and the Child)
  1882. The Love Guru
  1883. Cidade dos Homens (City of Men)
  1884. The X Files: I Want to Believe
  1885. Married Life
  1886. Cass
  1887. Blindsight
  1888. Paris
  1889. Before the Rains
  1890. Angus, Thongs and Perfect Snogging
  1891. Elle s’appelle Sabine (Her Name is Sabine)
  1892. Buddha Collapsed out of Shame
  1893. The Dark Knight
  1894. Baby Mama
  1895. Meet Dave
  1896. WALL.E
  1897. Donkey Punch
  1898. SIGNIS Film Reviews: July 2008
  1899. Journey to the Center of the Earth 3D
  1900. Mamma Mia
  1901. The Forbidden Kingdom
  1902. SIGNIS Film Reviews: June 2008
  1903. La Romance d’Astree et Celadon
  1904. Mad Detective
  1905. Mes Amis, Mes Amours
  1906. Kung Fu Panda
  1907. In Memory of My Father
  1908. Adulthood
  1909. El Bano del Papa (The Pope’s Toilet)
  1910. My Winnipeg
  1911. Les Femmes de l’Ombre (Female Agents)
  1912. Prince Caspian
  1913. Hancock
  1914. Wanted
  1915. Cassandra’s Dream
  1916. The Ruins
  1917. The Edge of Love
  1918. The Waiting Room
  1919. In Search of a Midnight Kiss
  1920. The Happening
  1921. The Incredible Hulk
  1922. Hors de Prix (Priceless)
  1923. Teeth
  1924. SIGNIS Film Reviews: Cannes 2008 Special Edition
  1925. The Escapist
  1926. Kamikaze Girls
  1927. Persepolis
  1928. Mongol
  1929. Ostrov (The Island)
  1930. Taxi to the Darkside
  1931. Balls of Fury
  1932. Mad Money
  1933. Anamorph
  1934. Filth: the Mary Whitehouse Story
  1935. Welcome Home Roscoe Jenkins
  1936. Sarkar Raj
  1937. Harold and Kumar Escape from Guantanomo
  1938. Caramel
  1939. Prom Night
  1940. Superhero Movie
  1941. Chemical Wedding
  1942. Indiana Jones and the Kingdom of the Crystal Skull
  1943. Sex and the City
  1944. Timber Falls
  1945. 24 City
  1946. Adoration
  1947. A Festa da Menina Morta (Dead Girl’s Feast)
  1948. Afterschool
  1949. Los Bastardos
  1950. Blindness
  1951. The Chaser
  1952. Che
  1953. Un Conte de Noel
  1954. Delta
  1955. Il Divo
  1956. Entre les Murs (The Class)
  1957. The Exchange (formerly Changeling)
  1958. La Frontiere de l’Aube (The Dawn Shore)
  1959. Gomorrah
  1960. The Good, the Bad and the Weird
  1961. Hunger
  1962. Johnny Mad Dog
  1963. Leonera (Lion’s Den)
  1964. Linha de Passe
  1965. Milh Hadha Al-Bahr (Salt of this Sea)
  1966. La Mujer sin Cabeza
  1967. My Magic
  1968. Ocean Flame
  1969. Versailles
  1970. De Ofrivilliga (Involuntary)
  1971. Palermo Shooting
  1972. Sanguepazzo (Wild Blood)
  1973. Serbis
  1974. Le Silence de Lorna (Lorna’s Silence)
  1975. Soi Cowboy
  1976. Surveillance
  1977. Synecdoche, New York
  1978. Tokyo!
  1979. UC Maymun (The Three Monkeys)
  1980. Ting Chi (Parking)
  1981. Tulpan
  1982. Two Lovers
  1983. Vicki Cristina Barcelona
  1984. La Vie Moderne
  1985. Waltz with Bashir
  1986. What Just Happened?
  1987. Wolke 9 (Cloud 9)
  1988. Bienvenue chez les Ch’its (Welcome to the Sticks)
  1989. The Black Balloon
  1990. Charlie Bartlett
  1991. Shutter
  1992. Tovarisch, I Am Not Dead
  1993. La Question Humaine (Heartbeat Detector)
  1994. Cashback
  1995. XXY
  1996. Where in the World is Osama Bin Laden?
  1997. Honeydripper
  1998. Un Secret
  1999. The Air I Breathe
  2000. SIGNIS Films Reviews: April 2008
  2001. The Eye
  2002. Speed Racer
  2003. What Happens in Vegas
  2004. Stop-Loss
  2005. [Rec.]
  2006. Iron Man
  2007. Manufacturing Landscapes
  2008. Made of Honour
  2009. Doomsday
  2010. In Bruges
  2011. Pathology
  2012. Street Kings
  2013. One Missed Call
  2014. P2
  2015. My Enemy’s Enemy
  2016. Nim’s Island
  2017. 21
  2018. Leatherheads
  2019. Flashbacks of a Fool
  2020. Deception
  2021. Fool’s Gold
  2022. Gone Baby Gone
  2023. Forgetting Sarah Marshall
  2024. The Mourning Forest
  2025. Boarding Gate
  2026. Death Defying Acts
  2027. Ballast
  2028. The Visitor
  2029. Smart People
  2030. The Mist
  2031. The King of California
  2032. Funny Games U.S.
  2033. Son of Rambow
  2034. Awake
  2035. How She Move
  2036. My Brother is an Only Child
  2037. Drillbit Taylor
  2038. First Sunday
  2039. The Go Master
  2040. Run, Fatboy, Run
  2041. The 11th Hour
  2042. Meet the Spartans
  2043. Lars and the Real Girl
  2044. The Spiderwick Chronicles
  2045. Step Up 2: The Streets
  2046. The Orphanage (El Orfanato)
  2047. Love in the Time of Cholera
  2048. Dr Seuss’s Horton Hears a Who
  2049. SIGNIS Film Reviews: March 2008
  2050. L’heure Zero (Towards Zero)
  2051. Avril
  2052. Sous Les Bombes (Under the Bombs)
  2053. Children of Glory
  2054. Out of the Blue
  2055. Miss Austen Regrets
  2056. Assembly
  2057. The Cottage
  2058. Beaufort
  2059. 10,000 BC
  2060. Vantage Point
  2061. Four Minutes (Vier Minuten)
  2062. La Grain et le mulet (The Secret of the Grain)
  2063. George A. Romero’s Diary of the Dead
  2064. Garage
  2065. Fade to Black
  2066. The Accidental Husband
  2067. The Baker
  2068. The Bank Job
  2069. The Bucket List
  2070. Mang Shan (Blind Mountain)
  2071. Mister Lonely
  2072. Rambo
  2073. Semi-Pro
  2074. Untraceable
  2075. Waz
  2076. SIGNIS Film Reviews: Berlin 2008 Special Edition
  2077. Tirador (Slingshot)
  2078. 3 Zan (3 Women)
  2079. Tatil Katibi (Summer Book)
  2080. Standard Operating Procedure
  2081. Sleep Dealer
  2082. Restless
  2083. The Other Boleyn Girl
  2084. Night and Day (Bam Gua Nat)
  2085. Man Jeuk (Sparrow)
  2086. Lemon Tree
  2087. Lady Jane
  2088. Katyn
  2089. Kabei - Our Mother
  2090. Jesus Christus Erloser (Jesus Christ Saviour)
  2091. Jerusalema
  2092. Il y a longtemps que je t’aime (I Have Loved You for So Long)
  2093. Hey Hey It’s Esther Blueburger
  2094. Happy-Go-Lucky
  2095. Fireflies in the Garden
  2096. Feuerherz (Heart of Fire)
  2097. Elegy
  2098. Dream Boy
  2099. Derek
  2100. Corroboree
  2101. Caos Calmo (Quiet Chaos)
  2102. Boy A
  2103. Be Kind Rewind
  2104. Balikbayan Box
  2105. Black Water
  2106. Jumper
  2107. SIGNIS Film Reviews: February 2008
  2108. There Will Be Blood
  2109. Juno
  2110. Definitely, Maybe
  2111. The Forest of Death
  2112. The Professor and his Beloved Equation
  2113. The Water Horse
  2114. Time to Die
  2115. The Matrimony
  2116. Penelope
  2117. Anche Libero va bene (Across the Ridge)
  2118. Le Scaphandre et Le Papillon (The Diving Bell and the Butterfly)
  2119. Margot at the Wedding
  2120. Things We Lost in the Fire
  2121. Over Her Dead Body
  2122. Italianetz (The Italian)
  2123. Cloverfield
  2124. Battle for Haditha
  2125. The Savages
  2126. Desaccord Parfait (Twice on a Lifetime)
  2127. Ensemble, C’est Tout (Hunting and Gathering)
  2128. Clubland
  2129. The Final Winter
  2130. Footy Legends
  2131. The Good Night
  2132. Kokoda
  2133. Sweeney Todd: the Demon Barber of Fleet Street
  2134. September
  2135. Asterix at the Olympic Games
  2136. St Trinians
  2137. Walk Hard: the Dewey Cox Story
  2138. Underdog
  2139. Charlie Wilson’s War
  2140. SIGNIS Film Reviews: January 2008
  2141. Alien versus Predator: Requiem
  2142. Dan in Real Life
  2143. PS I Love You
  2144. Before the Devil Knows You’re Dead
  2145. Romulus, My Father
  2146. Rogue
  2147. National Treasure: Book of Secrets
  2148. I Am Legend
  2149. Closing the Ring
  2150. The Man in the Chair
  2151. The Game Plan
  2152. The Bet
  2153. 27 Dresses
  2154. As It Is In Heaven
  2155. Arctic Tale
  2156. Youth without Youth
  2157. Mr Magorium’s Wonder Emporium
  2158. Weirdsville
  2159. My Kid Could Paint That
  2160. Infinite Justice
  2161. Chromophobia
  2162. Anna M
  2163. Bella
  2164. The Bee Movie
  2165. He Was a Quiet Man
  2166. SIGNIS Statement: The Golden Compass
  2167. 30 Days of Night
  2168. Brick Lane
  2169. Enchanted
  2170. A Very British Gangster
  2171. Code Name: The Cleaner
  2172. I’m Not There
  2173. SIGNIS Film Reviews: November 2007
  2174. Pret-moi la main (I Do)
  2175. Talk to Me
  2176. Rescue Dawn
  2177. Shrooms
  2178. Fred Claus
  2179. Hitman
  2180. This Christmas
  2181. August Rush
  2182. You Kill Me
  2183. Stellet Licht
  2184. Silk
  2185. Into the Wild
  2186. The Lookout
  2187. Good Luck Chuck
  2188. Beowulf
  2189. I Served the King of England
  2190. The Jane Austen Book Club
  2191. Redacted
  2192. The Magic Flute
  2193. American Gangster
  2194. The Assassination of Jesse James by the Coward Robert Ford
  2195. Lions for Lambs
  2196. SIGNIS Statement: Elizabeth - The Golden Age
  2197. Once
  2198. Black Sheep
  2199. Nancy Drew
  2200. Mr Brooks
  2201. The Last Legion
  2202. Resident Evil: Extinction
  2203. The Invasion
  2204. Razzle Dazzle
  2205. Interview
  2206. Stardust
  2207. Rendition
  2208. Ratatouille
  2209. The Nines
  2210. In the Valley of Elah
  2211. The Hunting Party
  2212. Eastern Promises
  2213. The Dark is Rising
  2214. The Darjeeling Limited
  2215. Daddy Day Camp
  2216. Blame it on Fidel
  2217. SIGNIS Film Reviews: October 2007
  2218. Rocket Science
  2219. Shoot ’em Up
  2220. Mr Woodcock
  2221. Across the Universe
  2222. Halloween
  2223. Sleuth
  2224. Death at a Funeral
  2225. Syndromes and a Century
  2226. Lust, Caution
  2227. It’s a Free World
  2228. War
  2229. The Nanny Diaries
  2230. And When Did You Last See Your Father
  2231. Control
  2232. Dnevnoy Dozor (Day Watch)
  2233. Feast of Love
  2234. The Heartbreak Kid
  2235. Hot Rod
  2236. I Now Pronounce You Chuck and Larry
  2237. The Kingdom
  2238. The Brave One
  2239. Die Falscher (The Counterfeiters)
  2240. In Memoria di Me
  2241. Takva
  2242. Superbad
  2243. Le Serpent
  2244. Michael Clayton
  2245. Irina Palm
  2246. Georgia Rule
  2247. The Ex (Fast Track)
  2248. SIGNIS Films Reviews: August/September 2007
  2249. Atonement
  2250. 3:10 to Yuma
  2251. No Reservations
  2252. Death Sentence
  2253. 1408
  2254. December Boys
  2255. 2 Days in Paris
  2256. Year of the Dog
  2257. Buy it Now
  2258. Quelques Jours en Septembre
  2259. Hallam Foe
  2260. We are all Christs (Wszyscy Jestesmy Chrystusami)
  2261. Sugarhouse
  2262. Waitress
  2263. Seraphim Falls
  2264. Lady Chatterley
  2265. Knocked Up
  2266. Evening
  2267. Eagle vs Shark
  2268. 12.08, East of Bucharest
  2269. The Bourne Ultimatum
  2270. Sparkle
  2271. Bratz the Movie
  2272. Ecoute le temps
  2273. Mee Shee: the Water Giant
  2274. Marigold
  2275. Copying Beethoven
  2276. Surf’s Up
  2277. Rush Hour 3
  2278. License to Wed
  2279. Happily N’Ever After
  2280. Wind Chill
  2281. SIGNIS Film Reviews: June-July 2007
  2282. Tales from Earthsea
  2283. Gandhi my Father
  2284. Evan Almighty
  2285. The Hoax
  2286. I Have Never Forgotten You: the Life and Legacy of Simon Wiesenthal
  2287. Transformers
  2288. In the Land of Women
  2289. The Walker
  2290. The Simpsons Movie
  2291. Disturbia
  2292. Daratt
  2293. Macbeth
  2294. The Priestess
  2295. The Lark Farm
  2296. Harry Potter and the Order of the Phoenix
