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  90. The Young and Prodigious T.S. Spivett
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  93. SIGNIS Statement on "Exodus: Gods and Kings"
  94. SIGNIS Film Reviews: October 2014
  95. 20,000 Days on Earth
  96. Advanced Style
  97. Annabelle
  98. The Boxtrolls
  99. Dracula Untold
  100. The Equalizer
  101. The Giver
  102. Gone Girl
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  104. If I Stay
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  106. The Infinite Man
  107. Into the Storm
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  113. Life of Crime
  114. The Little Death
  115. Locke
  116. The Maze Runner
  117. Planes: Fire and Rescue
  118. The Reckoning
  119. Siddharth
  120. The Skeleton Twins
  121. Son of a Gun
  122. Step Up All In
  123. Teenage Mutant Ninja Turtles
  124. Tusk
  125. Wetlands
  126. Wish I Was Here
  127. SIGNIS Film Reviews: Summer 2014
  128. The Hundred Foot Journey
  129. The 100-Year-Old Man who Climbed out a Window and Disappeared
  130. Begin Again
  131. Boyhood
  132. Charlie’s Country
  133. Devil’s Knot
  134. The Expendables 3
  135. Felony
  136. Freedom
  137. Get on Up
  138. God’s Not Dead
  139. God’s Pocket
  140. The Inbetweeners 2
  141. Magic in the Moonlight
  142. Night Moves
  143. Predestination
  144. Snowpiercer
  145. These Final Hours
  146. What We Do in the Shadows
  147. All this Mayhem
  148. And So It Goes
  149. Beatriz’s War
  150. Belle et Sebastien
  151. Bethlehem
  152. Deliver us from Evil
  153. Ernest et Celestine
  154. The French Minister/ Quai d’Orsay
  155. Galore
  156. Guardians of the Galaxy
  157. Hercules
  158. Jersey Boys
  159. The Keeper of Lost Causes
  160. Lucy
  161. The Lunchbox
  162. A Most Wanted Man
  163. Mrs Brown’s Boys, D’Movie
  164. Reaching for the Moon/ Flores Raras
  165. Rio 2
  166. Sex Tape
  167. The Selfish Giant
  168. Still Life
  169. Rising from the Ashes
  170. Transformers: Age of Extinction
  171. Venus in Fur/ Venus a la fourrure
  172. Volcano
  173. Words and Pictures
  174. 22 Jump Street
  175. Any Day Now
  176. Blended
  177. The Face of Love
  178. Edge of Tomorrow
  179. The Fault in our Stars
  180. Frank
  181. Good Vibrations
  182. The Last Impresario
  183. A Million Ways to Die in the West
  184. Omar
  185. Once My Mother
  186. The Rover
  187. The Trip to Italy
  188. X-Men Days of Future Past
  189. Yves Saint Laurent
  190. SIGNIS Film Reviews: June 2014
  191. 52 Tuesdays
  192. The Amazing Spiderman 2: Rise of Electro
  193. The Armstrong Lie
  194. The Babadook
  195. Bad Neighbours
  196. Belle
  197. Blue Ruin
  198. The Broken Circle Breakdown
  199. Canopy
  200. Captain America: Winter Soldier
  201. A Castle in Italy/ Un Chateau en Italie
  202. Chef
  203. Child’s Pose
  204. Divergent
  205. The Double
  206. Fading Gigolo
  207. Faith Connections
  208. Gore Vidal: the United States of Amnesia
  209. Gabrielle
  210. Gardening with Soul
  211. Grace of Monaco
  212. Godzilla
  213. Hannah Arendt
  214. Half of a Yellow Sun
  215. Healing
  216. Heaven is for Real
  217. How to Train Your Dragon 2
  218. Ida
  219. The Invisible Woman
  220. Like Father, Like Son
  221. Living is Easy with your Eyes Closed
  222. Man of Tai Chi
  223. Maleficent
  224. Miniscule: the Valley of the Lost Ants
  225. Missing Picture/ L’Image Manquant
  226. Mr Morgan’s Last Love
  227. Mr Peabody and Sherman
  228. Muppets Most Wanted
  229. My Sweet Pepper Land
  230. Need for Speed
  231. Next Goal Wins
  232. Noah
  233. Nymphomaniac Volume 2
  234. Only Lovers Left Alive
  235. The Other Woman
  236. Out of the Inferno
  237. Pompeii
  238. The Raid 2
  239. Ride Along
  240. Seduced and Abandoned
  241. Sunshine on Leith
  242. Transcendence
  243. Under the Skini
  244. Wadjda
  245. Jeune et Jolie/ Young and Beautiful
  246. The Zero Theorem
  247. SIGNIS Film Reviews: February/March 2014
  248. ’71
  249. Aloft
  250. Beauty and the Beast
  251. The Better Angels
  252. Black Coal, Thin Ice/ Bari Ri Yan Huo
  253. Blind Massage/ Tui Na
  254. Calvary
  255. The Darkside
  256. The Grand Budapest Hotel
  257. Historia do Meida/ History of Fear
  258. Jack
  259. Kraftidioten/ In Order of Disappearance
  260. Kreuzweg/ Stations of the Cross
  261. The Little House/ Chiisiai Ouochi
  262. Love is Strange
  263. Macondo
  264. The Monuments Men
  265. Mo Jing/ That Demon Within
  266. N - Madness of Reason
  267. No Man’s Land/ Wu Ren Qu
  268. Praira do futuro/ Beach of the Future
  269. Stratos/ The Storm Within
  270. Things People Do
  271. The Third Side of the River
  272. To Singapore, With Love
  273. The Two Faces of January
  274. Two Men in Town
  275. Unfriend
  276. Viharsorok/ Land of Storms
  277. Zwischen Welten/ Inbetween Worlds
  278. 3 Days to Kill
  279. 300: The Rise of an Empire
  280. All is Lost
  281. Chinese Puzzle/ Casse-tete chinois
  282. Dallas Buyers Club
  283. Endless Love
  284. The Grand Budapest Hotel
  285. I, Frankenstein
  286. In a world...
  287. The Monuments Men
  288. Non-stop
  289. Nymphomaniac Volume 1
  290. Out of the Furnace
  291. Robocop
  292. Romeo and Juliet
  293. Tracks
  294. Nebraska
  295. Vampire Academy
  296. A Winter’s Tale/ A New York Winter’s Tale
  297. Wolf Creek 2
  298. SIGNIS Film Reviews: Berlinale 2014
  299. SIGNIS Statement: Kreuzweg (Stations of the Cross)
  300. SIGNIS Statement: Calvary
  301. Labor Day
  302. Mandela: Long Walk to Freedom
  303. The Past/ Le Passe
  304. Blue is the Warmest Colour/ La Vie d’Adele - Chapitres 1 et 2
  305. 12 Years a Slave
  306. 47 Ronin
  307. Anchorman 2: The Legend Continues
  308. Are We Officially Dating?/ That Awkward Moment
  309. Drinking Buddies
  310. Free Birds
  311. La Grande Bellezza/ The Great Beauty
  312. Her
  313. Inside Llewyn Davis
  314. Jack Ryan: Shadow Recruit
  315. Lone Survivor
  316. Paranormal Activity: The Marked Ones
  317. Saving Mr Banks
  318. The Secret Life of Walter Mitty
  319. Short Term 12
  320. The Wind Rises/ Kaze Tachinu
  321. The Wolf of Wall Street
  322. 20 Feet from Stardom
  323. Apres Mai/ After May
  324. American Hustle
  325. August: Osage County
  326. Blackfish
  327. Backyard Ashes
  328. The Book Thief
  329. Carrie
  330. Cloudy with a Chance of Meatballs 2
  331. Delivery Man
  332. Fill the Void
  333. Filth
  334. Frozen
  335. The Gilded Cage/ La Cage Doree
  336. The Hobbit: The Desolation of Smaug
  337. Homefront
  338. How I Live Now
  339. Last Vegas
  340. Le Weekend
  341. One Chance
  342. The Railway Man
  343. Si Parla Italiano: Lygon Street
  344. Adoration
  345. Ain’t Them Bodies Saints
  346. Alan Partridge: Alpha Papa
  347. Austenland
  348. Big Ass Spider
  349. Blancanieves
  350. Captain Phillips
  351. Closed Circuit
  352. The Counselor
  353. Ender’s Game
  354. Enough Said
  355. Escape Plan
  356. The Fifth Estate
  357. Fruitvale Station
  358. The Hunger Games: Catching Fire
  359. Insidious Chapter 2
  360. Jackass Presents: Bad Grandpa
  361. Kill Your Darlings
  362. Machete Kills
  363. Magic Magic
  364. Mary Meets Mohammad
  365. Mr Pip
  366. SIGNIS Statement: "Philomena"
  367. SIGNIS Film Reviews: November/December 2013
  368. Mystery Road
  369. Patrick
  370. The Spectacular Now
  371. Thor: the Dark World
  372. Walesa - Man of Hope
  373. 2 Guns
  374. About Time
  375. The Act of Killing
  376. The Butler
  377. Diana
  378. The East
  379. Fallout
  380. The Family
  381. Gravity
  382. Grown Ups 2
  383. The Human Cargo/ La Nave Dolce
  384. I Am a Girl
  385. In Bob We Trust
  386. I’m So Excited
  387. The Interval/ L’Intervallo
  388. Lasseter’s Bones
  389. Paranoia
  390. Parker
  391. Percy Jackson: Sea of Monsters
  392. Planes
  393. Prisoners
  394. The Red and the Blue
  395. Renoir
  396. Riddick
  397. RIPD
  398. Runner Runner
  399. Rush
  400. Stories We Tell
  401. Thanks for Sharing
  402. Turbo
  403. The Best Offer
  404. Blue Jasmine
  405. Elysium
  406. Gambit
  407. The Gatekeepers
  408. A Hijacking/ Kapringen
  409. Jobs
  410. Kickass 2
  411. Mood Indigo/ L’Ecume des Jours
  412. The Mortal Instruments: City of Bones
  413. Much Ado About Nothing
  414. Pain & Gain
  415. Red 2
  416. Red Obsession
  417. The Rocket
  418. Stoker
  419. The Turning
  420. Upstream Color
  421. V/H/S/2
  422. We’re the Millers
  423. What Maisie Knew
  424. White House Down
  425. The World’s End
  426. You’re Next
  427. SIGNIS Film Reviews: July/August 2013
  428. 100 Bloody Acres
  429. After Earth
  430. The Audience
  431. Behind the Candelabra
  432. Beyond the Hills
  433. The Blind Detective
  434. The Bling Ring
  435. Cloudburst
  436. The Conjuring
  437. Despicable Me 2
  438. Epic
  439. Errors of the Human Body
  440. Everybody Has a Plan/ Todos Tenemos un Plan
  441. Furious 6/ The Fast and the Furious 6
  442. A Gun in Each Hand
  443. Happiness Never Comes Alone/Le bonheur n’arrive jamais a seul
  444. The Heat
  445. The Internship
  446. In the House/ Dans La Maison
  447. Lady in Paris/ Une Estonienne a Paris
  448. The Lone Ranger
  449. Man of Steel
  450. Metro
  451. Monsters University
  452. Now You See Me
  453. One Mile Above/ Kora
  454. Only God Forgives
  455. Pacific Rim
  456. Le Prenom/ What’s in a Name
  457. Reality
  458. Satellite Boy
  459. This is the End
  460. The Way, Way Back
  461. The Wolverine
  462. Still Mine
  463. To the Wonder
  464. World War Z
  465. You Ain’t Seen Nothin’ Yet
  466. The Big Wedding
  467. Broken
  468. The Call
  469. Camille Redouble/ Camille Rewinds
  470. Dead Man Down
  471. Evil Dead