  2297. Hairspray
  2298. A Story of People in War and Peace
  2299. Screamers
  2300. SIGNIS Statement: Sinner
  2301. The War on Democracy
  2302. Die Hard 4.0
  2303. Dead Silence
  2304. The Flying Scotsman
  2305. Hostel 2
  2306. Sketches of Frank Gehry
  2307. Shrek the Third
  2308. Grow Your Own
  2309. Ne le dis a personne (Tell No One)
  2310. Lucky You
  2311. Captivity
  2312. PTU
  2313. The Fantastic Four: Rise of the Silver Surfer
  2314. Water
  2315. Vacancy
  2316. Are We Done Yet?
  2317. Frankie
  2318. SIGNIS Film Reviews: Cannes 2007 Special Edition
  2319. SIGNIS Film Reviews: May 2007
  2320. SIGNIS Film Reviews: April 2007
  2321. The Wild Blue Yonder
  2322. Messages
  2323. Black Gold
  2324. Nuovomondo (Golden Door)
  2325. Turistas (Paradise Lost)
  2326. Je Suis Pas La Pour Etre Aime (Not Here to be Loved)
  2327. The Tiger’s Tail
  2328. Oceans 13
  2329. Pirates of the Caribbean 3: At World’s End
  2330. The Chumscrubber
  2331. The City of Violence
  2332. The Hitcher
  2333. We Own the Night
  2334. Naissance des Pieuvres (Water Lilies)
  2335. Une Vielle Maitresse (An Old Mistress)
  2336. Triangle
  2337. Terror’s Advocate
  2338. Tehilim
  2339. La Soledad
  2340. Sicko
  2341. Secret Sunshine
  2342. Savage Grace
  2343. Paranoid Park
  2344. No Country for Old Men
  2345. My Blueberry Nights
  2346. Munruyangabo
  2347. A Mighty Heart
  2348. The Man from London
  2349. Import/Export
  2350. Go Go Tales
  2351. The Flight of the Red Balloon (Le Voyage de Ballon Rouge)
  2352. Death Proof
  2353. Les Chansons d’Amour (Love Songs)
  2354. Chacun Son Cinema
  2355. Centochiodi (A Hundred Nails)
  2356. Breath (Soom)
  2357. Boxes
  2358. The Banishment
  2359. The Band’s Visit
  2360. Auf der Anderen Seite (The Edge of Heaven)
  2361. Apres Lui
  2362. Alexandra
  2363. L’Age des Tenebres (The Age of Ignorance)
  2364. 4 Months, 3 Weeks & 2 Days
  2365. Lovewrecked
  2366. Conversations with Other Women
  2367. Like Minds
  2368. Mon Meilleur Ami (My Best Friend)
  2369. Dans Paris
  2370. 28 Weeks Later
  2371. Black Snake Moan
  2372. Spiderman 3
  2373. La Noche de los Girasoles (The Night of the Sunflowers)
  2374. Goya’s Ghosts
  2375. Beyond the Gates of Splendor
  2376. End of the Spear
  2377. Goodbye Bafana
  2378. The Breed
  2379. This is England
  2380. The Painted Veil
  2381. The Last Mimzy
  2382. Next
  2383. Reno 911!: Miami
  2384. Straightheads
  2385. Away from Her
  2386. Scott Walker: 30 Century Man
  2387. The Puffy Chair
  2388. Fracture
  2389. Fur: an Imaginary Portrait of Diane Arbus
  2390. The Jesus Project
  2391. Half Nelson
  2392. The Pathfinder: An Untold Legend
  2393. The Reaping
  2394. Reign over me
  2395. Son of Man
  2396. Perfect Stranger
  2397. Edmond
  2398. La Mome (La Vie en Rose)
  2399. Unknown
  2400. Shooter
  2401. Provoked (Provoked: a True Story)
  2402. Das Leben der Anderen (The Lives of Others)
  2403. One Night with the King
  2404. Wild Hogs
  2405. The Bridge to Terabithia
  2406. SIGNIS Film Reviews: February/March 2007
  2407. Meet the Robinsons
  2408. Sunshine
  2409. Blades of Glory
  2410. The Messengers
  2411. The Namesake
  2412. Curse of the Golden Flower
  2413. Stomp the Yard
  2414. Stay (Sleeping Dogs)
  2415. Mr Bean’s Holiday
  2416. The Hills Have Eyes II
  2417. Factory Girl
  2418. Deliver Us from Evil: SIGNIS Statement
  2419. Catch a Fire
  2420. L’Amico di famiglia (The Family Friend)
  2421. The Last Sineater
  2422. Catch and Release
  2423. Amazing Grace
  2424. TMNT (Teenage Mutant Ninja Turtles)
  2425. I Want Candy
  2426. The Ultimate Gift
  2427. Premonition
  2428. Sherrybaby
  2429. Facing the Giants
  2430. Breach
  2431. Zodiac
  2432. Sheitan
  2433. The Astronaut Farmer
  2434. Outlaw
  2435. After the Wedding (Efter Brylluppet)
  2436. Norbit
  2437. Becoming Jane
  2438. The Good German
  2439. Gone
  2440. Kardia
  2441. Music and Lyrics
  2442. 300
  2443. Bamako
  2444. Hot Fuzz
  2445. Eklavya: the Royal Guard
  2446. Middletown
  2447. A Guide to Recognising Your Saints
  2448. Alpha Dog
  2449. Material Girls
  2450. Inland Empire
  2451. Fauteuils d’Orchestre (Orchestra Seats)
  2452. The Number 23
  2453. Because I Said So
  2454. School for Scoundrels
  2455. Arthur and the Invisibles (Arthur et les Minimoys)
  2456. Blood and Chocolate
  2457. Goal 2! Living the Dream
  2458. Hannibal Rising
  2459. Epic Movie
  2460. The Reef
  2461. The Good Shepherd
  2462. Ghost Rider
  2463. SIGNIS Film Reviews: January 2007
  2464. Dreamgirls
  2465. Notes on a Scandal
  2466. Letters from Iwo Jima
  2467. Kenny
  2468. Welcome to Dongmakgol
  2469. The Last King of Scotland
  2470. For Your Consideration
  2471. Irresistible
  2472. Little Red Flowers
  2473. The Illusionist
  2474. Freedom Writers
  2475. Smokin’ Aces
  2476. Ghosts
  2477. Venus
  2478. Flyboys
  2479. Ils (Them)
  2480. Suburban Mayhem
  2481. Gridiron Gang
  2482. Miss Potter
  2483. The Return
  2484. Zwartboek (Black Book)
  2485. Charlotte’s Web
  2486. Flicka
  2487. Boytown
  2488. The Fountain
  2489. Bobby
  2490. 3 Needles
  2491. Last Train to Freo
  2492. Scoop
  2493. La Doublure (The Valet)
  2494. SIGNIS Film Reviews: December 2006
  2495. Flags of our Fathers
  2496. Night at the Museum
  2497. Rocky Balboa
  2498. Perfume: the Story of a Murderer
  2499. Zoom
  2500. Kabul Express
  2501. It’s a Boy/Girl Thing
  2502. Employee of the Month
  2503. "The Nativity Story" Seen from the Philippines
  2504. Running With Scissors
  2505. Blood Diamond
  2506. Unaccompanied Minors (Grounded)
  2507. Eragon
  2508. Deja Vu
  2509. Black Christmas
  2510. SIGNIS Film Reviews: November 2006
  2511. A Prairie Home Companion
  2512. The Pursuit of Happyness
  2513. Apocalypto
  2514. The Holiday
  2515. Frostbiten (Frostbite)
  2516. London to Brighton
  2517. Die Grosse Stille (Into Great Silence)
  2518. Happy Feet
  2519. Jackass Number Two
  2520. Deck the Halls
  2521. The Covenant
  2522. Suburban Mayhem
  2523. Zemastan (It’s Winter)
  2524. Pan’s Labyrinth
  2525. Shortbus
  2526. Tenacious D and the Pick of Destiny
  2527. The Santa Clause 3: The Escape Clause
  2528. Flushed Away
  2529. Stranger Than Fiction
  2530. Big Nothing
  2531. All the Invisible Children
  2532. Antikorper (Antibodies)
  2533. Twelve and Holding
  2534. The Nightmare Before Christmas 3D
  2535. Breaking and Entering
  2536. Heroes and Villains
  2537. Special (RX) Specioprin Hydrochloride
  2538. Casino Royale
  2539. Puritan
  2540. The Host (Gue-Mool)
  2541. The Prestige
  2542. Waist Deep
  2543. Little Children
  2544. The Nativity Story
  2545. Earthlings (Ugly Bags of Mostly Water)
  2546. All the King’s Men
  2547. The Last Kiss
  2548. Saw III
  2549. Mischief Night
  2550. Borat Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
  2551. Sixty Six
  2552. The Great Ecstasy of Robert Carmichael
  2553. Gypo
  2554. La Tourneuse de Pages (The Page Turner)
  2555. Peaceful Warrior
  2556. Driving Lessons
  2557. Wordplay
  2558. SIGNIS Film Reviews: October 2006
  2559. Idlewild
  2560. The Grudge 2
  2561. Stick It
  2562. New Police Story
  2563. Step Up
  2564. Infamous
  2565. The History Boys
  2566. Tais Toi (Shut Up)
  2567. Starter for Ten
  2568. Open Season
  2569. The Texas Chainsaw Massacre: The Beginning
  2570. The Aryan Couple
  2571. Scenes of a Sexual Nature
  2572. A Good Year
  2573. The Guardian
  2574. SIGNIS Film Reviews: September 2006
  2575. Quinceanera (Echo Park LA)
  2576. Man Push Cart
  2577. Accepted
  2578. The Departed
  2579. Johanna
  2580. Life and Lyrics
  2581. Nina’s Heavenly Delights
  2582. Hoodwinked
  2583. DOA: Dead or Alive
  2584. A Guide to Recognising Your Saints
  2585. Kekexili (Mountain Patrol)
  2586. Click
  2587. Dirty Sanchez - the Movie
  2588. Keane
  2589. The U.S. vs. John Lennon
  2590. Hollywoodland
  2591. Clerks II
  2592. An Inconvenient Truth
  2593. Talladega Nights: the Ballad of Ricky Bobby
  2594. Snow Cake
  2595. Little Miss Sunshine
  2596. The Wicker Man
  2597. The Devil Wears Prada
  2598. SIGNIS Film Reviews: August 2006
  2599. World Trade Center
  2600. The Black Dahlia
  2601. Children of Men
  2602. The Queen
  2603. The Sentinel
  2604. Crank
  2605. This Film is not yet Rated
  2606. The Benchwarmers
  2607. Over the Hedge
  2608. Severance
  2609. Adrift
  2610. Marilyn Hotchkiss’ Ballroom Dancing and Charm School
  2611. You, Me and Dupree
  2612. Right at Your Door
  2613. Snakes on a Plane
  2614. Akeelah and the Bee
  2615. Harsh Times
  2616. A Scanner Darkly
  2617. John Tucker Must Die
  2618. Tideland
  2619. Monster House
  2620. Garfield 2: A Tale of Two Kitties
  2621. The Death of Mr Lazarescu
  2622. Bee Season
  2623. Angel-A
  2624. Ellie Parker
  2625. C.S.A. The Confederate States of America
  2626. Warrior-King
  2627. Alpha Male
  2628. Wilderness
  2629. The Night Listener
  2630. Lady in the Water
  2631. Nacho Libre
  2632. Tarfaya
  2633. Paper Clips
  2634. 11:14
  2635. Cars
  2636. Stay Alive
  2637. The Break-Up
  2638. My Super Ex-Girlfriend
  2639. The Notorious Bettie Page
  2640. Trust the Man
  2641. Miami Vice
  2642. Who Killed the Electric Car?
  2643. Omkara
  2644. The Ant Bully
  2645. SIGNIS Film Reviews: June/July 2006
  2646. Ultraviolet
  2647. The Thief Lord
  2648. District 13 (Banlieue 13)
  2649. Fearless
  2650. Half Light
  2651. Hard Candy
  2652. Imagine You and Me
  2653. The Fast and the Furious: Tokyo Drift
  2654. Dumplings
  2655. Curious George
  2656. 36 Quai des Orfevres
  2657. Aquamarine
  2658. The Lake House
  2659. Thank You for Smoking
  2660. Superman Returns
  2661. Vers le Sud (Heading South)
  2662. Pirates of the Caribbean: Dead Man’s Chest
  2663. Stormbreaker
  2664. An Unfinished Life
  2665. Love + Hate
  2666. Ju On 2 (The Grudge 2)
  2667. Secuestro Express
  2668. El Lobo (The Wolf)
  2669. Little Manhattan
  2670. Poseidon
  2671. Friends with Money
  2672. X Men 3: The Last Stand
  2673. Forty Shades of Blue
  2674. Just My Luck
  2675. The Cave of the Yellow Dog
  2676. Reeker
  2677. Pretty Persuasion
  2678. King Kong
  2679. Ask the Dust
  2680. Wah Wah
  2681. Voces Innocentes (Innocent Voices)
  2682. RV
  2683. Best Wishes! (Czech Republic)
  2684. SIGNIS Statement: The Omen
  2685. SIGNIS Film Reviews: Cannes 2006 Special Edition
  2686. 2:37
  2687. Babel
  2688. The Caiman
  2689. Cronica de una Fuga
  2690. Fast Food Nation
  2691. Flanders
  2692. Climates
  2693. Indigènes
  2694. Jindabyne
  2695. Lights in the Dusk
  2696. Marie Antoinette
  2697. Paris je t’aime
  2698. Red Road
  2699. Southland Tales
  2700. Volver
  2701. Summer Palace
  2702. Ten Canoes
  2703. El Violin
  2704. The Wind that Shakes the Barley
  2705. Z Odzysku (Retrieval)
  2706. Shooting Dogs

Berlinale 2016: SIGNIS Reviews

Berlin, March, 3rd, 2016 (Peter Malone). Below, you will find reviews of film presented at the Berlinale 2016.


  • 24 WOCHEN/ 24 WEEKS - Competition

Germany, 2016, 104 minutes, Colour.
Julia Jentsch, Bjarne Madel, Joanna Gastdorf, Emilia Pieske.
Directed by Anna Zohra Berrached.

This is one of those films that takes on a very difficult topical issue, that of the termination of pregnancy, a controversial issue which can divide audiences, Pro-life, Pro-choice. But, it is a film that should be recommended to campaigners on both sides. It is one of those films that is able to present a variety of points of view, challenging audiences in their firm beliefs and opening up possibilities of thinking in other directions.

American Archbishop Rembert Weakland once said that he could not write a pastoral letter on this kind of issue for his diocese of Milwaukee unless he had spent a year experiencing with a variety of people the reality of the issues under consideration in 24 Weeks is the kind of film that is essential for this kind of consultation.

It is a German production, featuring talented actress Julia Jentsch (once upon a time the leading role as Sophie Scholl). This time she is Astrid, a stand-up comedian, very popular with audiences, especially women, and at the beginning of the film, obviously pregnant – which she is also able to chat about. She is not married to her partner, Markus, but the film shows they have an extraordinary love and devotion towards each other, sharing everything and, ultimately, differences of opinion about abortion but each standing by the other.

The film takes a tragic turn when the parents are told by the doctors that their child has Downs Syndrome. They make a decision to keep the child and visit centres with Downs Syndrome children and adults, enjoying the visit, sharing the concern with the Downs children, joining in an exuberant dance night. However, the couple’s eight-year-old boy is rather repelled by the idea of having a Downs Syndrome brother.

Family and friends seem to be able to accept the news, Astrid’s mother offering support and being invited to live in, especially to the benefit of their son.

Further visits to the doctors indicate that the baby has two holes in the heart. Explanations are given about the nature of the surgery required and the prospects. This is where the idea of termination becomes quite significant. The father is against abortion, being accused of having some Christian guilt, but not feeling that it was right to kill a child and that he had a responsibility as well as his pregnant wife.

Astrid seriously considers the termination, goes to a hospital, sees a child in an incubator and touches it. She consults the doctors about the nature of termination and the details of the procedure – which are shared with the audience, no holds barred. Astrid also has a discussion with the midwife who assists in the procedures, sympathetic but leaving it to Astrid’s judgement about what is to be done and what would happen concerning the body of the child, the induced birth procedure, the holding of the baby or not…

The film makes a case for not terminating. The film also makes the case about the quality of life of the child if it comes to term and has to experience a great deal of surgery (the parents and the audience by this stage have almost forgotten Downs Syndrome).

The film stresses that this is most significant for the mother, her empathy with her infant in the womb, alive and kicking.

Astrid, at the end, goes on radio to make a statement. But in the noise from the audience as the film moves to the final credits, many will probably miss a key moment, the very last words in the film, whispered by Astrid: “I miss you”.

This film could be an important contribution to discussions about abortion and termination and the repercussions for mother, father, infant.

  • ALONE IN BERLIN - Competition

Germany/UK, 2016, 97 minutes, Colour.
Emma Thompson, Brendan Gleeson, Daniel Bruehl.
Directed by Vincent Perez.

Alone in Berlin pays tribute to a middle-aged couple and their private (and small) resistance to the Nazi government and to Hitler during the early years of the war. The screenplay is an adaptation of a popular novel about the couple.

The film is quite an international mixture, perhaps disconcerting for German audiences to see strongly German characters as well as police and Nazi officials all speaking in English – but that is the way of the commercial world, so many international directors making their films in English. Perhaps surprisingly, this film was directed by French actor, Vincent Perez, best known for his romantic and, sometimes, swashbuckling roles like Queen Margot and Fanfan La Tulipe.

The film opens with a very young German soldier running through the forest for his life, pursued by the Resistance, shot by them, lying dead in the field gazing towards the sky only for his soldiers to attack and run-off the Resistance.

In Berlin, there is a certain amount of public elation with the prospect of the defeat of France and the hope of the defeating England by the end of the year and Germany becoming the greatest and richest country in Europe. People are joyful in the streets.

A postmistress on her bike, seemingly friendly with authorities, of being seen to be kind towards people in the apartment block, especially to an elderly Jewish lady, delivers the letter to the parents of the young man, who died in giving his life for his country.

It is his parents who are the focus of the story, Anna and Otto, played very seriously and with dignity by Emma Thompson and Brendan Gleeson. Anna is an ordinary housewife although she belongs to the union of mothers, even having to confront the wife of an official who claimed an exception to war wives working. Otto, or on the other hand, is a foreman in a factory with further demands being made for Hitler himself and for the war effort, Hitler demanding increased quotas. Otto does not belong to the Nazi party and, when challenged, says he gave to the Fuehrer his greatest possession, his son.

But the key thing about Otto and Anna is that Otto decides to write, disguising his handwriting, messages on the back of postcards, telling mothers that their sons would be sacrificed, denouncing Hitler and claiming a free press. Quietly, he places the letters in various strategic points – almost 300 of them with 275 being handed in to the authorities. He hopes he can make some difference in awareness. Anna works with him, helping with some of the deliveries.

In the meantime, Gestapo authorities are not happy with this spate of cards and the police chief, Daniel Bruehl, is commissioned to find the culprit, who is nicknamed Hobgoblin because of his evasive tactics. There is a subplot with one of the police officers coming to Otto’s building to apprehend the old Jewish widow whom local burglars had robbed, but she had given been some help by the couple and by a kindly but outwardly severe judge.

It is the same police who are charged with finding the card-writer. Eventually, the ex-husband of the postmistress is apprehended, tortured, proven to be not the culprit but, under pressure from the Gestapo, the policeman kills him claiming that it was suicide.

Otto and Anna are quite stoic in their continued mission of their card writing and delivery. However, they know it will only be some time before they are apprehended.

The film shows the interrogation of Otto, some brutality, especially the congratulatory-toasting officials smashing their glasses on his head. The results are inevitable, Otto seeming to accept that he would be condemned and executed but had decided that this is what he had to do during the war. Anna shares this.

There is a symbolic ending with the cards fluttering again down from the building onto the streets – and the sad acknowledgement of what he had done by the policeman, somehow admiring Otto, promising to release and but failing to – and experiencing some kind of disillusionment, especially after he was bashed in the face by the Gestapo chief, and remorse.

  • ALOYS - Panorama

Switzerland, 2016, 91 minutes, Colour.
Georg Friedrich, Tilde von Overbeck, Karl Friedrich.
Directed by Tobias Nolle.

This is a film from German Switzerland, and the director has stated that people from this part of the country have a sense of isolation in their own country. The central character, Aloys, it is something a symbol of this mentality – although he is played by an Austrian actor (and his father in the film is played by his actual father).

The plot requires a great deal of concentration. Seems straightforward at first,

Aloys is upset at the death of his father, though he later sees him in different circumstances. He is alone, a photographer, with his video footage.

But the main theme of the film is what happens to Aloys in his real life and in his mind, especially concerning a young woman who seems to be a creation of his mind but also exists in real life.

Ultimately, this is a film about loneliness, aloneness, the need for relationship, a film about mental and emotional instability.


France, 2016, 100 minutes, Colour.
Isabelle Huppert, Andre Marcon, Roman Kolinka, Edith Scob.
Directed by Mia Hansen-Love.

Mia Hansen-Love is a French director who has made an impact with the films, Goodbye, First Love and Eden. This time the protagonists of her drama are much older, teachers at college level and graduate students. It is also a star vehicle for Isabelle Huppert, star billing for almost 40 years, who has sustained star billing and continues to be a dominant European actress.

This is also a film whose screenplay will please audiences who take philosophy seriously. Nathalie, Isabelle Huppert, loves philosophy, teaching, reading, discussing, comparing notes with her husband. This gives the opportunity for the naming of several philosophers, student discussions about issues, and many references to classic philosophers in the French tradition like Rousseau, Pascal and Chateaubriand.

The couple have two adult children who are not so interested in philosophy and become supportive of their mother when the 25 years of marriage break, to Nathalie’s shock. However, she seems to calmly have discussions with her husband, with her children. One complication is the constant harassment from her mother who is growing old quite ungracefully, leaning on her daughter. It is of interest that when the mother dies, Nathalie has a discussion with the parish priest who listens attentively so that he can prepare a suitable eulogy for the mother, raises issues of faith, religious practice – and Nathalie herself uses quotations from Pascal about faith and doubt, significant in France’s secular society.

The other aspect of the film is Nathalie’s friendship with a former student whom she promotes, assists in the publication of his essays – although, she has to have sessions with new marketing experts at the publishing house who are influenced by the move away from books to the Internet, away from the plain presentation of text to images and gimmicks to promote works. The student who admires her decides to move into a commune in the Alps and Nathalie pays several visits, especially with her mother’s cat who causes a amount of mischief. It is interesting that the screenplay does not take its audience in the direction of the romance of the older woman with the young man, the student having his own girlfriend.

This is a story with a love for philosophy, reflecting on ageing, memories of the past, happiness and regrets, the courage to continue living despite setbacks and drawing on one’s own resources to keep going.