  472. The Great Gatsby
  473. The Hangover Part III
  474. Jagten/ The Hunt
  475. Mud
  476. The Reluctant Fundamentalist
  477. Scary Movie 5
  478. Snitch
  479. Spring Breakers
  480. Star Trek Into Darkness
  481. Adventures in Zambezia
  482. Antiviral
  483. Chasing Ice
  484. Cheerful Weather for the Wedding
  485. The Company You Keep
  486. Drift
  487. Vic and Flo Meet a Bear
  488. Side Effects
  489. Promised Land
  490. Prince Avalanche
  491. Parde (Closed Curtain)
  492. Paradies
  493. Nobody’s Daughter Haewon
  494. Night Train to Lisbon
  495. The Necessary Death of Charley Countryman
  496. La religieuse (The Nun)
  497. Maladies
  498. Lovelace
  499. The Look of Love
  500. A Long and Happy Life
  501. In the Name of...
  502. Harmony Lessons
  503. The Grandmaster
  504. Gloria
  505. Gold
  506. Frances Ha
  507. An Episode in the Life of an Iron Picker
  508. Elle s’en va (On Her Way)
  509. Dark Blood
  510. The Croods
  511. Camille Claudel 1915
  512. Before Midnight
  513. Escape from Planet Earth
  514. First Position
  515. Haute Cuisine/ Les Saveurs de Palais
  516. Identity Thief
  517. Iron Man 3
  518. No
  519. Oblivion
  520. Olympus Has Fallen
  521. The Other Son/ Le Fils de L’Autre
  522. The Place Beyond the Pines
  523. Rust and Bone
  524. Le Skylab
  525. Sleepwalk with Me
  526. Song for Marion
  527. Therese Desqueyroux
  528. Trance
  529. SIGNIS Film Reviews: Berlinale 2013
  530. 21 and Over
  531. Blinder
  532. Broken City
  533. GI Joe: Retaliation
  534. Goddess
  535. A Good Day to Die Hard
  536. Hansel and Gretel: Witchhunters
  537. Hara-Kiri: Death of a Samurai
  538. The Host
  539. Hyde Park on Hudson
  540. The Incredible Burt Wonderstone
  541. In the Fog
  542. Jack the Giant Slayer
  543. Mama
  544. The Paperboy
  545. Performance/ A Late Quartet
  546. Return to Nim’s Island
  547. Underground: the Julian Assange Story
  548. SIGNIS Film Reviews: February 2013
  549. Zero Dark Thirty
  550. Anna Karenina
  551. Compliance
  552. Django Unchained
  553. Flight
  554. Gangster Squad
  555. The Impossible
  556. The Guilt Trip
  557. Last Dance
  558. Life of Pi
  559. Lincoln
  560. Parental Guidance
  561. Rise of the Guardians
  562. Save Your Legs
  563. The Silver Linings Playbook
  564. Wreck-it Ralph
  565. This is 40
  566. 2 Days in New York
  567. 360
  568. Alex Cross
  569. All the Way Through Evening
  570. American Mary
  571. The Angel’s Share
  572. Argo
  573. Bachelorette
  574. Back to 1942
  575. Beasts of the Southern Wild
  576. Breaking Dawn, Part 2
  577. Dangerous Liaisons
  578. Dead Europe
  579. The Do-Deca Pentathlon
  580. Dredd
  581. End of Watch
  582. Fun Size
  583. God Bless America
  584. Hail
  585. Here Comes the Boom
  586. Hitchcock
  587. The Hobbit, an unexpected journey
  588. Jack Reacher
  589. The Intouchables/ Les Intouchables/ Untouchables
  590. I Wish
  591. Killing Them Softly
  592. Lawless
  593. Les Miserables
  594. Liberal Arts
  595. Lockout
  596. Love is All You Need
  597. Lore
  598. The Man with the Iron Fists
  599. The Master
  600. Mental
  601. Miss Bala
  602. A Monster in Paris
  603. Paris - Manhattan
  604. The Odd Life of Timothy Green
  605. People Like US
  606. Pitch Perfect
  607. Paranormal Activity 4
  608. The Perks of Being a Wallflower
  609. SIGNIS Film Reviews: December 2012
  610. Quartet
  611. The Raven
  612. Robot & Frank
  613. Ruby Sparks
  614. The Sessions
  615. Seven Psychopaths
  616. Sinister
  617. Skyfall
  618. Savages
  619. Sound of My Voice
  620. Taken 2
  621. To Rome with Love
  622. Trouble with the Curve
  623. Tu seras mon fils/ You Will Be My Son
  624. The Words
  625. Wuthering Heights
  626. Wunderkinder
  627. "Aristides de Sousa Mendes": The Angel of Bordeaux
  628. On the Road
  629. Looper
  630. Damsels in Distress
  631. Holy Motors
  632. Arbitrage
  633. SIGNIS Film Reviews: September 2012
  634. Lore
  635. Chinese Take-away/ Un cuento chino
  636. Bait
  637. Hotel Transylvania
  638. The Watch
  639. Resident Evil: Retribution
  640. Barrymore
  641. Being Venice
  642. The Bourne Legacy
  643. Bully
  644. The Expendables 2
  645. Hope Springs
  646. Kath and Kimderella
  647. Madagascar 3: Europe’s Most Wanted
  648. Monsieur Lazhar
  649. Moonrise Kingdom
  650. Total Recall
  651. Your Sister’s Sister
  652. SIGNIS Film Reviews: July/August 2012
  653. SIGNIS Film Reviews: June 2012
  654. SIGNIS Film Reviews: May 2012
  655. Beauty/ Skoonheid
  656. The Sapphires
  657. Hysteria
  658. And if we all lived together/ Et si on vivait tous ensemble
  659. The Door
  660. Not Suitable for Children
  661. In Darkness
  662. Magic Mike
  663. The Dark Knight Rises
  664. The King is Dead!
  665. You Instead
  666. The Amazing Spiderman
  667. Where do we go now?
  668. The Three Stooges
  669. I Am Eleven
  670. Polisse
  671. Ted
  672. Ice Age: Continental Drift
  673. Snow White and the Huntsman
  674. Take This Waltz
  675. That’s My Boy
  676. Rock of Ages
  677. Comme un chef/ The Chef
  678. Brave
  679. Marley
  680. The Cabin in the Woods
  681. The Innkeepers
  682. Margaret
  683. What to Expect When You’re Expecting
  684. Elena
  685. Prometheus
  686. Anton Chekhov’s The Duel
  687. Friends with Kids
  688. Get the Gringo
  689. Game Change
  690. Declaration of War/ La guerre est declaree
  691. Men in Black 3
  692. Empire of Silver
  693. Silent Souls/ Ovsyenki
  694. The Dictator
  695. Swerve
  696. Once Upon a Time in Anatolia
  697. Careless Love
  698. Dark Shadows
  699. La Delicatesse/ Delicacy
  700. Iron Sky
  701. Trishna
  702. W./E
  703. 21 Jump Street
  704. Act of Valor
  705. Amour de Jeunesse/ Goodbye, First Love
  706. The Avengers
  707. Battleship
  708. Cafe de Flore
  709. The Deep Blue Sea
  710. Dr Seuss’ The Lorax
  711. The Footnote
  712. Ghost Rider: Spirit of Vengeance
  713. Hotel Lux
  714. The Hunger Games
  715. Irvine Welsh’s Ecstasy
  716. Kongen av Bastoy? King of Devil’s Island
  717. Kid with a Bike/ Le Gamin au Velo
  718. The Lady
  719. Le Havre
  720. The Lucky One
  721. Mirror, Mirror
  722. Les Neiges de Kilimandjaro/ The Snows of Kilimanjaro
  723. Pirates: Band of Misfits!
  724. The Raid
  725. Rebellion/ L’Ordre et La Morale
  726. The Rum Diary
  727. Romantics Anonymous/ Les Emotifs Anonymes
  728. Safe
  729. Salmon Fishing in the Yemen
  730. The Sorcerer and the White Snake
  731. La Source des femmes/ The Source
  732. Spud
  733. This Must be the Place
  734. Tomboy
  735. The Woman in Black
  736. Wish You Were Here
  737. La Femme de Vieme/ The Woman in the Fifth
  738. The Five-Year Engagement
  739. La Fille du Puisatier/ The Well Digger’s Daughter
  740. The Wrath of the Titans
  741. SIGNIS Film Reviews: March 2012
  742. Any Questions for Ben?
  743. 50/50
  744. The Artist
  745. The Best Exotic Marigold Hotel
  746. Buck
  747. Carnage
  748. Chronicle
  749. Contraband
  750. A Dangerous Method
  751. The Devil Inside
  752. Gone
  753. Headhunters/ Hodejegerne
  754. Project X
  755. John Carter
  756. One for the Money
  757. Safe House
  758. This Means War
  759. Tyrannosaur
  760. 1911
  761. 30 Minutes or Less
  762. Apollo 18
  763. A Better Life
  764. Everything Must Go
  765. A Few Best Men
  766. Flypaper
  767. The Grey
  768. Journey 2: The Mysterious Island
  769. J. Edgar
  770. Killer Elite
  771. Like Crazy
  772. Man on a Ledge
  773. My Week with Marilyn
  774. Retreat
  775. Shame
  776. Trespass
  777. The Vow
  778. A Moi Seule/ Coming Home
  779. Aujourd’hui/ Today
  780. Barbara
  781. Bel Ami
  782. Captive
  783. Cesare deve morire/ Caesar Must Die
  784. Cherry
  785. Dictado/ Dictation/ Childish Games
  786. Dollhouse
  787. Don 2: Don Must Die
  788. L’Enfant d’ en haut/ Sister
  789. Extremely Loud and Incredibly Close
  790. Flowers of War
  791. Flying Swords of Dragon Gate
  792. Gnade/ Mercy
  793. Haywire
  794. In the Land of Blood and Honey
  795. Jayne Mansfield’s Car
  796. Keep the Lights on
  797. Just the Wind/ Csalk a Szel
  798. La Mer a L’Aube/ Calm at Sea
  799. Meteora
  800. My Brother the Devil
  801. Postcards from the Zoo
  802. Rebelle/ War Witch
  803. A Royal Affair
  804. Shadow Dancer
  805. Tabu
  806. La Vierge, Les Coptes et Moi...
  807. Was Bleibt/ Home for the Weekend
  808. White Deer Plain
  809. Wilaya
  810. SIGNIS Film Reviews: Berlin 2012 Special Edition
  811. SIGNIS Film Reviews: January 2012
  812. Too Big to Fail
  813. The Descendants
  814. Arietty
  815. Autoluminiscent
  816. Hugo
  817. The Muppets
  818. Young Adult
  819. Sherlock Holmes: A Game of Shadows
  820. The Adventures of Tintin
  821. Waste Land
  822. Happy Feet Two
  823. We Bought a Zoo
  824. Dolphin Tale
  825. Albert Nobbs
  826. Courageous
  827. New Year’s Eve
  828. Restless
  829. The Tall Man
  830. The Skin I Live In
  831. Tower Heist
  832. We Need to Talk About Kevin
  833. Another Earth
  834. The Iron Lady
  835. Jack and Jill
  836. Melancholia
  837. Mission Impossible - Ghost Protocol
  838. The Orator/ O Le Tulafale
  839. The Yellow Sea/ Hwanghae
  840. Yes Madam, Sir
  841. SIGNIS Film Reviews: October/November 2011
  842. Breaking Dawn Part I
  843. Attack the Block
  844. The Debt
  845. Habemus Papam (We Have a Pope)
  846. The Ides of March
  847. Immortals
  848. I Don’t Know How She Does It
  849. The Inbetweeners
  850. Moneyball
  851. Puss in Boots
  852. Toomelah
  853. Machine Gun Preacher
  854. Ages of Love (Manuele d’ Am3re)
  855. Arthur Christmas
  856. Shark Night 3D
  857. L’Amour Fou
  858. Country Strong
  859. Oakie’s Outback Adventure
  860. Surviving Georgia