Canada, 2016, 93 minutes, Colour.
James Hyndman, Simone Elisethe, Girard, Denis Lavant.
Directed by Denis Cote.

A film from French-speaking Canada, a drama about the businessman, his politician-wife who is some physical and mental collapse, and how they will handle this unusual situation.

James independent is a strong presence as pompous, Russian background, the successful businessman, with a large factory, having to deal with his wife situation but not unwilling to take on some sexual consultation on the side. To that extent, the picture of Boris and Berenice’s straightforward.

What makes the difference for this film is the presence of a stranger, played by French actor Dennis and, who appears at different times but who is a key scene where he tells a story from Greek mythology, that of Tantalus, successful in winning favour with the gods who oversteps his mark and experiences and downfall.

To this extent, the story of Boris, with and without Berenice, is clearly Tantalus allegory.


Portugal, 2016, 105 minutes, Black and white.
Miguel Nunes, Margarita Vila-Nova.
Directed by Ivo Ferreira.

While this is a war film, specifically the war in Angola in the 1970s, the clash between Portugal and its colony, Angola, there is not a great deal of war action in the film, some mines, some shooting, some interrogations, rebuilding a bridge for a trip to pass over…

And, of course, in the 21st century, there are questions about Portugal’s colonial past, its propaganda that everybody in the colonies should feel themselves Portuguese.

The title indicates something of the tone of the film. There are some moments of being disconcerted at the opening when we eventually realise that the letters by the man from the war are read aloud in voice-over by his wife, while her letters to him a read by him – except for the very last one, his imploring his wife and daughter to come to be close to him in Angola.

The film is very much an art house film, photographed evocatively in black and white, relying a great deal on the spoken word, so many letters revealing the characters and what was going on in the war effort in Angola. Some audiences will be very taken, while others will not be taken at all, by an episode in the middle of the film, running for several minutes, while the husband indulges in a very large series of metaphors, some sublime, some very mundane, to express his love for and appreciation of his wife. (and there is something of a reprisal of this poetic outburst towards the end of the film).

The central character is a young doctor, commissioned for a kind of national service for two years, working as a soldier but also as the doctor on a base, caring for wounds after action, but also caring psychologically for some of the soldiers, one of whom, a friend, is desperate for the doctor to find some illness in him so that he can be sent back. The doctor is not compliant and there is a brief but somewhat overwhelming moment, the soldier naked, taking his gun, hurrying out into the bush and a shot firing.

Morale amongst the man is uneven, the doctor playing chess with the captain, the other men talking about their lives and families, no sight of a chaplain at all. The isolation and all male company leads to some tension, some moments of rape, and, reminiscent of Apocalypse Now, the men’s reaction to two young singer dancers from Portugal for the men’s libidinous energy and release. In the meantime, the doctor continues to profess devotion to his wife.

Time passes, everything is rather repetitious, the audience has no real idea of who the enemy is or why. At one stage a little girl is rescued after her parents’ death and the doctor considers adopting her – only for her grandfather to arrive and take her away.

As the first year passes, slowly, and there is some celebration of Christmas, the doctor is also on the verge of some traumatic stress, but the hope of is, as the moon rises evocatively, that wife and daughter will come to join him and they will be able to have something of a life.

And, to this extent, the film is anti-war and anti-colonial.

  • CHI-RAQ - Out of Competition

US, 2015, 130 minutes, Colour.
Nick Cannon, Teyonah Parris, Wesley Snipes, Angela Bassett, Samuel L.Jackson, John Cusack, Jennifer Hudson, David Patrick Kelly, D.B.Sweeney, Dave Chappelle, Steve Harris, Harry Lennix.
Directed by Spike Lee.

For almost 30 years, Spike Lee has been an angry film maker. It has been very evident in so many of his films that he is concerned about race issues, even calling his production company 40 Acres and a Mule, with its reference to the value of African Americans. His 1989 Do The Right Thing has become and remains a classic.

Spike Lee’s career has included documentaries and features. This film combines something of both, a very serious look at the gun culture amongst African-Americans in the city of Chicago, with a slang name Chi-Raq, that is somewhat documentary like. But it is also a fiction film and is based on Aristophanes’ play, Lysistrata, the story where the wives go on marital strike to force their husbands to give up their violence and achieve some peace. Lee takes full advantage of the Greek comic origins of his film and the potential for stylising it.

The central female character in the film is called Lysistrata and she is in a relationship with Chi-Raq, the leader of a gang who also is a musician and performs at a local club. He is played by Nick Cannon and Lysistrata by Teyona Parris. The head of the rival gang, Cyclops, is played by Wesley Snipe. Highlighting the stylised Greek origins is the role of Samuel L. Jackson as a kind of chorus, dressed in loud, almost pimp-like clothes, wandering around Chicago, addressing the audience, moving the action along, making moral observations – with the touch of humour and often with a touch of cynicism.

Some of the popular bloggers on such sites as IMDb seem not to be aware of Lysistrata and bewildered and/or hostile about the stylisation of the film, seeming to assume that it should be realistic film and disappointed, even angry, that it is not.

For audiences who appreciate its Greek dramatic background and the central symbol, the film is somewhat intriguing as it plays out, the African American women banding together, sometimes with song and dance, the response of the men, the possibilities for achieving peace – with Chi-Raq, who is really Demetrius, holding out until he is finally confronted by a wisdom figure, Miss Helen, Angela Bassett, her son having been killed in a random shooting by Demetrius’s father in the same way that he has killed a young girl with the passing bullet, grieved by her mother, Jennifer Hudson.

One of the unexpected features from Spike Lee is that a very serious overview of street violence in the city is given during the initial credits by the real-life Father Michael Pfleger, from the faith community of Santa Sabina, which features as itself in the film. Father Pfleger was a pastor for over 30 years and ran into some difficulties with his bishops. His parish was mainly African-American – but the significant thing is that Father Pfleger is white. Which explains the presence of John Cusack in the film, appearing as the pastor of Santa Sabina, a white accepted by the black community, comforting the grieving mother, giving a fiery and rhetorical sermon, the congregation volubly making their assent, at the funeral, ticking all the pressing issues, and then present at the finale.

In the play, Lysistrata, peace is achieved after the strike of the women. Here there is a gathering, the heads of both gangs, the protesting women, the important presence of Miss Helen. Father Michael serves as a witness. But it is not easy going, Chi-Raq himself unwilling to agree, confronted by Miss Helen about the death of her own son, the role of his father in the death, and his finally kneeling in front of the mother to show his sorrow while giving himself up to serve his sentence.

The same Spike Lee, yet different.

  • CREEPY/KURIPI - Special screening

Japan, 2015, 130 minutes, Colour.
Directed by Kyoshi Kurosawa.

Creepy is an effective Japanese thriller. The central character is certainly creepy in his attitude and behaviour, giving the film, especially as it goes on, an eeire atmosphere.

The central character is a detective, with expertise in the mentality of serial killers who, at the beginning of the film, tries to confront a killer who then takes a hostage and kills her when the detector had pleaded with the man, even giving up his gun. A year later the detective is lecturing at a university, explaining the nature of serial killings to his students.

He becomes interested in an unsolved case and one of his former assistants wants to work with him. In the meantime, he and his loving wife have moved into a new house, want to be hospitable to the neighbours, one of whom is quite eccentric, with a young daughter who goes to school, who becomes somewhat infatuated with the wife – and, through the complexities of the plot, is at the centre of the case that the detective is investigating. It all builds up to quite a melodramatic climax.

So many of the crime dramas from Japan in the 1990s and onwards tended to be ghost stories or with the touch of the supernatural – this is not supernatural, rather a straightforward story.


Iran, 2016, 107 minutes, Colour.
Directed by Mani Haghighi.

A Dragon Arrives is an intriguing drama from Iran.

The film is set in the present but begins in the mid-1960s, an investigator being interrogated, grilled about what happened to him on an archaeological site. It emerges that several of his associates at the dig are also being interrogated by a representative of a mysterious agency.

The film is set on an island off the coast of Iran, Qesham, a desert island with high mountains. The audience is told of the story about the British adventurer, Baffin, who explored northern America and gave his name to bay and island. He went to Iran to negotiate a trade deal with the Portuguese but the Portuguese were massacred and their boat stranded on land. This is visualised in flashback.

The film moves to the present with the director himself discussing issues with his mother, her finding a box with documents and mementos of the period, and the director’s desire to make a film about the situation as well is to investigate what happened. There are sequences with his team of researchers and writers, doing interviews, especially with the interrogator from the 1960s who is still alive, and a woman involved in theatre design (with a rather long theatrical sequence presented, though its purpose is not clear).

Gradually, the events are uncovered, mystery brought out – that there is an earthquake when the investigators started digging and holes emerge with the quake as well as mysterious sounds and the suspicion of the presence of a strange creature. Another part of the plot involves a father and his daughter, his suppressing her, and her giving birth to a baby which is taken on by the sound engineer of the expedition and who becomes very attached to her, even rescuing her – and the researchers interviewing her later.

The film has its moments of mystery, of excitement, of puzzle.


Argentina, 2016, 80 minutes, Colour.
Alan Sabbagh, Julieta Zylberberg.
Directed by Daniel Burman.

Audiences who appreciate Argentinian cinema will be familiar with the name of Daniel Burman. He has made quite a number of films and has received many awards, including Ecumenical Awards.

What makes his films distinctive is that, in a culture which is so Hispanic with traditions of Catholicism, they offer stories of the Jewish community in Buenos Aires (one of the few cities in the world where you can find Kosher McDonald’s - which is not open on Sabbath).

His stories are about families, family chronicles, the ups and downs of marriages. It is not quite the same here. Rather, the film opens in New York City where Ariel is engaged to an American dancer, wants her to come to Argentina to meet his father, but has to return without her – although his father is demanding that he bring sneakers with Velcro connections for a patient in hospital. (He can’t find them in many New York stores and so has to try when he gets back home – unsuccessfully).

The structure of the film is seven days of the week, starting Monday, moving through to Sabbath and to the celebration of Purim. It is a kind of cinema diary for Ariel and his activities.

In one way, the activities are fairly straightforward but, on the other hand, all kinds of complications arise. The reason for this is that his father has established a Foundation in the city to cater for the needs of the Jewish population, ranging from supplying food to distributing different kinds of medication to supplying legal advice. And there are always crowds at the Foundation – especially when there is a crisis in the delivery of meat!

Actually, we don’t see the father until the end of the film, he is so busy. He talks with Ariel on the phone and usually is asking an extra favour. For some moments, to help the audience appreciated, Ariel remembers his childhood, cookies and lathering the caramel spread, putting the cookies together, splitting them and choosing the one that had the most spread on it – and then his father, always attentive, nevertheless chooses to give up a school event of Ariel’s to go to become a 10th man, to form a proper Jewish group, at a funeral.

Being available for others is part of the ethos of father and son.

There are quite a number of amusing moments, especially the young man in hospital refusing to have shower or two until he gets a soft towel, demand sporting newspapers and complaining when they are too old and is preparing for an operation – although it is he who gives the audience the explanation of Moses and the need for a 10th man to form a proper group. There is also the gay man who is eager to have a Bar Mitzvah the rabbis are unwilling.

Then there is Eva, working at the Foundation, her father supplying meat, she being considered a sacred person and untouchable – at least up to a point until after some rituals are performed. Ariel and Eva get on particularly well – so what is going to happen to the fiancee who keeps in touch by phone?

And, that’s basically it, a week spent with Ariel, a week spent at the Foundation, a week of imbibing Jewish spirit with different characters, rituals, songs.

  • FUOCOAMMARE/ FIRE AT SEA - Competition

Italy, 2016, 106 minutes, Colour.
Samuele Caruana, Maria Costa.
Directed by Gianfranco Rosi.

This film is billed as a documentary, and so it is, but with its focus on a family, especially young 12-year-old boy, Samuele, who really becomes the centre of the film, it works not just as a documentary but also as a kind of fiction feature. It is directed by Gianfranco Rosi, whose documentary on the road surrounding the city of Rome, Sacro GRA, won the golden lion in Venice in 2013. That was a particularly local film, the customs of the area in different lives of characters on the ring road.

For this film, Rosi the lived for several months on the island of Lampedusa, an island which has become more famous in recent years, not far of the Sicilian coast, not far from the Libyan coast, an island where so many boats, so many rickety boats, crammed with refugees, have landed – unless the boats have sunk with lives lost, a frightening statistic that is given at the beginning of the film.

While the issue of refugees from Africa and, by extension and ultimate explicit mention, from Syria and Middle Eastern countries, there are explicit reference to Islamic State.

But, the film is something of a jigsaw puzzle, the scenes of the refugees punctuating the narrative about life on Lampedusa, especially for the young boy, Samuele Caruana, and his family.

Samuele is an enterprising young 12-year-old, seen chopping branches in order to make a slingshot, aiming at birds, instructing his good friend how to make a slingshot and fire it – and the two of them frequently mimicking shooting with machine guns. We see them at school, testing out the meanings of words in English and Italian. We see Samuele going to the doctor, being tested for his eyes, discovering he has a lazy eye and will have to wear a patch to strengthen it, which he tests out in various slingshots.

His father is a fishermen and Samuele goes out on a boat only to find that he becomes seasick and is advised to go onto the jetty to get used to having a balance and controlling his stomach. He also has a lesson in rowing, which he desperately needs, otherwise he would be trapped between boats. He is a strong screen presence and audiences welcome him, with scenes at home, meals where he incessantly slurps his spaghetti, talking with his father and cared for by his grandmother.

Actually, the grandmother has significance in the film, cooking, cleaning, making the beds – and ringing the rather friendly DJ on the local radio with requests for songs and commemorations to be made.

But, back to the refugees, the pictures of the boats, the picture of the Italian navy and its efforts to find the refugees, sometimes there being unable to give their coordinates with the inevitability of drownings and death. The Italians seem to be doing their efficient best. Exhausted and dehydrated men are lifted off the boats, some of them not surviving. And there are some telling interviews with Africans, especially from Nigeria, making their way to Sudan, through the desert, arriving in Libya, possibly imprisonment there, and the desperation to get on a boat to Europe.

So, this is a strong humanitarian film, destined to win Human Rights awards. There was a rather similar film from Malta in 2015, Simshar, with both films reminding audiences of the contemporary issues of African refugees, death by drowning – but without the answers as to what will become of them.

  • GENIUS - Competition

UK, 2016, 97 minutes, Colour.
Colin Firth, Jude Law, Nicole Kidman, Laura Linney, Guy Pearce, Dominic West.
Directed by Michael Grandage.

Genius is very well-crafted, the first film by theatre director, Michael Grandage.

While this story is American and the central characters are American, it is interesting to note that it is a British production, three of the main actors British, two Australian, with only one American actor in the central role.

The period is the late 1920s to the mid 1930s, a significant period in 20th-century American literature, and this is a film about this literature, especially novels.

The title refers to the novelist who, died young, Tom Wolfe. The title could refer at first to Max Perkins, an expert editor at the publishing company, Scribners, friend of many of the novelists of the time, relied on to shape manuscripts aspects into publishable form which enabled writers to receive critical acknowledgement as well as large sales.

The film opens showing grim New York streets in 1929, echoes of the Depression. In the street is a highly excitable young man, who eventually goes into Max Perkins’ office, talking incessantly, scattered concentration, something of an eccentric personality. He is Tom Wolfe who is bringing a large manuscript for Perkins to read, rejected by most publishers but endorsed by the wife of a businessmen who has become his poetry and his lover. Perkins reads the manuscript on the train going home, at home where he lives comfortably with his wife and several daughters, entranced by the manuscript, calling in Wolfe who assumes that he is being rejected again but, in fact, is accepted.

One of the main strengths of this film is the casting, with Colin Firth as his most serious as Max Perkins, Jude Law giving a tour-de-force performance as Wolfe, also the genius of the title. Nicole Kidman is the wife of the businessmen, working as a theatre designer, separated from her husband but living with Wolfe, Aline Bernstein. Mrs Perkins is played by Laura Linney.

A lot of the film shows editor and novelist working intensely, examining every word, exploring every character, cutting a great deal of the text, Perkins caught up in the quiet excitement of the editing, Wolfe always exuberant in collaborating with Perkins and depending on him more and more. The book is published, is a great success and critically acclaimed, Look Homeward, Angel.

A great deal of the film focuses on the two years in which the two collaborated on the next novel, brought originally into the office in bundles of tied pages, boxes, with Perkins reading, a group of typists working on the manuscript, intense work nights, which keeps Perkins from home and his patient wife and daughters, keeping Wolfe from Mrs Bernstein. Perkin’s wife is frustrated but bears up, especially when her husband is unable to go on a holiday with the daughters who dote on him. Mrs Bernstein expresses her frustration, especially when Wolfe is so self-preoccupied that he cannot bring himself to go to the theatre for her premiere. In the meantime, the two women meet and have a discussion about the two men, Perkins always wanting a son and Wolfe seeming to be a surrogates son, and the novelist needing some kind of controlling father-figure.

With the publication of the second novel, Wolfe is again a critical success but has been apprehensive and escapes for a holiday in Paris. Encouraged by reviews and sales, he returns, with Max welcoming him at the boat and Wolfe taking him to see the first apartment where he lived in New York City. But, a tension grows between the two, other publishers interested in tempting Wolfe away from Scribner and Wolfe seriously considering this.

As part of the background, there are several scenes with Perkins and his friend, F.Scott Fitzgerald, played by Guy Pearce. Fitzgerald’s abilities for writing seem to be drying up and he is preoccupied with the mental deterioration of his wife, Zelda. There is a very awkward scene, when Wolfe speaks completely insensitively to Zelda and later to Fitzgerald about his wife.

Ernest Hemingway is also mentioned and there is a small scene where Perkins goes marlin fishing with Hemingway, portrayed by Dominic West, and they discuss Wolfe’s talent.

While audiences may have some knowledge and appreciation of the novelist, who died young and unexpectedly in 1935, the film offers an opportunity to meet Max Perkins, appreciate his talent, which celebrates him in his shaping of works of art but, sometimes, made him wonder whether this was actually destroying what the novelists originally intended.

A film for literature lovers.

  • GOAT - Panorama

US, 2016, 91 minutes, Colour.
Ben Schnetzer, Nick Jonas, Virginia Gardner, James Franco, Danny Flaherty.
Directed by Andrew Neal.

Goat is a very American film, a film about initiation rituals and hazing at US colleges, a picture of some of the fraternities and their codes, the abuse of newcomers to incorporate them into the spirit of the fraternity and so create a lifelong buddy system. Other countries have their own experiences of hazing – especially initiation into the military.

This film shows some of the rituals quite graphically and physically disturbingly with the screenplay particularly critical of this kind of uber-male mentality.

Ben Schnetzer (The Book Thief, Pride) is Brad, a young man about to enter a college, a minor college, yet one with pride, a college where his older brother, Brett, is a respected senior. Brett is played quite effectively by the singer, Nick Jonas. At the opening of the film, we see some of the raucous behaviour of the students, behaviour which involves drugtaking as well as sexual encounters. Brad backs out of this behaviour and is asked by some young strangers to give them a lift, something he is reluctant to do but technically accepts.

The audience identifies with Brad and his uncertainty, having to drive the two young men further and further, out into the country where he stops. He is brutally assaulted and forced to hand over his ATM number. Bewildered by this experience, he goes home, eventually confiding in Brett and going to the police who do not believe him, thinking he was on some kind of drug deal.

This experience has a profound influence on his entry in college, his decision to participate in the hazing rituals, and his determination not to give up and to persevere – with the presumption that by undergoing these experiences he would become something of a man, a stronger man. At heart, he has been a fairly soft young man, something he has in common with the roommate he finds himself with at college.

When the hazing starts, with the young men being referred to as goats, the senior students almost seem like parodies of military Sergeant Majors, barking out orders, profanities, demanding loyalties, and ordering the initiates to humiliate themselves, wallow in dirt and mud, be deceived by bananas substituting for phalluses, drinking themselves sick… And leaving them huddled together overnight. As he watches, Brett is more and more alienated from the rituals, backing off because of studies.

This makes Brad determined to persevere and proud when he and the group have successfully undergone the humiliations. The crisis emerges when the roommate, a physically and psychological fragile person, collapses athletic training. It means that there have to be enquiries by the Dean of studies, the senior students preparing a cover-up, but the authorities getting to know what actually happened. Was Brad talking as the seniors assumed? Was it Brett?

Afterwards, Brad and Brett go to the police, look at a group of men in a lineup, with Brad unable or unwilling to identify anyone – and then his going to visit the place where the assault happened, and the audience seeing him reflect on the experience as well as the consequences of college and the film leaves the audience to contemplate with him what might happen in his future.

The theme gets an extra emphasis by a cameo from James Franco as a veteran member of the fraternity, full of enthusiastic platitudes, singing the fraternity song with gusto, drinking himself unconscious after having praised the fraternity as a group of civilised gentleman. The critique of the fraternities, the hazing and this kind of supremacist male behaviour and attitudes is very clear.

  • HAIL, CAESAR! - Opening film

US, 2016, 106 minutes, Colour.
Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Scarlett Johansson, Tilda Swinton, Frances McDormand, Channing Tatum, Jonah Hill, Veronica Osorio, Heather Goldenhersh, Allison Pill, Max Baker, Fisher Stevens, John Bluthal, David Krumholz, Clancy Brown, Christopher Lambert, Jack Huston.
Directed by Joel and Ethan Coen.

The Coen Brothers have had over 30 years success in making films, great critical success, audience fans, Oscars and awards from festivals including Cannes.

Perhaps, over all these years, they have had a special secret Bucket List of all the movie genres they would like to work in. And their output has been quite varied. With Hail, Caesar, they seem to be putting into practice all those wishes. And successfully, both as hommage as well as spoof.

The title. At the beginning of the film, Hollywood, 1951, is a Roman epic called Hail, Caesar. This gives them the opportunity to have ranks and ranks of marching Roman legions, slaves in captivity, and a star for the leader of the legions, Autolychus, George Clooney – adept at speaking some hammy lines, hammy performance as well is getting himself abducted by an alleged study group, naming themselves The Future, actually a Communist cell, giving Clooney lectures on politics and economics, on dialectic, with, of all people, the thinker, Herbert Marcuse, present in the group for discussions. (For Australian audiences and audiences of The Vicar of Dibley, John Bluthal plays Marcuse). Shades of the anti-Communist feeling of the time.

In fact, the focus of the film, is the manager of Capital Studios, Eddie Mannix, played very seriously with touches of irony by Josh Brolin. He is a fixer, on the phone to New York, getting reports from all the film locations, from the directors in the studios, handling temperaments, PR, arranged marriages, stars going into rehabilitation for drying out, dealing with the gossip columnists (in this case, two terrible twins both played very effectively and tartly by Tilda Swinton).

The opening is very surprising for a Coen Brothers, a close-up of a crucifix, extreme close-up of Jesus on the cross, followed by a confessional sequence (later to be repeated more seriously). Eddie is a Catholic (although there is a long history of Jewish heads of studios). He is also ecumenical for Hail, Caesar, because of the sequences with Jesus, the subtitle of Hail, Caesar is a Tale of the Christ (straight out of Ben Hur). In fact, Jesus comes out very well from the film, a reprisal of the Nazareth and cup of water sequence from Ben Hur as well as a final crucifixion scene with Autolychus coming to the cross and making a long speech, more heartfelt after his abduction and reprimands from Eddie, which could have fitted into any Crucifixion story – although, tension is broken right at the end when Clooney forgets his keyword, “faith”. (There are also memories of The Robe and a small homage to The Life of Brian in Roman pronunciations.)

There are lots and lots of other things in the film, Alden Ehrenreich standing out as a cowboy in a B-budget Western where he can do somersaults on his horse, get caught on a tree branch and shoot his enemies and get back on his horse. he is an expert at the lassoo, even with a string of spaghetti, and is seen singing in a romantic western scene. He is very funny when he is transferred, orders of New York, to go into a drawing-room drama where his cowboy gait and his terrible accent need the exasperated but charming attention of the director, played by Ralph Fiennes.

We also go into the editing room for a cameo by Mrs Cohen, Frances McDormand, smoking heavily and then her scarf getting caught in the projector and her almost choking!

There is a musical with a reminder of On the Town and South Pacific, sailors ensemble dance led by the singing and dancing Channing Tatum – his character is revealed to have a much more complex side, to do with Clooney’s abduction. There is Scarlett Johansson doing an Esther Williams in a swimming sequence – exuding innocence until she opens her tough mouth.