  861. Cedar Rapids
  862. Our Idiot Brother
  863. In Time
  864. The Cup
  865. Don’t be Afraid of the Dark
  866. Contagion
  867. What’s Your Number?
  868. The Three Musketeers
  869. Midnight in Paris
  870. Higher Ground
  871. The Thing
  872. Project Nim
  873. Footloose
  874. Take Shelter
  875. Crazy, Stupid, Love.
  876. The Whistleblower
  877. Monte Carlo
  878. Spy Kids 4: All the Time in the World
  879. Submarine
  880. The Eye of the Storm
  881. Fire in Babylon
  882. Tabloid
  883. Snow Flower and the Secret Fan
  884. Red State
  885. Real Steel
  886. Johnny English Reborn
  887. The Hunter
  888. Fright Night
  889. Abduction
  890. 13 Assassins
  891. Guilty Pleasures
  892. Client 9: the Rise and Fall of Eliot Spitzer
  893. Colombiana
  894. Zookeeper
  895. Final Destination 5
  896. The Change-Up
  897. Face to Face
  898. Win Win
  899. The Rise of the Planet of the Apes
  900. Horrible Bosses
  901. Hobo with a Shotgun
  902. The Help
  903. Conan the Barbarian
  904. Chalet Girl
  905. Beastly
  906. Priest
  907. The Woman
  908. The Greatest Movie Ever Sold
  909. Friends with Benefits
  910. Secuestrados (Kidnapped)
  911. Jane Eyre
  912. Big Mamma’s Boy
  913. Cowboys & Aliens
  914. Green Lantern
  915. Senna
  916. Tucker and Dale vs Evil
  917. The Illusionist
  918. The Conspirator
  919. Love Crime
  920. Captain America, the First Avenger
  921. Precious Life
  922. Bad Teacher
  923. The Eagle
  924. Five Days of August/ Five Days of War
  925. Mars Needs Moms
  926. Stake Land
  927. Beautiful Lies (De Vrais Mensonges)
  928. Meek’s Cutoff
  929. Cars 2
  930. The Last Circus (La Balada Triste de la Trompeta)
  931. Kung Fu Panda 2
  932. Harry Potter and the Deathly Hallows Part 2
  933. Larry Crowne
  934. The Trip
  935. Transformers: Dark of the Moon
  936. Special Treatment (Sans Queue ni Tete)
  937. Mr Popper’s Penguins
  938. Mozart’s Sister
  939. Love and Other Impossible Pursuits/ The Other Woman
  940. All Good Things
  941. Crazy on the Outside
  942. The Tree of Life
  943. SIGNIS Film Reviews: May/June 2011
  944. Faith, Fraud + Minimum Wage
  945. Super 8
  946. Blame
  947. Bridesmaids
  948. Little White Lies
  949. Here I Am
  950. X Men: First Class
  951. The Tunnel
  952. Babies
  953. The Hangover Part II
  954. Carlos
  955. Oceans
  956. Angele et Tony
  957. Soul Surfer
  958. Julia’s Eyes
  959. Mrs Carey’s Concert
  960. Pirates of the Caribbean: On Stranger Tides
  961. SIGNIS Statement: Oranges and Sunshine
  962. Burke and Hare
  963. Water for Elephants
  964. Hanna
  965. Source Code
  966. Hoodwinked Too: The Battle Between Hood and Evil
  967. Fast Five/ The Fast and the Furious 5
  968. Diary of a Wimpy Kid: Rodrick Rules
  969. Your Highness
  970. Thor
  971. Something Borrowed
  972. Snowtown
  973. Scream 4
  974. Rio
  975. La Rafle/ The Round Up
  976. Le Quattro Volte
  977. Paul
  978. Oranges and Sunshine
  979. Murundak
  980. Main Street
  981. Mad Bastards
  982. The Lost Bladesman
  983. Insidious
  984. Incendies
  985. The Human Resources Manager
  986. Get Low
  987. Catfish
  988. Arthur
  989. SIGNIS Film Reviews: March/April 2011
  990. Hop
  991. Sucker Punch
  992. Potiche
  993. Goethe!
  994. The Day I Wasn’t Born (Das lied in mir)
  995. Limitless
  996. Haevnen (In a Better World)
  997. A Heartbeat Away
  998. The Lincoln Lawyer
  999. The Reef
  1000. Red Riding Hood
  1001. The Company Men
  1002. Battle Los Angeles
  1003. Just Go With It
  1004. Howl
  1005. The Girl Who Kicked the Hornet’s Nest
  1006. Almanya - Willkommen in Deutschland
  1007. Ausente (Absent)
  1008. Cave of Forgotten Dreams
  1009. Come Rain, Come Shine
  1010. Coriolanus
  1011. Dance Town
  1012. The Devil’s Double
  1013. Les Femmes du 6eme Etage (Women of the 6th Floor/ Service Entrance)
  1014. The Forgiveness of Blood
  1015. The Future
  1016. Griff the Invisible
  1017. The Guard
  1018. If Not Us, Who (Wer Wenn Nicht Wir)
  1019. Invisible (Lo Roim Alaich)
  1020. Late Bloomers
  1021. Margin Call
  1022. Mein Bester Feind (My Best Enemy)
  1023. Un Mondo Misterioso (A Mysterious World)
  1024. Nader and Simin: a Separation
  1025. Odem (Lipstikka)
  1026. SIGNIS Film Reviews: Berlinale 2011 Special Edition
  1027. Our Grand Despair
  1028. Pina
  1029. El Premio (The Prize)
  1030. Romeos
  1031. Schlafkrankheit (Sleeping Sickness)
  1032. Swans
  1033. Tambien la lluvia (Even the Rain)
  1034. Tropa de Elite 2 (Elite Squad 2 - The Enemy Within)
  1035. True Grit
  1036. Unknown
  1037. Utopians
  1038. Vampire
  1039. V Subottu (Innocent Saturday)
  1040. Wind and Fog
  1041. Yelling to the Sky
  1042. The Rite
  1043. La Tete en Friche (My Afternoons with Margueritte)
  1044. Rango
  1045. SIGNIS Statement: The Rite
  1046. The Way Back
  1047. Wasted on the Young
  1048. Secretariat
  1049. Season of the Witch
  1050. No Strings Attached
  1051. Never Let Me Go
  1052. Nenette
  1053. A LIttle Bit of Heaven
  1054. Inside Job
  1055. I Am Number Four
  1056. Hall Pass
  1057. Gnomeo and Juliet
  1058. Conviction
  1059. Big Momma. Like Father Like Son
  1060. The Adjustment Bureau
  1061. Rabbit Hole
  1062. Hereafter
  1063. SIGNIS Statement: Brighton Rock
  1064. Barney’s Version
  1065. The Green Hornet
  1066. The Next Three Days
  1067. Ramona and Beezus
  1068. SIGNIS Film Reviews: January 2011
  1069. The Mechanic
  1070. How Do You Know
  1071. The Romantics
  1072. 127 Hours
  1073. Black Swan
  1074. The Fighter
  1075. Burlesque
  1076. The Dilemma
  1077. Takers
  1078. Stone
  1079. Arctic Blast
  1080. Out Of The Silence
  1081. Helen
  1082. Morning Glory
  1083. Yogi Bear
  1084. Korkoro
  1085. Unstoppable
  1086. Tangled
  1087. The Tourist
  1088. Sarah’s Key (Elle s’appelle Sarah)
  1089. Gulliver’s Travels
  1090. Little Fockers
  1091. Love and Other Drugs
  1092. SIGNIS Film Reviews: December 2010
  1093. The King’s Speech
  1094. Heartbreaker (L’Arnacoeur)
  1095. Somewhere
  1096. Desert Flower
  1097. Tron: Legacy
  1098. Megamind
  1099. The Chronicles of Narnia: Voyage of the Dawn Treader
  1100. Devil
  1101. Rare Exports - A Christmas Tale
  1102. The Last Exorcism
  1103. Due Date
  1104. SIGNIS Film Reviews: October/November 2010
  1105. SIGNIS Film Reviews: September 2010
  1106. Beneath Hill 60
  1107. Monsters
  1108. Harry Potter and the Deathly Hallows Part I
  1109. Machete
  1110. Sisters of War
  1111. Wild Target
  1112. Skyline
  1113. The American
  1114. Winter’s Bone
  1115. The Loved Ones
  1116. Paranormal Activity 2
  1117. Saw 3D (Saw VII)
  1118. The Social Network
  1119. Gainsbourg
  1120. Detective Dee and the Phantom Flame
  1121. You Don’t Know Jack
  1122. Life as We Know It
  1123. Made in Dagenham
  1124. Red
  1125. Let Me In
  1126. The Town
  1127. Resident Evil: Afterlife
  1128. Copacabana
  1129. La Danse
  1130. The Human Centipede (First Sequence)
  1131. The Clinic
  1132. Eat Pray Love
  1133. Buried
  1134. Legend of the Guardians. The Owls of Ga’hoole
  1135. Dinner for Schmucks
  1136. The Least of These
  1137. The City of Your Final Destination
  1138. Sagan
  1139. Summer Coda
  1140. Diary of a Wimpy Kid
  1141. Cats and Dogs: the Revenge of Kitty Galore
  1142. I’m Still Here
  1143. The Other Guys
  1144. The Last Airbender
  1145. Easy A
  1146. Tomorrow When the War Began
  1147. Despicable Me
  1148. Letters to Father Jakob (Postia poppi Jaakobille)
  1149. The Sorcerer’s Apprentice
  1150. Salt
  1151. The Girl Who Played with Fire
  1152. Piranha 3D
  1153. Vampires Suck
  1154. Matching Jack
  1155. SIGNIS Film Reviews: Summer 2010
  1156. Cairo Time
  1157. Peepli [Live]
  1158. The Expendables
  1159. Second Hand Wedding
  1160. Splice
  1161. Step Up 3D
  1162. Scott Pilgrim vs. the World
  1163. The Special Relationship
  1164. South Solitary
  1165. Killers
  1166. Leaving (Partir)
  1167. Inception
  1168. Tinker Bell and the Great Fairy Rescue
  1169. Boy
  1170. The Waiting City
  1171. Knight and Day
  1172. L’Herisson (Hegehog)
  1173. The Runaways
  1174. Predators
  1175. The Karate Kid
  1176. Eclipse (The Twilight Saga: Eclipse)
  1177. Toy Story 3
  1178. New York, I Love You
  1179. The A-Team
  1180. Get Him to the Greek
  1181. Accidents Happen
  1182. L’Affaire Farewell
  1183. Animal Kingdom
  1184. City Island
  1185. Le Concert
  1186. I Love You Too
  1187. The Kings of Mykonos
  1188. Letters to Juliet
  1189. Mademoiselle Chambon
  1190. Mother and Child
  1191. Shrek Forever After
  1192. Valhalla Rising
  1193. SIGNIS Film Reviews: Cannes 2010 Special Edition
  1194. Abel
  1195. Les Amours Immaginaires
  1196. Another Year
  1197. Aurora
  1198. Biutiful
  1199. Blue Valentine
  1200. Burnt by the Sun 2: The Exodus
  1201. Carancho
  1202. Chonqing Blues (Rizhao Chongqing)
  1203. Copie Certifie (Certified Copy)
  1204. Des Hommes et des Dieux (Of Gods and Men)
  1205. Fair Game
  1206. Hahaha
  1207. L’homme qui crie (A Screaming Man)
  1208. Hors-la-loi (Outside the Law)
  1209. The Housemaid
  1210. Kaboom
  1211. Life, Above All
  1212. Lung Boonmee Rachuak Chat (Uncle Boonmee who can Recall Past Lives)
  1213. Marti, Dupa Craciun (Tuesday after Christmas)
  1214. My Joy
  1215. La Nostra Vita
  1216. SIGNIS Statement: "Des hommes et des dieux" (Of Gods and Men)
  1217. Octubre
  1218. Outrage
  1219. Poetry
  1220. La Princesse de Montpensier
  1221. Robin Hood
  1222. Rebecca H. (Return to the Dogs)
  1223. Route Irish
  1224. Simon Werner e Disparu... (Lights Out)
  1225. The Strange Case of Angelica
  1226. Szerid Teremtes - A Frankenstein Terv (Tender Son - the Frankenstein Project