Many, many things to enjoy about the film, narrated by Michael Gamblin, some fine casting and performances (and a question for trivial pursuit in the scene where Josh Brolin talks with the director played by Christophe Lambert, what they have in common is that they were both married Diane and Lane!).

The Coen brothers have done it again, and enjoyably.

  • HEDI - Competition

Tunisia, 2016, 88 minutes, Colour.
Majd Mastpoura, Rym Ben Messaoud, Omnia Ben Ghali.
Directed by Mohamed Ben Attia.

Majd Mastpoura won the Silver Bear for Best Actor at the 2016 Berlinale. He is the star of this rather brief film from Tunisia.

Hedi is the title role, a young man, the dominated by his imperious and pompous mother, compared with his allegedly more successful brother who has found of life, family and job in France. He works for Peugeot and is a salesman, but not having much success in difficult financial times.

And, he is about to get married, his mother controlling the setup with the in-laws, asserting the superiority of her family. The fiancee is an attractive young woman, Hedi looking forward to the marriage but realising that he knows very little about his fiancee excerpt from some furtive meetings and phone calls, and then realising she has very limited vision of what life might be.

Hedi travels to a resort town, visiting various companies without any success, trying to promote car deals, fleet deals. He is more than passive and gives up on his work, preferring to go swimming – but is caught out at the beach by a company phone call and foolishly tries to explain it away to an attractive young woman who is part of an entertainment team at the local hotel.

Hedi is attracted to her, which opens up an attraction beyond that he has for his fiancee. The girl is a free spirit, travels Europe as part of a hospitality team in hotels, performs exuberantly on stage, and the couple find that they like each other very much, enjoy each other’s company.

What would happen – especially when his mother has to explain away his absence to the in-laws (who have problems of their own with the father promising jobs but being exposed as paying bribes) and then go in search of Hedi? Will Hedi capitulate as always and go through with the wedding? Has he found a freedom that he never knew existed? Not hard to anticipate and audiences who like him will be most impressed by his outpouring of his feelings about his mother. And, of course, the film ends leaving us wondering what will happen to Hedi and his future.

We do not see many films from Tunisia – and, while a Muslim country, Tunisia always seemed to be much more relaxed than many other Islamic countries. And we might wonder whether Hedi himself is typical of the man of the country.

  • HEE - Forum

Japan, 2015, 72 minutes, Colour.
Kaori Momoi.
Directed by Kaori Momoi.

Kaori Momoi is a Japanese actress who appeared in in Japanese and American films including Memoirs of a Geisha.

She has adapted a novel in writing the screenplay for this film, plays a central role as well as to rectify film.

It is quite brief, the picture of a woman in California, working as a prostitute, picking up local man, arrested, interrogated, visiting psychiatrist and challenging him in his work, and associated with a murder, the detective present at further psychiatric interviews to determine her role.

She gives quite a vivid performance, melodramatic. And every time shifts as well is imagination shifts with the recurring scene in the elevator where she is going up with the client and the psychiatrist and his wife (in the audience sees in life at home, with the child, going to work) are also passengers in the elevator.

While there are some social comment about life in California, the film is principally a psychodrama for the central character.


Denmark, 2016, 111 minutes, Colour.
Ulrich Thomsen, Trine Durholm, Fares Fares, Lars Ranthe, Martha Sofie Wallstrom Hansen, Helene Reingaard Neumann.
Directed by Thomas Vinterberg.

The Commune is based on some memories of the writer-director, Thomas Vinterberg. Vinterberg had been one of the early associates of Lars von Trier and the Dogme proclamation of the 1990s to make films with purity, naturalistically, using only natural light, relying on plot, performance and basic techniques of filmmaking.

Those who proclaimed the Dogme Manifesto moved on to more traditional as well as more adventurous ways of filmmaking. Vinterberg made a number of feature films in his native Denmark, but he also ventured into the international field, especially in Britain with his version John Le Carre’s Tinker, Tinker, Soldier, Spy and an impressive remake of Far From the Making Crowd.

He returns here to Denmark, going back to 1970s in the aftermath of the hippie movement and flower power and many people professing great faith in commune living.

Erik (Ulrich Thomsen) is an architect working on a harbour project. He inherits a house from his father (of whom he has bad memories from his childhood) and goes with his wife and daughter to inspect the house with the intention of selling it. His wife wants to not only to keep it but has the idea of establishing a commune, his daughter agreeing, but it is something which is not congenial at all to Erik.

Nevertheless, various friends move in and the commune is set up. Members are interviewed as to whether they should become part of the commune, rules and regulations are established, meetings are determined to discuss issues. Everyone takes a turn to cook meals. It seems to seem suit most of the people – except for Erik, who spends a lot of time at work and at lectures at the University where he is harsh in manner, scoffing at some of the students, and reprimanded by another student to whom he is physically and sexually attracted, and she to him. They start an affair.

The relationship is kept secret but is unexpectedly discovered by the daughter, Erik trying to give some explanation and ultimately explaining it to his wife. The question arises whether he should stay in the commune, whether his wife should leave, whether she should stay and the student admitted to be part of the commune. The wife seems to take this situation in her stride but is really deeply affected. This also has repercussions on the daughter who is attracted to a school student and begins a sexual liaison with him.

Ultimately, it is the wife who has to make decisions, whether she stay or whether she goes. This is a huge burden on her as it was her idea in the first place to start the commune. The crisis gives an opportunity, dramatically, for Erik to burst out in anger and some desperation at all that has happened to him and for his wife also to have an angry outburst.

On the one hand, this going back more than 40 years seems a touch anachronistic now, part of the world of the 1970s. On the other hand, it is a reminder of many aspects of human nature, relationships and difficulties in relationships, human foibles, especially when people try to live together.

Tryne Durholm won the Best Actress award for her portrayal of the wife at the 2016 Berlinale.

Simeon is a likeable character, the audience identifying with him especially in some of the challenges to his grandfather. Simeon also likes films and there is a humorous scene when they all go to see 3, 10 to Yuma in an outdoor cinema and one of the young bucks disturbs the screening by riding into the cinema on his horse – which, in fact, leads to the court scene with Simeon and his schoolfriends have been brought by the teacher to address the administration of justice.

  • MIDNIGHT SPECIAL - Competition

US, 2016, 111 minutes, Colour.
Michael Shannon, Joel Edgerton, Kirsten Dunst, Jaeden Lieberher, Sam Shepard, Sean Bridgers, Bill Camp, Scott Haze.
Directed by Jeff Nichols.

Jeff Nichols may not be a well-known name for a film director but in the audience who has seen his films, Take Shelter and Mud, will know that he is the director of great interest. And, while Midnight Special may not be as impactful as the previous two films, it is still a film that commands some attention.

Nichols has said in interviews that he was impressed during his younger days by films which dealt with aliens – benign aliens, especially Close Encounters of the Third Kind, to which this present film pays some homage, to’s ET and Starman, films from the 1970s and 1980s.

However, it begins in an arrest in vain, two men at night conducting a little boy, setting out on a journey that is mysterious with a gradual revelation that the boy himself is mysterious, needing to stay in the dark. But, as the story progresses, the two men around the side of good. They are played by Michael Shanahan, often a sinister character, plain the boy’s father and Joel Egerton playing a local policeman. one of the great advantages of the film is the performance by Jason Leibler as And to mysterious boy.

The scene shifts to The Ranch, the home of a cult group, said by Sam Shepard, were interrogated by the police, especially about their predictions for the end of the world. Behind the scenes, the leader sends some of his henchman to track and the boy, bring him back, because his entrances key is for the date of the apocalypse.

Most of the film is a road journey, the two men with the boy, initially taking refuge with a former disciple of the H The Ranch and then on to find the boy’s mother, played by Kirsten Dunst. A lot of the drama is even interlude and the pursuers. And a lot of the drama concerns the health of the boy, his fragility, his inability to be in the light and growing audience curiosity as to who is, whether he is human or not, despite his parents.

Also in the drama representatives of the police, the FBI, and national security organisations, especially in the form of Paul said via, played by as driver Adam Driver whom the boy himself chooses as the means for communication.

There is some suspense intention as the appointed day approaches and it is necessary for his father to get the boy to the special place – at which the film becomes something of a 21st century Close Encounter.

The screenplay does not offer detailed explanations of what happens but it draws the audience in, and empathy with the characters and their flight as well as the anticipation of what the appointed day will bring.

While the title of the film refers to a song, it is a pity that it does not have a more dynamic title with indications of character and plot.

  • NEWS FROM PLANET MARS - Out of Competition

France, 2016, 101 minutes, Colour
François Damiens, Vincent Macaigne, Veerie Baetens, Michel Aumont.
Directed by Dominik Moll.

News From Planet Mars is a quirky entertainment – French and Belgian style. The film starts evocatively with a space launch and an astronaut floating in space above the city lights. But then he wakes up and it is Philippe, the central character of this film, François Damiens (who played, convincingly, the hearing-impaired father in The Belier Family).

Philippe is the computer expert, reliable and thorough at work, and asked to supervise a rather manic genius, Jerome, played with absolutely irritating conviction by Vincent Macaigne. Not that Philippe does not have other problems. He is separated from his wife, a television correspondent for political European Union conferences. She suddenly lands her children on Philippe. The son is very slow at school and becoming a campaigning vegan, and the daughter is absolutely obsessed with studies, some of which are done with her boyfriend.

We get a glimpse of a nice Philippe’s walking out one night and he accosts a salad man with his dog who will not scoop up his dog poop from the footpath. Philippe encounter him again later when walking his sister’s poodle and has an alternate solution to the scoop!

Philippe’s surname is Mars and the planets do not seem to be an alignment.

Jerome has a crisis in the office and brandishes his hatchet that he carries for crises, throwing it across the room and actually cutting off Philippe’s year. So far, so bad. It can only get worse – and does.

Jerome gets out of a mental institution and turns up outside Philippe’s window asking to come in – and, while claims he will leave, of course, he does not, imposing himself in the house, having class discussions with the son and endorsing his vegan approach, getting the daughter to collaborate (with cash) when he brings his girlfriend from the institution, Chloe, and puts pressure on Philippe to enable her to stay the night. As might be imagined, a lot of potential comedy which is followed through.

Chloe is a protester, especially against the artificial cultivation of animals and their slaughter – which leads to an attempt on a farm, with explosives, Jerome and Chloe driven by another eccentric character in the apartment block, a former chauffeur to French President Giscard De’staing. Philippe and the children save the day. Not entirely.

Part of the nice fantasy is that Philippe’s parents, elderly then deceased, keep appearing to Philippe, giving advice – with the touch of the guardian angel, something which is useful at the end.

Philippe is likeable, Jerome too in his way, and there are lots, of quirkily humorous touches – especially when the son urges his mother to say cucumber in one of her television reports, even Philippe willing her to say cucumber at the end.

  • THE ONES BELOW - Panorama

UK, 2016, 87 minutes, Colour.
Clemence Poesy, David Morrisey, Stephen Campbell Moore, Laura Birn.
Directed by David Farr.

Can you have a horror film without what have become the conventions of horror films? The answer is ‘yes’ if you consider The Ones Below.

This is a film about pregnancy, birth, miscarriage, the desire of women and the desire of men to be parents.

This is a brief, small-budget British film. Kate and Justin (Clemence Poesy and Stephen Campbell Moore) are a couple in their 30s who met at university, decided not to have children for several years but now are happy with Kate being pregnant and everything going well. They move into a rental flat and establish their life there, she working at home on computer fashion designing, he at work in an editorial office.

They then see two pairs of shoes outside the door of the flat downstairs, shoes of the ones below. Theresa and Jon (Laura Birn and David Morrisey) have moved in, Theresa being pregnant and becoming friendly with Catherine, inviting her to swimming exercises, to a lunch with Jon, and to come downstairs to have a meal with them.

Theresa and John have been trying to have a child for several years and she is now pregnant.

Probably that is enough of the plot, occurring early in the film, but quite some complications arise, complications which might be exploited in a horror film but, the manner here in the screenplay is a sense of menace, suggestions, moments of fear, concerns about mental health.

There are some audiences and, especially, critics, who have an intense dislike of happy endings (except, one hopes, in real life), so there are elements in the ending of this film which should make them both sad and happy at the same time.

This is a menace film relying, effectively, on audience response to pregnancy and birth and identification with the characters.

  • QUAND ON A 17 ANS/ BEING 17 - Competition

France, 2016, 117 minutes, Colour.
Sandrine Kiberlain, Kacey Mottet Klein, Alexis Loret.
Directed by Andre Techine.

Being 17 was co-written (with French writer and director, Cecile Sciamma, Tomboy, Water Lilies, Girlhood) by the director of the film, Andre Techine, in his early 70s. Perhaps an unusual project, focusing on two adolescents, but also focusing on several adults, both sets of parents of the two boys.

The film is rather magnificent to look at, an extraordinary Alpine setting, majestic mountains, sheer cliffs, forests and rivers and in different seasons, especially the snowy winter and the sunshine of spring and summer.

Andre Techine has always been interested in themes of homosexuality and, almost as soon as the audience sees the two boys and their fierce antagonism towards each other, they will know where the plotline is directed. And they are not wrong.

Damien is smaller and more intellectual than Thomas, the adopted son of farmers, racially different from most of the people in the area. Both of them are the last two to be chosen for the basketball practice sides. It emerges in the class seems that Damien is interested in poetry and literature, although goes to a neighbouring friend for training in martial arts and self defence. Thomas lives on a farm, an hour and a half walk and drive each way to and from school, wanting to be a vet, but his grades are very low. There is an automatic dislike of Damien whom he trips in the classroom. They have several fights and have to be separated by the teachers, Thomas ultimately being suspended from school.

In the background, is Damien’s mother, a kind and efficient doctor, willing to put herself out for anyone, Sandrine Kiberlain. Damien’s father, an adventurer, has joined the military, flies helicopters, is in danger spots, mentions that some of his colleagues have been killed. The family communicates by Skype and, suddenly, there is a pleasing visit from the father who bonds strongly with his son.

The doctor treats Thomas’s mother and moves her to hospital, suggesting that Thomas move in with the family so that he will not have the travel, will be able to do more study and improve his grades. Damien is not amused but accepts something of the sharing of the household – although, the two boys go in to the mountains for a far rather vicious fight, bruises all over which the doctor eventually discovers. Thomas is suspended from school.

Eventually, it is quite clear that Damien is infatuated with Thomas. At one stage, he says that Thomas owes him a favour and he asks him to drive him out to where he has arranged a rendezvous with a man whose address he picked up on a gay website. Thomas says that he knows what is happening – and they fight again, Thomas falling and breaking his wrist.

The relationship is an up and down one, antagonism and infatuation, complicated when news comes of Damien’s father’s death in action. His mother goes into grief and passivity. Thomas tries to help, letting Damien go to school while he looks after the mother. It is nearing the end of the film so we know that it is time for the two boys to express their attraction, experience the physical sexual encounter – and make us wonder what is going to happen to them in the relationship and in the future.

As with all the films of the director, it is particularly well made, looks impressive and has some interesting performances.

  • A QUIET PASSION - Special screening

UK, 2016, 125 minutes, Colour.
Cynthia Nixon, Jennifer Ehle, Duncan Duff, Keith Carradine, Jodhi May, Joanna Bacon, Catherine Bailey, Emma Bell, Annette Badland.
Directed by Terence Davies.

This is a portrait of the 19th century American poet, Emily Dickinson.

It is a film written and directed by Terence Davies, who made an impression in the past with his classic Distant Voices, Still Lives in 1988 as well as The Long Day Closes in 1992. Davies also made a screen version of Edith Wharton’s House of Mirth and a very telling remake of Terence Rattigan’s The Deep Blue Sea.

Davies might be called a fastidious director, great attention to detail, a great sensitivity to human feelings, and setting them within a historic and cultural context. A Quiet Passion is set between the 1840s and the 1880s and Davies re-creates the period, its look, its feel, costumes and decor, sensibilities meticulously. The period covers the lives of very proper Bostonians with a Protestant and evangelical religious outlook, the challenge of the Civil War, the unsettled aftermath. It also covers the media of the period, the newspapers and magazines, especially for outlets for the publication of poetry.

The film opens with Emily asserting herself at the religious school for young ladies, some in the group choosing to be women of faith and Christianity, others choosing to be women of faith but not committed to Christianity, with Edith standing in the middle, her own woman, defying the threats of hell from the prim women in charge. She feels it necessary that her family come to rescue her, her patrician father and her younger sister and brother. She returns to their quiet, comfortable and settled life in Boston. She is skilled in writing poetry but it is not the done thing for young women to be published – especially when they go to a concert and her father disapproves exceedingly of a woman singing in public. Despite the objections of her aunt, the father does make contact with an editor and a problem is published.

Externally, nothing very much happens in Emily Dickinson’s life, though there is an intensity in her inner life. She is played, very effectively, as a traditional spinster by Cynthia Nixon (a long way away from Sex and the City). Her sister is played by Jennifer Ehle, one of those smiling, kind and gentle performances at which Jennifer Ehle is expert. The patriarchal father is played by Keith Carradine.

Edith and her sister stay at home, with some views on slavery and the Civil War, religious in outlook but Edith, especially, refusing her father’s invitation to actually go to church. Their mother is loving but is sickly and dies.

Edith is self-contained, has no desire to marry, is happy and secure in her home life, with some women friends who pass in and out of her life. There is quite a moral crisis when she finds that her brother is unfaithful to his wife with whom Edith is friendly, sharing books and other matters of taste. She emerges as quite intolerant, unforgiving, despite efforts by her sister and brother to mollify her outlook – and she does, at times, admit that she can be far too harsh.

As she grows older, she becomes unwell – and the scenes of her illness and treatment are quite forthright.

On paper, it might be said that the life of Emily Dickinson is not a subject for a feature film. Rather, it might have been effective as a piece of theatre. As it is, it is a film of words with many of the Emily Dickinson’s problems being recited by Cynthia Nixon – although, poems which require more than one reading to grasp their meaning and tone, something not possible with the film. It is a film of tableaux. To that extent, A Quiet Passion is quite theatrical but, with Davies’ sensitivity and sensibility, it does offer an audience an opportunity to get to know and appreciate Emily Dickinson.

  • REMAINDER - Panorama

UK, 2015, 97 minutes, Colour.
Tom Sturridge, Cush Jumbo, Ed Speleers, Nicholas Farrell.
Directed by Omar Fast.

Remainder is a small-budget film, a British-German coproduction, with locations both in London and in Berlin.

Tom is young man, emerging from a building, looking as if he is going to hale a taxi when suddenly there is a convulsion, glass falling in from a roof and hitting people, and a large piece of masonry falling and knocking Tom unconscious. He is taken to hospital where he stays for quite a long time but eventually recuperates and is released. He is played by Tom Sturridge.

In the meantime, a very smart lawyer played by Nicholas Farrell with his assistant, Greg, a friend of Tom, are planning a large damages case when news comes that Tom has regained consciousness. The compensation issue is taken up towards the end of the film but the screenplay moves in a different direction.

Tom has the remainder of his life but he has forgotten some key elements in his past. He makes contact with Greg, with Greg’s wife, with a number of criminals who were involved in a robbery. With them, he attempts to recreate situations that would jog his memory, a visit by the woman to Oxford which is played over and over again, she forgetting some of the key lines, Tom urging her on. With the criminals, they play a reconstruction of the robbery in which Tom participated. He also sees images of an old woman who seems to speak to him as well as an image of a child.

This put pressure on Tom who does want to regain his life, some fascination for the money, millions of pounds, and with the lawyer, but that is not his main goal.

The film then is a psychological drama and the attempt to reconstruct events in a person’s life to overcome partial amnesia.

  • SAINT AMOUR - Out of Competition

France, 2016, 101 minutes, Colour.
Gerard Depardieu, Benoit Poelvoorde, Vincent Lacoste, Celine Sallette, Andrea Ferreol, Chiara Mastroianni, Michel Houellebecq.
Directed by Benoit Delepine, Gustave Kervern.

This is a French film that one feels one ought to like. Here is Gerard Depsrdieu after all these decades, larger-than-life as always, and with white hair, a farmer going into retirement with a son in his 40s, played by the comedian Benoit Poelvoorde. They both have very good screen reputations. and, in addition, there are some cameos by stars in the past including Andrea Ferreol and Chiara Mastroianni.

Because Robert De Niro had appeared in Dirty Grandpa around the same release time, and De Niro and Depardieu had appeared together in 1900, some of the shenanigans in Saint Amour are reminiscent of the crass shenanigans in Dirty Grandpa. But there is something about American crassness that so emphasises the crass that it loses a great deal of the humanity. It has to be said that in many French films, however crass, they still keep a strong sense of humanity – at least ultimately. That is the case here.

Father and son go to Paris for an agricultural show, bringing their prize bull in the hope of winning the competition. The son, Benoit, has a fondness for wine and so he and his friend, Thierry, make a tour of all the stalls, the equivalent of a Tour de France, putting all the business cards on a map to indicate their achievement in sampling so many wines. Then, it seems a good idea for father and son to hire a taxi and two ago on a real tour of France, sampling more wines as they go.

Their driver is a young Frenchman from Paris, Mike (with quite some dialogue criticising him for having a non-French name) who has a story of his own and wants to make different stops to contact women he has encountered in the past.

This means that it is a road trip, arriving in various towns around France, difficulties in finding accommodation, drinking episodes, down into the South and the spectacular visit to the city of Carcassonne, and into the countryside, finally finishing up at an unusual motel where the proprietress is suffering from early menopause and is desperate to become pregnant as soon as possible – with three compliant potential fathers.

There is some amusement in the various episodes, but Benoit Poelvoorde is often more raucous than sympathetic and Depardieu’s father has some ambiguous attitudes while Mike has alienated the different women he visits.

Back to Paris, exhibition of the bull, possibilities for a prize, but back to the farm and to the pregnant woman with Mike realising that he was wasting time in driving around Paris and that there was a better life to be had down on the farm.

And, the title of the film? One of the wines that they drink!


South Africa, 2016, 106 minutes, Colour.
Steve Coogan, Andrea RIseborough, Robert Hobbs, Garion Dowds, Deon Lotz.
Directed by Oliver Schmitz.

During the apartheid years, Oliver Schmitz directed a passionate film, Mapantsulal, raising the issues of race, religion and violence in the context of apartheid. He has said that he wanted to make this present film several decades ago but was unable. And now he has made it. And, an arresting and challenging film it is.

The title? This is explained quite late in the film and refers to the guards who work on death row, have to work in close contact with the prisoners, some shepherding, but then having to accompany them to the gallows and participate as butchers.

The setting is 1987. A young man driving a car crashes on a dark night with a minivan and its black footballer passengers. When the vehicles stop and the footballers start to get out of the van, the young man draws his gun and shoots them all dead, lining up the bodies in a row and then disappearing.

The audience is introduced to a lawyer who has been campaigning against capital punishment for many years, John Webber, played by Steve Coogan (very seriously, a far cry from his comedies and his Alan Partridge persona). The young killer, Leon (Garion Dowds) is silent, and unwillingy to communicate with the lawyer and his assistant, seemingly sullen and resigned to his fate. Webber considers his duty done in meeting with the accused.

However, he does have an idea for the defence, consulting a psychologist as well as his brother-in-law who works in the secret forces action programme to discover the effect of the trauma of killing on an individual. He pursues this line, even when the accused does not want it, but is forced to go along with Webber. The judge for the case is severe, a hanging judge and, with some difficulty, he is persuaded to allow this line of action be used. British actress Andrea Riseborough portrays the prosecuting lawyer.

As the trial proceeds, there are many flashbacks as Webber wants to retrace the life of the accused, who joined the prison staff at the age of 17 and killed the men at the age of 19. What emerges in much detail is the ruthlessness of the prison regime, the young man having no preparation for his work on death row, beginning on his second day, having to learn by experience. It emerges that his work requires him to be close with particular prisoners, meals, showers, meeting their relatives, reading the Scriptures to them – and then having to accompany them, make sure that the rope is long enough for their necks to be quickly broken, and clean up the excrement and mess after they die.

The Warrant Officer from the prison comes to court and is an intimidating presence, especially when the accused has to remember his last day, the prisoners revolt and the difficulties in herding the prisoners to the gallows.

Ultimately, the accused cannot remember what he did at the killing. The mothers of the victims are in court challenging Webber as do the parents of the accused. Webber takes the judge and other members of the court to the scene of the murder to try to understand how the accused reacted, especially to the slamming of the door, reminiscent of the sounds of the hanging lever. The court also goes to the prison, with the Warrant Officer demonstrating the pulling of the lever.