  1227. Tamara Drewe
  1228. Tournee (On Tour)
  1229. The Tree
  1230. Wall Street: Money Never Sleeps
  1231. You Will Meet a Tall Dark Stranger
  1232. SIGNIS Film Reviews: April/May 2010
  1233. Brooklyn’s Finest
  1234. Tooth Fairy
  1235. Sex and the City 2
  1236. The Losers
  1237. Rec 2
  1238. Prince of Persia: the Sands of Time
  1239. Gentlemen Broncos
  1240. Cop Out
  1242. Hot Tub Time Machine
  1243. A Room and a Half
  1244. Psych 9
  1245. A Nightmare on Elm Street
  1246. Furry Vengeance
  1247. Four Lions
  1248. The Backup PLan
  1249. Iron Man 2
  1250. Revanche
  1251. The Last Song
  1252. The Disappearance of Alice Creed
  1253. SIGNIS Statement: Agora
  1254. SIGNIS Statement: The Calling
  1255. The Joneses
  1256. Dogtooth
  1257. Centurion
  1258. It’s a Wonderful Afterlife
  1259. Cherrybomb
  1260. Date Night
  1261. Io Sono L’Amore (I Am Love)
  1262. Pazar (The Market - a Tale of Trade)
  1263. City of Life and Death
  1264. Cemetery Junction
  1265. Ghost (The Ghost Writer)
  1266. Dear John
  1267. Repo Men
  1268. Crying with Laughter
  1269. Boogie Woogie
  1270. Donne-moi La Main (Give Me Your Hand)
  1271. Shelter
  1272. The Infidel
  1273. Whip It
  1274. I Know You Know
  1275. SIGNIS Statement: Lourdes
  1276. SIGNIS Statement: No Greater Love
  1277. Shank
  1278. How to Train Your Dragon
  1279. Clash of the Titans
  1280. Remember Me
  1281. Kick Ass
  1282. Nanny McPhee and the Big Bang
  1283. The Blind Side
  1284. I Love You, Phillip Morris
  1285. The Bounty Hunter
  1286. My Last Five Girlfriends
  1287. The Spy Next Door
  1288. Sons of Cuba
  1289. Salvage
  1290. The Scouting Book for Boys
  1291. House of the Devil
  1292. Green Zone
  1293. Hachi: a Dog’s Tale
  1294. Shutter Island
  1295. The Girl with the Dragon Tattoo
  1296. The Kreutzer Sonata
  1297. The Father of My Children (Le Pere de Mes Enfants)
  1298. Chloe
  1299. Battle for Terra
  1300. The Wolfman
  1301. Oorlogswinter (Winter in Wartime)
  1302. Valentine’s Day
  1303. Solomon Kane
  1304. Powder Blue
  1305. The Crazies
  1306. Case 39
  1307. Anonyma
  1308. Alice in Wonderland
  1309. Percy Jackson and the Olympians: the Lightning Thief
  1310. Ondine
  1311. Micmacs
  1312. Legion
  1313. Leap Year
  1314. From Paris with Love
  1315. Extraordinary Measures
  1316. Everybody’s Fine
  1317. Crazy Heart
  1318. SIGNIS Film Reviews: Berlin 2010 Special Edition
  1319. SIGNIS Film Reviews: January/February 2010
  1320. L’Arbre et La Foret (Family Tree)
  1321. L’Autre Dumas (The Other Dumas)
  1322. Bal (Honey)
  1323. David Wants to Fly
  1324. Exit Through the Gift Shop
  1325. En Familie (A Family)
  1326. Father of Invention
  1327. Die Fremde (When You Leave)
  1328. Greenberg
  1329. Jud Suss: Rise and Fall
  1330. The Kids are All Right
  1331. The Killer Inside Me
  1332. Mine Vaganti (Loose Cannons)
  1333. My Name is Khan
  1334. Na Putu (On the Path)
  1335. Otouto (About Her Brother)
  1336. Please Give
  1337. Red Hill
  1338. Shahada (Faith)
  1339. Son of Babylon
  1340. Submarino
  1341. When I Want to Whistle, I Whistle
  1342. A Woman, A Gun and a Noodle Shop
  1343. Invictus
  1344. The Book of Eli
  1345. Astro Boy
  1346. Youth in Revolt
  1347. Up in the Air
  1348. Tony
  1349. A Single Man
  1350. Romeo and Juliet (Indonesia)
  1351. Holy Water
  1352. Exam
  1353. It’s Complicated
  1354. 44 Inch Chest
  1355. Nine
  1356. St Trinians: the Legend of Fritton’s Gold
  1357. Ninja Assassin
  1358. Daybreakers
  1359. Armored
  1360. Edge of Darkness
  1361. Motherhood
  1362. Brothers
  1363. Breathless
  1364. Bran Nue Dae
  1365. All About Steve
  1366. The Princess and the Frog
  1367. Talentime
  1368. Troubled Water (De Usynlige)
  1369. Extract
  1370. Shrink
  1371. Sex & Drugs & Rock & Roll
  1372. Diamant 13
  1373. Old Dogs
  1374. Did You Hear about the Morgans?
  1375. Mao’s Last Dancer
  1376. Sherlock Holmes
  1377. The Lovely Bones
  1378. Prime Mover
  1379. The Brothers Bloom
  1380. Avatar
  1381. SIGNIS Film Reviews: October/November/December 2009
  1382. The Other Man
  1383. Post Grad
  1384. Unmade Beds
  1385. Where the Wild Things Are
  1386. Planet 51
  1387. Only When I Dance
  1388. Nowhere Boy
  1389. The Merry Gentleman
  1390. Me and Orson Welles
  1391. The Girlfriend Experience
  1392. Le Premier Jour du Reste de ta vie (The First Day of the Rest of Your Life)
  1393. The Descent: Part 2
  1394. Cracks
  1395. The Box
  1396. Nativity!
  1397. Paranormal Activity
  1398. Law Abiding Citizen
  1399. Bunny and the Bull
  1400. Machan
  1401. The Boys are Back
  1402. New Moon (The Twilight Saga: New Moon)
  1403. Glorious 39
  1404. A Serious Man
  1405. Examined Life
  1406. Un Barrage Contre le Pacifique (The Sea Wall)
  1407. Harry Brown
  1408. Amelia
  1409. 2012
  1410. The Fourth Kind
  1411. An Education
  1412. A Christmas Carol
  1413. The Men Who Stare at Goats
  1414. The Cove
  1415. The Horseman
  1416. Jennifer’s Body
  1417. Fantastic Mr Fox
  1418. Saw VI
  1419. Coffin Rock
  1420. Dead Man Running
  1421. Stone Bros.
  1422. Disgrace
  1423. My Year without Sex
  1424. This Is It
  1425. Blessed
  1426. Cirque du Freak: the Vampire’s Assistant
  1427. Cedar Boys
  1428. Beautiful Kate
  1429. 9
  1430. Pontypool
  1431. Couples Retreat
  1432. Halloween II
  1433. Ong Bak: the Beginning
  1434. Zombieland
  1435. Capitalism: A Love Story
  1436. The Informant!
  1437. Pandorum
  1438. My Life in Ruins (Driving Aphrodite)
  1439. Surrogates
  1440. The Invention of Lying
  1441. Whiteout
  1442. Sorority Row
  1443. The Soloist
  1444. Management
  1445. Julie & Julia
  1446. Jack Said
  1447. Gamer
  1448. The Firm
  1449. Fame
  1450. Dorian Gray
  1451. The Crimson Wing
  1452. Creation
  1453. Cloudy with a Chance of Meatballs
  1454. Blind Dating
  1455. Away We Go
  1456. Adventureland
  1457. SIGNIS Film Reviews: Summer 2009
  1458. District 9
  1459. (500) Days of Summer
  1460. The Red Baron
  1461. Sztuczki (Tricks)
  1462. Shorts
  1463. Funny People
  1464. The Time Traveler’s Wife
  1465. A Perfect Getaway
  1466. I Love You, Beth Cooper
  1467. The Final Destination
  1468. Dance Flick
  1469. Bandslam
  1470. Aliens in the Attic
  1471. Orphan
  1472. Adam
  1473. GI Joe: The Rise of Cobra
  1474. Home
  1475. The Ugly Truth
  1476. G-Force
  1477. The Taking of Pelham 123
  1478. Land of the Lost
  1479. Crossing Over
  1480. Mad, Sad and Bad
  1481. Coco Avant Chanel (Coco Before Chanel)
  1482. The Limits of Control
  1483. The Hurt Locker
  1484. Villa Amalia
  1485. Antichrist: An Essay/Review
  1486. The Proposal
  1487. Just Another Love Story
  1488. Charles Dickens’ England
  1489. Soul at Peace (Pokoj v Dusi)
  1490. Bist (Twenty)
  1491. Un Age a la Mer (Angel at Sea)
  1492. Tutta Colpa di Giuda
  1493. Swinki (Piggies)
  1494. Goodbye, Solo
  1495. Moon
  1496. Martyrs
  1497. The Informers
  1498. Lake Tahoe
  1499. Harry Potter and the Half-Blood Prince
  1500. Frozen River
  1501. Cold Souls
  1502. Bruno
  1503. Red Mist
  1504. Public Enemies
  1505. Ice Age 3: Dawn of the Dinosaurs
  1506. Shirin
  1507. Blood: the Last Vampire
  1508. My Sister’s Keeper
  1509. Sunshine Cleaning
  1510. Rudo y Cursi
  1511. Sin Nombre
  1512. Year One
  1513. The Last Thakur
  1514. The Last House on the Left
  1515. Doghouse
  1516. Everlasting Moments (Maria Larsson’s Everlasting Moments)
  1517. Telstar
  1518. Gigantic
  1519. Red Cliff
  1520. Helen
  1521. The Hangover
  1522. O’Horten
  1523. The Children of the Silk Road (The Children of Huang Shi/ Escape from Huang Shi)
  1524. Sex Drive
  1525. Terminator Salvation
  1526. Tormented
  1527. Sugar
  1528. Pour Elle (Anything for Her)
  1529. Max Manus
  1530. Last Chance Harvey
  1531. The Hide
  1532. Awaydays
  1533. Angels & Demons
  1534. Fighting
  1535. Drag Me to Hell
  1536. Night at the Museum: Battle for the Smithsonian
  1537. Endgame
  1538. Obsessed
  1539. Viva
  1540. French Film
  1541. Das Weisse Band (The White Ribbon)
  1542. Visage
  1543. Vincere
  1544. Vengeance
  1545. Up
  1546. The Tsar
  1547. The Time that Remains
  1548. Thirst: Ceci est mon Sang
  1549. Tales from the Golden Age
  1550. Taking Woodstock
  1551. The Silent Army
  1552. Samson & Delilah
  1553. Un Prophete
  1554. Precious
  1555. Police, Adjective
  1556. Nobody Knows About Persian Cats
  1557. My Neighbour, My Killer
  1558. Mother
  1559. Map of the Sounds of Tokyo
  1560. Manila
  1561. Looking for Eric
  1562. Jaffa
  1563. Kinatay
  1564. Irene
  1565. Inglourious Basterds
  1566. Independencia
  1567. The Imaginarium of Doctor Parnassus
  1568. La Fille du RER (The Girl on the Train)
  1569. Fish Tank
  1570. Eyes Wide Open
  1571. Enter the Void
  1572. Demain des L’Aube
  1573. Coco Chanel & Igor Stravinsky
  1574. Chun Fen Chen Zui De Ye Wan (Spring Fever)
  1575. Cendres et Sang (Ashes and Blood)
  1576. Bright Star
  1577. L’Armee du Crime
  1578. A L’Origine
  1579. Los Abrazos Rotos
  1580. SIGNIS Film Reviews: Cannes 2009 Special Edition
  1581. SIGNIS Statement: Angels and Demons
  1582. Good
  1583. Coraline
  1584. Star Trek
  1585. Wolverine: X Men Origins
  1586. SIGNIS Film Reviews: April 2009
  1587. Is Anybody There?
  1588. Momma’s Man
  1589. Shifty
  1590. Seraphine
  1591. Villa Jasmin
  1592. Snow (Snijeg)
  1593. Four Nights with Anna
  1594. Fermat’s Room (La habitacion de Fermat)
  1595. Wrong Rosary
  1596. Tear This Heart Out (Arrancame la vida)
  1597. Skin
  1598. Si Puo Fare (We Can Do It/ It Can Be Done)
  1599. Scratch (Rysa)
  1600. Hannah Montana: the Movie
  1601. Blue Eyelids (Parpados Azules)
  1602. Crank: High Voltage
  1603. The Empty Nest
  1604. The Market - a tale of Trade
  1605. Rain
  1606. The Necessities of Life (Ce qu’il faut pour vivre)
  1607. State of Play
  1608. Observe and Report
  1609. Outlander
  1610. Hassan and Morkos
  1611. Departures (Okuribito)
  1612. Dansen (Dancers)
  1613. Blind Sunflowers (Los Girasoles Ciegos)
  1614. 35 Rhums (35 Shots of Rum)
  1615. In the Loop
  1616. Not Easily Broken
  1617. Five Minutes of Heaven
  1618. Let the Right One In
  1619. I Love You, Man
  1620. Fifty Dead Men Walking
  1621. Dragonball: Evolution
  1622. 17 Again
  1623. Fast and Furious
  1624. Tony Manero
  1625. Race to Witch Mountain
  1626. SIGNIS Film Reviews: March 2009
  1627. SIGNIS Statement: Religulous
  1628. Cherry Blossoms (Kirschebluten/Hanami)
  1629. Monsters Vs Aliens
  1630. The Boat that Rocked
  1631. I Can’t Think Straight
  1632. The World Unseen
  1633. Religulous
  1634. The Uninvited
  1635. Little Ashes
  1636. The Haunting in Connecticut
  1637. Knowing
  1638. The Life Before Her Eyes
  1639. Traitor
  1640. Genova
  1641. The Damned United
  1642. Duplicity
  1643. Diminished Capacity
  1644. Paul Blart: Mall Cop
  1645. Lesbian Vampire Killers
  1646. The Age of Stupid
  1647. Flash of Genius
  1648. Bronson
  1649. Hush
  1650. The Great Debaters
  1651. The Young Victoria
  1652. Wendy and Lucy
  1653. Watchmen
  1654. Reverb
  1655. A Short Stay in Switzerland
  1656. Flammen & Citronen (Flame & Citron)
  1657. The Burning Plain
  1658. American Teen
  1659. SIGNIS Film Reviews: Berlin 2009 Special Edition
  1660. Yarwng (Roots)
  1661. The Crew
  1662. He’s Just Not That Into You
  1663. Push
  1664. Confessions of a Shopaholic
  1665. SIGNIS Film Reviews: February 2009
  1666. The International
  1667. New in Town
  1668. The Unborn
  1669. Franklyn
  1670. Cadillac Records
  1671. Hotel for Dogs
  1672. Friday the 13th
  1673. Gran Torino
  1674. All About Elly (Darbareye Elly)
  1675. Alle Anderen (Everyone Else)
  1676. An American in New York
  1677. Ander
  1678. Beast Stalker
  1679. The Bone Man (Der Knochenmann)
  1680. Burrowing (Man Tanker Sitt)
  1681. Cheri
  1682. The Countess
  1683. Deutschland 09
  1684. Eden a L’Ouest (Eden is West)
  1685. End of Love
  1686. The Fish Child (El Nino Pez)
  1687. Forever Enthralled
  1688. Gigante
  1689. Happy Tears
  1690. John Rabe
  1691. Just Walking (Solo Quiero Caminar)
  1692. Katalin Varga
  1693. Letters to the President
  1694. London River
  1695. Mammoth
  1696. The Messenger
  1697. Milk of Sorrow (La Teta Asustuda)
  1698. My One and Only
  1699. Pedro
  1700. The Private Lives of Pippa Lee
  1701. Rage
  1702. Ricky
  1703. Ruckenwind (Light Gradient)
  1704. Storm
  1705. Tatarak (Sweet Rush)
  1706. Welcome
  1707. Winterstilte (Winter Silence)
  1708. Notorious
  1709. The Pink Panther 2
  1710. The Spirit
  1711. The Square
  1712. Bottle Shock
  1713. Bolt
  1714. JCVD
  1715. Cronoscrimines (Time Crimes)
  1716. Valkyrie
  1717. Nick and Nora’s Infinite Playlist
  1718. Henry Poole is Here
  1719. The Broken
  1720. Battle in Seattle
  1721. Underworld: The Rise of the Lycans
  1722. Tokyo Sonata
  1723. The Punisher: War Zone
  1724. Who Killed Nancy?
  1725. My Bloody Valentine 3D
  1726. SIGNIS Film Reviews: January 2009
  1727. My Mom’s New Boyfriend
  1728. Lucky Miles
  1729. Marley and Me
  1730. Gabriel
  1731. Bride Wars
  1732. Monkey PUzzle
  1733. Doubt
  1734. Frost/Nixon
  1735. Defiance
  1736. Revolutionary Road
  1737. Roman de Gare
  1738. The Sisterhood of the Travelling Pants 2
  1739. Seven Pounds
  1740. Transsiberian
  1741. Garbage Warrior
  1742. Yes Man
  1743. The Grocer’s Son
  1744. Slumdog Millionaire
  1745. The Reader
  1746. Far North
  1747. Bedtime Stories
  1748. Beverley Hills Chihuahua
  1749. Newcastle
  1750. Fugitive Pieces
  1751. Gonzo, the Life and Times of Dr. Hunter S. Thompson
  1752. The Wrestler
  1753. A Bunch of Amateurs
  1754. Twilight
  1755. The Tale of Despereaux
  1756. Milk
  1757. The Curious Case of Benjamin Button
  1758. Australia
  1759. SIGNIS Film Reviews: December 2008
  1760. The Church in Transition: Doubt
  1761. Faintheart
  1762. Dean Spanley
  1763. Trade
  1764. The Stone of Destiny
  1765. Nordwand (North Face)
  1766. Love and Honour
  1767. Inkheart
  1768. The Day the Earth Stood Still
  1769. Choke
  1770. Madagascar Escape 2 Africa
  1771. My Best Friend’s Girl
  1772. The Secret Life of Bees
  1773. Quarantine
  1774. Summer
  1775. Julia
  1776. Four Christmases
  1777. Il Vento Va il Suo Giro (The Wind Blows Around)
  1778. Un Poco de Chocolade (A Little Bit of Chocolate)
  1779. Transporter 3
  1780. The Girl in the Park
  1781. Les Lignes du Sang (Rivals)
  1782. Bonneville
  1783. The Children
  1784. The Express
  1785. Lakeview Terrace
  1786. SIGNIS Film Reviews: October-November 2008
  1787. Body of Lies
  1788. The Oxford Murders
  1789. Flawless
  1790. Dialogue avec mon Jardinier (Conversations with My Gardener)
  1791. The Warlords
  1792. Easy Virtue
  1793. Fine, Totally Fine
  1794. Max Payne
  1795. Pride and Glory
  1796. Zach and Miri Make a Porno
  1797. Choking Man
  1798. The Baader Meinhof Complex
  1799. Scar 3D
  1800. W
  1801. Kit Kittredge: An American Girl
  1802. Quantum of Solace
  1803. High School Musical 3: Senior Year
  1804. Incendiary
  1805. Of Time and the City
  1806. Le Ring
  1807. A nyomozo (The Investigation)
  1808. Rumba
  1809. Saw V
  1810. Un Coeur Simple (A Simple Heart)
  1811. Non Pensarci (Don’t Think About It)
  1812. Eagle Eye
  1813. Igor
  1814. The Rocker
  1815. Free Jimmy
  1816. Young @ Heart
  1817. La Zona
  1818. Rachel Getting Married
  1819. Bigga than Ben
  1820. Vinyan
  1821. Nights in Rodanthe
  1822. City of Ember
  1823. Mirrors
  1824. Brideshead Revisited
  1825. Mutant Chronicles
  1826. The House Bunny
  1827. Fly Me to the Moon 3D
  1828. SIGNIS Statement: Brideshead Revisited and its Catholicism
  1829. SIGNIS Film Reviews: September 2008
  1830. Tropic Thunder
  1831. 88 Minutes
  1832. How to Lose Friends and Alienate People
  1833. Good Dick
  1834. Die Welle (The Wave)
  1835. Rocknrolla
  1836. Redbelt
  1837. Righteous Kill
  1838. The Foot Fist Way
  1839. Death Race
  1840. Bangkok Dangerous
  1841. Appaloosa
  1842. The Women
  1843. Taken
  1844. Eden Lake
  1845. Babylon AD
  1846. Live!
  1847. Burn After Reading
  1848. The Boy in the Striped Pyjamas
  1849. Disaster Movie
  1850. Myrin (Jar City)
  1851. Partition
  1852. The Strangers
  1853. Step-Brothers
  1854. SIGNIS Film reviews: August 2008
  1855. Puffball
  1856. Times and Winds (Bes Vakit)
  1857. The Wackness
  1858. Wild Child
  1859. Shoot on Sight
  1860. Daylight Robbery
  1861. El Cantante
  1862. Somers Town
  1863. You Don’t Mess with the Zohan
  1864. Get Smart
  1865. Ben X
  1866. College Road Trip
  1867. Hellboy II: the Golden Army
  1868. Man from Plains
  1869. Three and Out
  1870. Vexille
  1871. Angel
  1872. The Clone Wars
  1873. Miss Pettigrew Lives a Day
  1874. The Karamazovs
  1875. SIGNIS Statement: The X-Files: I Want to Believe
  1876. The Mummy: Tomb of the Dragon Emperor
  1877. CJ7
  1878. Make it Happen
  1879. Tropa de Elite (Elite Squad)
  1880. Renard et L’Enfant (The Fox and the Child)
  1881. The Love Guru
  1882. Cidade dos Homens (City of Men)
  1883. The X Files: I Want to Believe
  1884. Married Life
  1885. Cass
  1886. Blindsight
  1887. Paris
  1888. Before the Rains
  1889. Angus, Thongs and Perfect Snogging
  1890. Elle s’appelle Sabine (Her Name is Sabine)
  1891. Buddha Collapsed out of Shame
  1892. The Dark Knight
  1893. Baby Mama
  1894. Meet Dave
  1895. WALL.E
  1896. Donkey Punch
  1897. SIGNIS Film Reviews: July 2008
  1898. Journey to the Center of the Earth 3D
  1899. Mamma Mia
  1900. The Forbidden Kingdom
  1901. SIGNIS Film Reviews: June 2008
  1902. La Romance d’Astree et Celadon
  1903. Mad Detective
  1904. Mes Amis, Mes Amours
  1905. Kung Fu Panda
  1906. In Memory of My Father
  1907. Adulthood
  1908. El Bano del Papa (The Pope’s Toilet)
  1909. My Winnipeg
  1910. Les Femmes de l’Ombre (Female Agents)
  1911. Prince Caspian
  1912. Hancock
  1913. Wanted
  1914. Cassandra’s Dream
  1915. The Ruins
  1916. The Edge of Love
  1917. The Waiting Room
  1918. In Search of a Midnight Kiss
  1919. The Happening
  1920. The Incredible Hulk
  1921. Hors de Prix (Priceless)
  1922. Teeth
  1923. SIGNIS Film Reviews: Cannes 2008 Special Edition
  1924. The Escapist
  1925. Kamikaze Girls
  1926. Persepolis
  1927. Mongol
  1928. Ostrov (The Island)
  1929. Taxi to the Darkside
  1930. Balls of Fury
  1931. Mad Money
  1932. Anamorph
  1933. Filth: the Mary Whitehouse Story
  1934. Welcome Home Roscoe Jenkins
  1935. Sarkar Raj
  1936. Harold and Kumar Escape from Guantanomo
  1937. Caramel
  1938. Prom Night
  1939. Superhero Movie
  1940. Chemical Wedding
  1941. Indiana Jones and the Kingdom of the Crystal Skull
  1942. Sex and the City
  1943. Timber Falls
  1944. 24 City
  1945. Adoration
  1946. A Festa da Menina Morta (Dead Girl’s Feast)
  1947. Afterschool
  1948. Los Bastardos
  1949. Blindness
  1950. The Chaser
  1951. Che
  1952. Un Conte de Noel
  1953. Delta
  1954. Il Divo
  1955. Entre les Murs (The Class)
  1956. The Exchange (formerly Changeling)
  1957. La Frontiere de l’Aube (The Dawn Shore)
  1958. Gomorrah
  1959. The Good, the Bad and the Weird
  1960. Hunger
  1961. Johnny Mad Dog
  1962. Leonera (Lion’s Den)
  1963. Linha de Passe
  1964. Milh Hadha Al-Bahr (Salt of this Sea)
  1965. La Mujer sin Cabeza
  1966. My Magic
  1967. Ocean Flame