While the film has an apartheid background, it is not specifically about apartheid but it is, much more, a film campaigning against capital punishment – with the information at the end about South Africa abolishing capital punishment at the beginning of the presidency of Nelson Mandela in 1995.

An interesting if sobering experience.

  • SOY NERO - Competition

Germany/France/Mexico, 2016, 190 minutes, Colour.
Johnny Ortiz, Ian Casselberry, Chloe Farnsworth, Rory Cochrane, Michael Harney, Ami Amean, Richard Portnow, Kyle Davis.
Directed by Rafi Pitts.

Writer-director Rafi Pitts has an Iranian background, having contributed to the Iranian industry with such films as The Hunter and It’s Winter. With his move to North America, he has within this story of Hispanic migrants, the wall which is a barrier between the US and Mexico, the disparate conditions between the wealthy and the poor in Los Angeles, and action in Afghanistan. It is quite an agenda for this film.

It opens with a young man, Nero, Johnny Ortiz, getting across the wall and running through the desert pursued by the police, to be captured, interrogated, and returned to Mexico. It appears that he was brought up in Los Angeles but his family deported and he is trying to get back to the US, seen playing volleyball over the wall with friends on the other side, planning, under the cover of fireworks, to get across the wall again at night – which he does.

His first encounter back in the US is trying to hitchhike, most cars not stopping, but then a businessman, Seymour, stopping with his little girl, chatting with Nero, making statements about borders, disparaging wind turbines by explaining that they run on oil and, therefore unreasonably costly, eventually interrogated by the police at a service station while Nero runs away.

In searching for his brother, Jesus, in LA, he is given the address by the receptionist at the garage where Jesus had worked, and Nero goes to Beverly Hills, once again interrogated by police, but finds the mansion where his brother lives – with the audience guessing, but the film taking a long time with tours of the mansion and touches of luxury living, to reveal that Jesus and his girlfriend actually work for the owners

Nero wants to become an American citizen and knows this can be achieved by serving in the military.

Suddenly, after training, we see him in Afghanistan, at an outpost supervising a no man’s land, encountering a family in the car, stopped by two of his African-American fellow guards and let through. The superior is an officer who keeps to himself and is shown, later, to have a death wish. The two African Americans are from the East coast and argue with Nero about the relative importance of the musicians from the East Coast rather than from LA.

When another car comes up the road, it does not stop and shots are fired. They call in reinforcements, especially an expert in discovering explosives in vehicles – which is the occasion for some rebels to start firing on the outpost. The result is that the three men try to escape in a truck, it breaks down, they have to make decisions as to what they will do in the desert, to walk to the main base, to determine where the road is, and to avoid further attacks.

The film has an open end, Nero on the road, having survived in the desert, not having his identification with him – and being subject to the same police searches he has experienced earlier. Will Nero be believed? Will he become an American citizen, will he get back to the United States, what kind of life might he have…?

The Iranian director has created a story, a critique of US ways, the challenge, especially, for an American audience.

  • TEMPESTAD - Forum

Mexico, 2016, 105 minutes, Colour.
Directed by Tatiana Huezo.

Tempers started is a documentary from Mexico, written and directed by a woman, Tatiana Huezo, telling the story of two women who suffer because of the influence of the truck cartels.

One of the women is in prison, prisons which are run by private enterprise, was falling foul cartels but, so, is released, goes to the bus station, travels home to be reunited with her son. But, this freedom is tentative, and the woman is always at risk from further attack.

The other woman belongs to a circus which travels around entertaining in the country. Her daughter has a scholarship to the University but his abducted and the woman and her husband are asked to pay ransom. They spent a great deal of energy searching for the daughter, but without success.

The been many thrillers as well is realistic dramas about the prevalence of the cartels, their reach into every aspect of Mexican society, the ruthlessness – but these two stories are effectively told and illicit an emotional response to the two women and the sufferings.

  • WAR ON EVERYONE - Panorama

UK, 2016, 97 minutes, Colour.
Michael Pena, Alexander Skarsgaard, Theo James, Tessa Thompson, Stephanie Sigman, Caleb Landry Jones, Malcolm Barrett.
Directed by John Michael McDonagh.

You would definitely have to be in a particular frame of mind to go to see War on Everyone – because the screenplay goes to war on customary and expected values, especially in a police force. This is very tongue-in-cheek material and many viewers may not like the taste.

The writer-director, John Michael McDonagh, has a British and Irish background (and is not afraid to target both sensibilities in dramatising eccentric characters and what they have to say and do). He created a strong impression with The Guard, a serious and comic look at an Irish policeman, and difficulties with the letter of the law and with corruption. This is definitely the case with the American policeman here. But then, he made a huge impression with his film about the priest targeted by a victim of sexual abuse, Calvary. Advertising, surprisingly, referred to this film as a comedy but most audiences responded to it very seriously, especially with Brendan Gleeson’s performance as the priest.

This film seem worlds away from Calvary.

The setting is Albuquerque New Mexico, and our two “heroes” Terry and Bob, played by Alexander Skarsgaard and Michael Pena, are continually in trouble from their superior, Paul Reiser, because of their unorthodox way of policing (which includes influencing the law and is not above money on the take). Terry has sexual problems but finishes up having a good relationship with a stripper, Stephanie Sigman. Bob, on the other hand, is a family man, a most congenial wife, Tessa Thompson, two boys, one of whom is definitely overweight and the other sometimes slow but, while he is critical of them, he is often a doting father. He seems the least likely of renegade police officers.

One day they are in a museum and realise that a bunch of criminals have gathered there and are planning a big robbery. They check on their contacts, especially an African-American man, Reggie, just out of jail who has a nonchalant Irish friend. Snorting cocaine is involved – a lot of it and by all.The robbery takes place fairly quickly but most of those who perpetrated are found dead, except for Reggie who was the getaway driver.

So, just when least expecting it, the action transfers to Iceland, impressively photographed with snow and landscapes as well as some details of Rejkavik. It is here that money exchanges hands and our ‘heroes’ go back to Albuquerque to see what more they can extract.

The further complication is an English Lord, into drugs and sex as well as money, played by Theo James. There is also an androgynous barkeeper who is in contact with the Lord but is pursued in a huge chase by Terry and Bob.

It doesn’t spoil anything to say that it is all building up to a confrontation between everyone and there is no doubt as to who will win the day and return to the hot spring spa in Iceland.

Audiences who enjoy heavy irony, that has a touch of spoof and satire and the touch of lawlessness is really the target audience for War on Everyone.

  • ZERO DAYS - Competition

US, 2016, 116 minutes, Colour.
Directed by Alex Gibney.

Alex Gibney is a master director of documentaries, winning an Oscar for his Taxi to the Darkside about prisons in Afghanistan. He has been quite prolific, subjects ranging from the men of Enron, to WikiLeaks, to exposing Lance Armstrong, a film on Steve jobs, the exposé of Scientology, Going Clear.

The basic premise of this film is that in the past there have been tensions with nuclear war, chemical warfare, biological warfare – but now we are in an age of cyber warfare. Some of the talking heads here explain that negotiations for treaties on the previous kinds of warfare, for example Gorbachev and Reagan signing treaties in the 1980s, have taken decades but have achieved good results. What is the prospect now for treaties in terms of cyber warfare?

This documentary focuses on the release of the Stuxnet, a self-replicating Internet virus, used by the United States to infiltrate cylinders and other networks in Iran’s nuclear program. The origin was secret, commentators saying they were unable to answer questions, the origin of the virus eventually revealed to be the United States itself.

This documentary is far less outgoing than many of Alex Gibney’s previous documentaries. It is very much a talking film, quite a range of talking heads, practically all male. Where there is a female, it is someone who is talking to the media with the danger of her being arrested. She is presented in computer diagram although, at the end she is revealed as an actress reading the lines on behalf of the anonymous speaker.

The focus of the film is on a virus which most people will not have heard of, xxxxx It was effective in the first decade of the 21st century. One of the issues is the origin of the virus and the question of its attacks on you Iran and its nuclear plants. Visuals of the then President Ahmadinejad (and the photos and video material being studied by American experts to appreciate the developments in the Iranian projects), along with demonstrations against the Americans, statements about cyber warfare and the Americans from Iranian officials.

There follows many, many talking heads who state that they are unable to talk about the virus, that it is part of national security.

What emerges is that the United States government spent billions on the development of this virus in the presidency of George W. Bush – with clips of him and his advisers and decision makers. Also in the picture is Israel, with images of Benjamin Netanyahu, the extreme hostility of Israel towards Iran.

What the film makers have done is to interview people, consult articles and exposés, to draw the conclusion that the Americans were responsible for this virus. Commentators then explain that while it might have had a temporary effect on the delaying of the development of Iranian nuclear weaponry, the Iranians themselves developed many hackers with the capability, and some practice, of infecting US business and the businesses of allies like Saudi Arabia. The question then arises of how much value is there in this cyber warfare and has enough consideration been given to the consequences of its activity, for example the outages of power, the purifying of water and the subsequent deaths from this warfare.

This continues into the Obama administration, scenes of his taking the oath of office, his meetings in the security room, and the power of the legislation or the powers of the President in terms of this kind of waging of warfare.

The film requires some concentration, there is a lot of technical detail, computer screens on the screen. The film is not exactly fear-mongering but it has the capacity for fear-arousing.

The film ends in 2015 with the signing of the accord between Iran and the United States, the severely hostile speeches of Benjamin Netanyahu at the United Nations, but President Obama expressing great confidence that this is a development towards world harmony and peace.


Poland, 2016, 104 minutes, Colour.
Julia Kijowska, Magdalena Cielecka, Dorota Kolak, Marta Nieradkiewicz.
Directed by Tomasz Wasilewski.

We are not certain what the exact translation of the Polish title would be and the English title looks more than a little suspicious because of the overtones of United States. After viewing the film, the word in the English title that should raise suspicions is that of “Love ”. a more accurate title of the film could be “The Disparate Conditions of Lust”.

This is a story from the early 1990s, just after the fall of the Berlin Wall, the transition in Poland from Communist government and ideology to a close link with the West and western section of the culture. In fact, in this particular part of Poland the people look rather drab but are eager to move to the United States of non-drabness.

In one way, the screenplay is cleverly written, focusing on three women and how they deal with these changing situations, especially in terms of relationships and sexuality. It can be noted that many VHS films are becoming more and more available in Poland at the time, especially black market pornography videos, which many are eager to copy and look at.

The way that the screenplay is strangely written is that it focuses on three women who are in some ways connected but actually ends their stories without completing them, leaving it to the audience to wonder and speculate about what would happen.

This is particularly the case with the first woman, Agata, married with a daughter, her husband working in a factory, the daughter at school, and she herself involved in selling and hiring out the videos. Her husband loves her. There is quite an amount of churchgoing, to mass, to funerals, listening to sermons, with the possibility for confession, and the blessing of houses. While there are two older priests, there is a handsome young priest and Agata is obsessed with him, listening to his sermons extolling the glories of love (which he also does with a group of schoolchildren in the classroom), but is so disturbed by his presence in the house that she cannot stay while he is doing the blessing of the house and, then, going to the priest’s house, spying on him as he goes naked to have a shower. For those feeling a bit prurient and wondering what is going to happen, the answer is nothing, except that Agata going back to her husband and a vigorously surprising sexual encounter.

The second story is that of the school Principal, very well dressed, authoritative at school, having some dignity in the town. But, in this United States of Love, she is having an affair with a widower who has a teenage daughter. When he finds her clinging, he ends the affair and acts brutally towards her which devastates her and she behaves recklessly with a young man at the railway station – who tells her that she failed her when he was at school and she was the Principal.

The third story is of an older teacher, who loves teaching literature but who has to resign, being asked by the Principal - and living in an apartment block where the others live. She admires the Principal’s younger sister whose husband has been in Germany for several years earning money to send back to Poland. This younger woman runs aerobics classes as well as swimming pool exercise sessions for older women. The teacher wants to become part of the group, pushes her way to the attention of the instructor, invites her to dinner happily, then contrives an accident on the apartment block staircase to elicit more sympathy from the young woman (who is having her own difficulties of loneliness and wants to capitalise on her once-reputation of being a beauty Queen by having a photo shoot – but is used by an unscrupulous photographer). The old lady has some satisfaction in helping the young woman.

Rather drab lives in a rather drab Poland in brief sketches of about 40 minutes each, effective but certainly open-ended.


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