  1968. Versailles
  1969. De Ofrivilliga (Involuntary)
  1970. Palermo Shooting
  1971. Sanguepazzo (Wild Blood)
  1972. Serbis
  1973. Le Silence de Lorna (Lorna’s Silence)
  1974. Soi Cowboy
  1975. Surveillance
  1976. Synecdoche, New York
  1977. Tokyo!
  1978. UC Maymun (The Three Monkeys)
  1979. Ting Chi (Parking)
  1980. Tulpan
  1981. Two Lovers
  1982. Vicki Cristina Barcelona
  1983. La Vie Moderne
  1984. Waltz with Bashir
  1985. What Just Happened?
  1986. Wolke 9 (Cloud 9)
  1987. Bienvenue chez les Ch’its (Welcome to the Sticks)
  1988. The Black Balloon
  1989. Charlie Bartlett
  1990. Shutter
  1991. Tovarisch, I Am Not Dead
  1992. La Question Humaine (Heartbeat Detector)
  1993. Cashback
  1994. XXY
  1995. Where in the World is Osama Bin Laden?
  1996. Honeydripper
  1997. Un Secret
  1998. The Air I Breathe
  1999. SIGNIS Films Reviews: April 2008
  2000. The Eye
  2001. Speed Racer
  2002. What Happens in Vegas
  2003. Stop-Loss
  2004. [Rec.]
  2005. Iron Man
  2006. Manufacturing Landscapes
  2007. Made of Honour
  2008. Doomsday
  2009. In Bruges
  2010. Pathology
  2011. Street Kings
  2012. One Missed Call
  2013. P2
  2014. My Enemy’s Enemy
  2015. Nim’s Island
  2016. 21
  2017. Leatherheads
  2018. Flashbacks of a Fool
  2019. Deception
  2020. Fool’s Gold
  2021. Gone Baby Gone
  2022. Forgetting Sarah Marshall
  2023. The Mourning Forest
  2024. Boarding Gate
  2025. Death Defying Acts
  2026. Ballast
  2027. The Visitor
  2028. Smart People
  2029. The Mist
  2030. The King of California
  2031. Funny Games U.S.
  2032. Son of Rambow
  2033. Awake
  2034. How She Move
  2035. My Brother is an Only Child
  2036. Drillbit Taylor
  2037. First Sunday
  2038. The Go Master
  2039. Run, Fatboy, Run
  2040. The 11th Hour
  2041. Meet the Spartans
  2042. Lars and the Real Girl
  2043. The Spiderwick Chronicles
  2044. Step Up 2: The Streets
  2045. The Orphanage (El Orfanato)
  2046. Love in the Time of Cholera
  2047. Dr Seuss’s Horton Hears a Who
  2048. SIGNIS Film Reviews: March 2008
  2049. L’heure Zero (Towards Zero)
  2050. Avril
  2051. Sous Les Bombes (Under the Bombs)
  2052. Children of Glory
  2053. Out of the Blue
  2054. Miss Austen Regrets
  2055. Assembly
  2056. The Cottage
  2057. Beaufort
  2058. 10,000 BC
  2059. Vantage Point
  2060. Four Minutes (Vier Minuten)
  2061. La Grain et le mulet (The Secret of the Grain)
  2062. George A. Romero’s Diary of the Dead
  2063. Garage
  2064. Fade to Black
  2065. The Accidental Husband
  2066. The Baker
  2067. The Bank Job
  2068. The Bucket List
  2069. Mang Shan (Blind Mountain)
  2070. Mister Lonely
  2071. Rambo
  2072. Semi-Pro
  2073. Untraceable
  2074. Waz
  2075. SIGNIS Film Reviews: Berlin 2008 Special Edition
  2076. Tirador (Slingshot)
  2077. 3 Zan (3 Women)
  2078. Tatil Katibi (Summer Book)
  2079. Standard Operating Procedure
  2080. Sleep Dealer
  2081. Restless
  2082. The Other Boleyn Girl
  2083. Night and Day (Bam Gua Nat)
  2084. Man Jeuk (Sparrow)
  2085. Lemon Tree
  2086. Lady Jane
  2087. Katyn
  2088. Kabei - Our Mother
  2089. Jesus Christus Erloser (Jesus Christ Saviour)
  2090. Jerusalema
  2091. Il y a longtemps que je t’aime (I Have Loved You for So Long)
  2092. Hey Hey It’s Esther Blueburger
  2093. Happy-Go-Lucky
  2094. Fireflies in the Garden
  2095. Feuerherz (Heart of Fire)
  2096. Elegy
  2097. Dream Boy
  2098. Derek
  2099. Corroboree
  2100. Caos Calmo (Quiet Chaos)
  2101. Boy A
  2102. Be Kind Rewind
  2103. Balikbayan Box
  2104. Black Water
  2105. Jumper
  2106. SIGNIS Film Reviews: February 2008
  2107. There Will Be Blood
  2108. Juno
  2109. Definitely, Maybe
  2110. The Forest of Death
  2111. The Professor and his Beloved Equation
  2112. The Water Horse
  2113. Time to Die
  2114. The Matrimony
  2115. Penelope
  2116. Anche Libero va bene (Across the Ridge)
  2117. Le Scaphandre et Le Papillon (The Diving Bell and the Butterfly)
  2118. Margot at the Wedding
  2119. Things We Lost in the Fire
  2120. Over Her Dead Body
  2121. Italianetz (The Italian)
  2122. Cloverfield
  2123. Battle for Haditha
  2124. The Savages
  2125. Desaccord Parfait (Twice on a Lifetime)
  2126. Ensemble, C’est Tout (Hunting and Gathering)
  2127. Clubland
  2128. The Final Winter
  2129. Footy Legends
  2130. The Good Night
  2131. Kokoda
  2132. Sweeney Todd: the Demon Barber of Fleet Street
  2133. September
  2134. Asterix at the Olympic Games
  2135. St Trinians
  2136. Walk Hard: the Dewey Cox Story
  2137. Underdog
  2138. Charlie Wilson’s War
  2139. SIGNIS Film Reviews: January 2008
  2140. Alien versus Predator: Requiem
  2141. Dan in Real Life
  2142. PS I Love You
  2143. Before the Devil Knows You’re Dead
  2144. Romulus, My Father
  2145. Rogue
  2146. National Treasure: Book of Secrets
  2147. I Am Legend
  2148. Closing the Ring
  2149. The Man in the Chair
  2150. The Game Plan
  2151. The Bet
  2152. 27 Dresses
  2153. As It Is In Heaven
  2154. Arctic Tale
  2155. Youth without Youth
  2156. Mr Magorium’s Wonder Emporium
  2157. Weirdsville
  2158. My Kid Could Paint That
  2159. Infinite Justice
  2160. Chromophobia
  2161. Anna M
  2162. Bella
  2163. The Bee Movie
  2164. He Was a Quiet Man
  2165. SIGNIS Statement: The Golden Compass
  2166. 30 Days of Night
  2167. Brick Lane
  2168. Enchanted
  2169. A Very British Gangster
  2170. Code Name: The Cleaner
  2171. I’m Not There
  2172. SIGNIS Film Reviews: November 2007
  2173. Pret-moi la main (I Do)
  2174. Talk to Me
  2175. Rescue Dawn
  2176. Shrooms
  2177. Fred Claus
  2178. Hitman
  2179. This Christmas
  2180. August Rush
  2181. You Kill Me
  2182. Stellet Licht
  2183. Silk
  2184. Into the Wild
  2185. The Lookout
  2186. Good Luck Chuck
  2187. Beowulf
  2188. I Served the King of England
  2189. The Jane Austen Book Club
  2190. Redacted
  2191. The Magic Flute
  2192. American Gangster
  2193. The Assassination of Jesse James by the Coward Robert Ford
  2194. Lions for Lambs
  2195. SIGNIS Statement: Elizabeth - The Golden Age
  2196. Once
  2197. Black Sheep
  2198. Nancy Drew
  2199. Mr Brooks
  2200. The Last Legion
  2201. Resident Evil: Extinction
  2202. The Invasion
  2203. Razzle Dazzle
  2204. Interview
  2205. Stardust
  2206. Rendition
  2207. Ratatouille
  2208. The Nines
  2209. In the Valley of Elah
  2210. The Hunting Party
  2211. Eastern Promises
  2212. The Dark is Rising
  2213. The Darjeeling Limited
  2214. Daddy Day Camp
  2215. Blame it on Fidel
  2216. SIGNIS Film Reviews: October 2007
  2217. Rocket Science
  2218. Shoot ’em Up
  2219. Mr Woodcock
  2220. Across the Universe
  2221. Halloween
  2222. Sleuth
  2223. Death at a Funeral
  2224. Syndromes and a Century
  2225. Lust, Caution
  2226. It’s a Free World
  2227. War
  2228. The Nanny Diaries
  2229. And When Did You Last See Your Father
  2230. Control
  2231. Dnevnoy Dozor (Day Watch)
  2232. Feast of Love
  2233. The Heartbreak Kid
  2234. Hot Rod
  2235. I Now Pronounce You Chuck and Larry
  2236. The Kingdom
  2237. The Brave One
  2238. Die Falscher (The Counterfeiters)
  2239. In Memoria di Me
  2240. Takva
  2241. Superbad
  2242. Le Serpent
  2243. Michael Clayton
  2244. Irina Palm
  2245. Georgia Rule
  2246. The Ex (Fast Track)
  2247. SIGNIS Films Reviews: August/September 2007
  2248. Atonement
  2249. 3:10 to Yuma
  2250. No Reservations
  2251. Death Sentence
  2252. 1408
  2253. December Boys
  2254. 2 Days in Paris
  2255. Year of the Dog
  2256. Buy it Now
  2257. Quelques Jours en Septembre
  2258. Hallam Foe
  2259. We are all Christs (Wszyscy Jestesmy Chrystusami)
  2260. Sugarhouse
  2261. Waitress
  2262. Seraphim Falls
  2263. Lady Chatterley
  2264. Knocked Up
  2265. Evening
  2266. Eagle vs Shark
  2267. 12.08, East of Bucharest
  2268. The Bourne Ultimatum
  2269. Sparkle
  2270. Bratz the Movie
  2271. Ecoute le temps
  2272. Mee Shee: the Water Giant
  2273. Marigold
  2274. Copying Beethoven
  2275. Surf’s Up
  2276. Rush Hour 3
  2277. License to Wed
  2278. Happily N’Ever After
  2279. Wind Chill
  2280. SIGNIS Film Reviews: June-July 2007
  2281. Tales from Earthsea
  2282. Gandhi my Father
  2283. Evan Almighty
  2284. The Hoax
  2285. I Have Never Forgotten You: the Life and Legacy of Simon Wiesenthal
  2286. Transformers
  2287. In the Land of Women
  2288. The Walker
  2289. The Simpsons Movie
  2290. Disturbia
  2291. Daratt
  2292. Macbeth
  2293. The Priestess
  2294. The Lark Farm
  2295. Harry Potter and the Order of the Phoenix
  2296. Hairspray
  2297. A Story of People in War and Peace
  2298. Screamers
  2299. SIGNIS Statement: Sinner
  2300. The War on Democracy
  2301. Die Hard 4.0
  2302. Dead Silence
  2303. The Flying Scotsman
  2304. Hostel 2
  2305. Sketches of Frank Gehry
  2306. Shrek the Third
  2307. Grow Your Own
  2308. Ne le dis a personne (Tell No One)
  2309. Lucky You
  2310. Captivity
  2311. PTU
  2312. The Fantastic Four: Rise of the Silver Surfer
  2313. Water
  2314. Vacancy
  2315. Are We Done Yet?
  2316. Frankie
  2317. SIGNIS Film Reviews: Cannes 2007 Special Edition
  2318. SIGNIS Film Reviews: May 2007
  2319. SIGNIS Film Reviews: April 2007
  2320. The Wild Blue Yonder
  2321. Messages
  2322. Black Gold
  2323. Nuovomondo (Golden Door)
  2324. Turistas (Paradise Lost)
  2325. Je Suis Pas La Pour Etre Aime (Not Here to be Loved)
  2326. The Tiger’s Tail
  2327. Oceans 13
  2328. Pirates of the Caribbean 3: At World’s End
  2329. The Chumscrubber
  2330. The City of Violence
  2331. The Hitcher
  2332. We Own the Night
  2333. Naissance des Pieuvres (Water Lilies)
  2334. Une Vielle Maitresse (An Old Mistress)
  2335. Triangle
  2336. Terror’s Advocate
  2337. Tehilim
  2338. La Soledad
  2339. Sicko
  2340. Secret Sunshine
  2341. Savage Grace
  2342. Paranoid Park
  2343. No Country for Old Men
  2344. My Blueberry Nights
  2345. Munruyangabo
  2346. A Mighty Heart
  2347. The Man from London
  2348. Import/Export
  2349. Go Go Tales
  2350. The Flight of the Red Balloon (Le Voyage de Ballon Rouge)
  2351. Death Proof
  2352. Les Chansons d’Amour (Love Songs)
  2353. Chacun Son Cinema
  2354. Centochiodi (A Hundred Nails)
  2355. Breath (Soom)
  2356. Boxes
  2357. The Banishment
  2358. The Band’s Visit
  2359. Auf der Anderen Seite (The Edge of Heaven)
  2360. Apres Lui
  2361. Alexandra
  2362. L’Age des Tenebres (The Age of Ignorance)
  2363. 4 Months, 3 Weeks & 2 Days
  2364. Lovewrecked
  2365. Conversations with Other Women
  2366. Like Minds
  2367. Mon Meilleur Ami (My Best Friend)
  2368. Dans Paris
  2369. 28 Weeks Later
  2370. Black Snake Moan
  2371. Spiderman 3
  2372. La Noche de los Girasoles (The Night of the Sunflowers)
  2373. Goya’s Ghosts
  2374. Beyond the Gates of Splendor
  2375. End of the Spear
  2376. Goodbye Bafana
  2377. The Breed
  2378. This is England
  2379. The Painted Veil
  2380. The Last Mimzy
  2381. Next
  2382. Reno 911!: Miami
  2383. Straightheads
  2384. Away from Her
  2385. Scott Walker: 30 Century Man
  2386. The Puffy Chair
  2387. Fracture
  2388. Fur: an Imaginary Portrait of Diane Arbus
  2389. The Jesus Project
  2390. Half Nelson
  2391. The Pathfinder: An Untold Legend
  2392. The Reaping
  2393. Reign over me
  2394. Son of Man
  2395. Perfect Stranger
  2396. Edmond
  2397. La Mome (La Vie en Rose)
  2398. Unknown
  2399. Shooter
  2400. Provoked (Provoked: a True Story)
  2401. Das Leben der Anderen (The Lives of Others)
  2402. One Night with the King
  2403. Wild Hogs
  2404. The Bridge to Terabithia
  2405. SIGNIS Film Reviews: February/March 2007
  2406. Meet the Robinsons
  2407. Sunshine
  2408. Blades of Glory
  2409. The Messengers
  2410. The Namesake
  2411. Curse of the Golden Flower
  2412. Stomp the Yard
  2413. Stay (Sleeping Dogs)
  2414. Mr Bean’s Holiday
  2415. The Hills Have Eyes II
  2416. Factory Girl
  2417. Deliver Us from Evil: SIGNIS Statement
  2418. Catch a Fire
  2419. L’Amico di famiglia (The Family Friend)
  2420. The Last Sineater
  2421. Catch and Release
  2422. Amazing Grace
  2423. TMNT (Teenage Mutant Ninja Turtles)
  2424. I Want Candy
  2425. The Ultimate Gift
  2426. Premonition
  2427. Sherrybaby
  2428. Facing the Giants
  2429. Breach
  2430. Zodiac
  2431. Sheitan
  2432. The Astronaut Farmer
  2433. Outlaw
  2434. After the Wedding (Efter Brylluppet)
  2435. Norbit
  2436. Becoming Jane
  2437. The Good German
  2438. Gone
  2439. Kardia
  2440. Music and Lyrics
  2441. 300
  2442. Bamako
  2443. Hot Fuzz
  2444. Eklavya: the Royal Guard
  2445. Middletown
  2446. A Guide to Recognising Your Saints
  2447. Alpha Dog
  2448. Material Girls
  2449. Inland Empire
  2450. Fauteuils d’Orchestre (Orchestra Seats)
  2451. The Number 23
  2452. Because I Said So
  2453. School for Scoundrels
  2454. Arthur and the Invisibles (Arthur et les Minimoys)
  2455. Blood and Chocolate
  2456. Goal 2! Living the Dream
  2457. Hannibal Rising
  2458. Epic Movie
  2459. The Reef
  2460. The Good Shepherd
  2461. Ghost Rider
  2462. SIGNIS Film Reviews: January 2007
  2463. Dreamgirls
  2464. Notes on a Scandal
  2465. Letters from Iwo Jima
  2466. Kenny
  2467. Welcome to Dongmakgol
  2468. The Last King of Scotland
  2469. For Your Consideration
  2470. Irresistible
  2471. Little Red Flowers
  2472. The Illusionist
  2473. Freedom Writers
  2474. Smokin’ Aces
  2475. Ghosts
  2476. Venus
  2477. Flyboys
  2478. Ils (Them)
  2479. Suburban Mayhem
  2480. Gridiron Gang
  2481. Miss Potter
  2482. The Return
  2483. Zwartboek (Black Book)
  2484. Charlotte’s Web
  2485. Flicka
  2486. Boytown
  2487. The Fountain
  2488. Bobby
  2489. 3 Needles
  2490. Last Train to Freo
  2491. Scoop
  2492. La Doublure (The Valet)
  2493. SIGNIS Film Reviews: December 2006
  2494. Flags of our Fathers
  2495. Night at the Museum
  2496. Rocky Balboa
  2497. Perfume: the Story of a Murderer
  2498. Zoom
  2499. Kabul Express
  2500. It’s a Boy/Girl Thing
  2501. Employee of the Month
  2502. "The Nativity Story" Seen from the Philippines
  2503. Running With Scissors
  2504. Blood Diamond
  2505. Unaccompanied Minors (Grounded)
  2506. Eragon
  2507. Deja Vu
  2508. Black Christmas
  2509. SIGNIS Film Reviews: November 2006
  2510. A Prairie Home Companion
  2511. The Pursuit of Happyness
  2512. Apocalypto
  2513. The Holiday
  2514. Frostbiten (Frostbite)
  2515. London to Brighton
  2516. Die Grosse Stille (Into Great Silence)
  2517. Happy Feet
  2518. Jackass Number Two
  2519. Deck the Halls
  2520. The Covenant
  2521. Suburban Mayhem
  2522. Zemastan (It’s Winter)
  2523. Pan’s Labyrinth
  2524. Shortbus
  2525. Tenacious D and the Pick of Destiny
  2526. The Santa Clause 3: The Escape Clause
  2527. Flushed Away
  2528. Stranger Than Fiction
  2529. Big Nothing
  2530. All the Invisible Children
  2531. Antikorper (Antibodies)
  2532. Twelve and Holding
  2533. The Nightmare Before Christmas 3D
  2534. Breaking and Entering
  2535. Heroes and Villains
  2536. Special (RX) Specioprin Hydrochloride
  2537. Casino Royale
  2538. Puritan
  2539. The Host (Gue-Mool)
  2540. The Prestige
  2541. Waist Deep
  2542. Little Children
  2543. The Nativity Story
  2544. Earthlings (Ugly Bags of Mostly Water)
  2545. All the King’s Men
  2546. The Last Kiss
  2547. Saw III
  2548. Mischief Night
  2549. Borat Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
  2550. Sixty Six
  2551. The Great Ecstasy of Robert Carmichael
  2552. Gypo
  2553. La Tourneuse de Pages (The Page Turner)
  2554. Peaceful Warrior
  2555. Driving Lessons
  2556. Wordplay
  2557. SIGNIS Film Reviews: October 2006
  2558. Idlewild
  2559. The Grudge 2
  2560. Stick It
  2561. New Police Story
  2562. Step Up
  2563. Infamous
  2564. The History Boys
  2565. Tais Toi (Shut Up)
  2566. Starter for Ten
  2567. Open Season
  2568. The Texas Chainsaw Massacre: The Beginning
  2569. The Aryan Couple
  2570. Scenes of a Sexual Nature
  2571. A Good Year
  2572. The Guardian
  2573. SIGNIS Film Reviews: September 2006
  2574. Quinceanera (Echo Park LA)
  2575. Man Push Cart
  2576. Accepted
  2577. The Departed
  2578. Johanna
  2579. Life and Lyrics
  2580. Nina’s Heavenly Delights
  2581. Hoodwinked
  2582. DOA: Dead or Alive
  2583. A Guide to Recognising Your Saints
  2584. Kekexili (Mountain Patrol)
  2585. Click
  2586. Dirty Sanchez - the Movie
  2587. Keane
  2588. The U.S. vs. John Lennon
  2589. Hollywoodland
  2590. Clerks II
  2591. An Inconvenient Truth
  2592. Talladega Nights: the Ballad of Ricky Bobby
  2593. Snow Cake
  2594. Little Miss Sunshine
  2595. The Wicker Man
  2596. The Devil Wears Prada
  2597. SIGNIS Film Reviews: August 2006
  2598. World Trade Center
  2599. The Black Dahlia
  2600. Children of Men
  2601. The Queen
  2602. The Sentinel
  2603. Crank
  2604. This Film is not yet Rated
  2605. The Benchwarmers
  2606. Over the Hedge
  2607. Severance
  2608. Adrift
  2609. Marilyn Hotchkiss’ Ballroom Dancing and Charm School
  2610. You, Me and Dupree
  2611. Right at Your Door
  2612. Snakes on a Plane
  2613. Akeelah and the Bee
  2614. Harsh Times
  2615. A Scanner Darkly
  2616. John Tucker Must Die
  2617. Tideland
  2618. Monster House
  2619. Garfield 2: A Tale of Two Kitties
  2620. The Death of Mr Lazarescu
  2621. Bee Season
  2622. Angel-A
  2623. Ellie Parker
  2624. C.S.A. The Confederate States of America
  2625. Warrior-King
  2626. Alpha Male
  2627. Wilderness
  2628. The Night Listener
  2629. Lady in the Water
  2630. Nacho Libre
  2631. Tarfaya
  2632. Paper Clips
  2633. 11:14
  2634. Cars
  2635. Stay Alive
  2636. The Break-Up
  2637. My Super Ex-Girlfriend
  2638. The Notorious Bettie Page
  2639. Trust the Man
  2640. Miami Vice
  2641. Who Killed the Electric Car?
  2642. Omkara
  2643. The Ant Bully
  2644. SIGNIS Film Reviews: June/July 2006
  2645. Ultraviolet
  2646. The Thief Lord
  2647. District 13 (Banlieue 13)
  2648. Fearless
  2649. Half Light
  2650. Hard Candy
  2651. Imagine You and Me
  2652. The Fast and the Furious: Tokyo Drift
  2653. Dumplings
  2654. Curious George
  2655. 36 Quai des Orfevres
  2656. Aquamarine
  2657. The Lake House
  2658. Thank You for Smoking
  2659. Superman Returns
  2660. Vers le Sud (Heading South)
  2661. Pirates of the Caribbean: Dead Man’s Chest
  2662. Stormbreaker
  2663. An Unfinished Life
  2664. Love + Hate
  2665. Ju On 2 (The Grudge 2)
  2666. Secuestro Express
  2667. El Lobo (The Wolf)
  2668. Little Manhattan
  2669. Poseidon
  2670. Friends with Money
  2671. X Men 3: The Last Stand
  2672. Forty Shades of Blue
  2673. Just My Luck
  2674. The Cave of the Yellow Dog
  2675. Reeker
  2676. Pretty Persuasion
  2677. King Kong
  2678. Ask the Dust
  2679. Wah Wah
  2680. Voces Innocentes (Innocent Voices)
  2681. RV
  2682. Best Wishes! (Czech Republic)
  2683. SIGNIS Statement: The Omen
  2684. SIGNIS Film Reviews: Cannes 2006 Special Edition
  2685. 2:37
  2686. Babel
  2687. The Caiman
  2688. Cronica de una Fuga
  2689. Fast Food Nation
  2690. Flanders
  2691. Climates
  2692. Indigènes
  2693. Jindabyne
  2694. Lights in the Dusk
  2695. Marie Antoinette
  2696. Paris je t’aime
  2697. Red Road
  2698. Southland Tales
  2699. Volver
  2700. Summer Palace
  2701. Ten Canoes
  2702. El Violin
  2703. The Wind that Shakes the Barley
  2704. Z Odzysku (Retrieval)
  2705. Shooting Dogs

SIGNIS Film reviews - May 2016

May, 10th, 2016.
Find below film reviews written by Peter Malone.

  • BOSS, The
  • ELSTREE 1976
  • RAMS

US, 2016, 118 minutes, Colour.
Shailene Woodley, Theo James, Naomi Watts, Octavia Spencer, Jeff Daniels, Zoe Kravitz, Ansel Elgort, Miles Teller, Maggie Q, Bill Skarsgaard, Jonny Weston.
Directed by Robert Schwentke.

We are at chapter 3 of Veronica Roth’s Young Adult series. Her third book has been divided, as with the film versions of Twilight, Harry Potter, The Hunger Games into two films. We understood what Divergent could mean as well as Insurgent. And the fourth film is to be called Ascendant. But, what does Allegiant actually mean – who is or are allegiant and to what?

The series is set in a post-Apocalyptic world (and, for some of us, we might become a little mixed-up with those worlds of The Hunger Games, of The Giver, of The Maze Runner because of similarities). In the ruins of Chicago, five factions lived side-by-side, each with particular qualities – but, with the emergence of Tris, a Divergent, things became unsettled, especially for the governing personality, Janine (Kate Winslet) and those who did her bidding, trying to establish supremacy among the factions.

Tris (Shailene Woodley with a strong screen presence, great physical agility, and intelligence) encountered Four, Tobias (Theo James) which led to a revolt against Janine and her brutal attempts at putting down the uprising, insurgency The rebels conquered with the new leader, Evelyn (Naomi Watts, off-puttingly unrecognisable in a brunette wig, the mother of Tobias whom she had abandoned as a child and had joined the rebels.

This is where we stand at the beginning of Allegiant, with Evelyn presiding over trials and executions of Janine’s officials. Tris will not stand on the platform with her; Tobias tries to persuade his mother to rethink what she is doing; the leader of the opposition, Joanna (Octavia Spencer) stands but then leaves, drawing the discontented into a band for further stances, and they are the Allegiant.

But, surprisingly, this third film adds quite a deal more of plot. Four enables Tris’s brother, Caleb (Ansel Elgort) to escape and with Peter (Miles Teller), always fickle, a group goes to scale the wall which hems in Chicago and venture to find what is outside.

The wall-scaling is quite an exciting episode and the group find a no-man’s land of red radioactive waste but are suddenly rescued and welcomed by an alternate force from the Bureau, a complex and technological site where O’Hare airport used to be. It has extraordinary technological developments and many comforts, and all kinds of surveillance techniques, even virtual presence, and know all about Chicago and the factions. It is all presided over by David (Jeff Daniels) who is interested especially in Tris and her being so unique, as a Divergent. He has been eager for her to come so that he can do contact genetic testing – with the alleged aim of improving all the humans whom he sees as “damaged”. Tris, Who is shown video of her mother and herself as a child, is persuaded by him but Tobias is not.

This leads to a number of dramatic crises, Tobias discovering where the Bureau gets its children from, raids on The Range. Tris is taken before the Council and learns David’s true motivations and his role as an overseer of the Bureau and its surveillance of Chicago.

The important thing is to get back to Chicago, to try to persuade Evelyn about what is happening – but, of course, Peter then does a deal and plays the role of the betrayer once again. The Allegiants will have to make a decision as to where they stand and Tris accuse a rousing speech, her image playing in the huge skyscraper walls.

Yes, quite some developments of plot – and, at this knife-edge, the final credits, and we anticipate the wait for Ascendant.


France, 2015, 105 minutes, Colour.
Voices of: Marion Cotillard, Jean Rochefort, Olivier Gourmet, Marc- Andre Grondin, Bouli Lanners, Anne Coesens.
Directed by Christian Desmares, Frank Ekinci.

What’s in an expectation? With the title so pleasing with the word April and the emphasis on extraordinary, this seemed to be a continental version of those delightful Japanese animation films from Studio Ghibli. As the film opened, it was not like that. Not at all.

It is 1870, Napoleon III on the eve of a Franco-Prussian war, going to a scientist to find a serum that will empower soldiers to win the war. But the serum did not achieve that and Napoleon dies and history is forever changed – or at least goes into an alternate world. The animation for the film is a quite striking, dark, often sinister, grim alternate world. But, with a top voice cast led by Maion Cotillard and Jean Rochefort, it is highly dramatic.

In the alternate world, most of the famous scientists, including a very visible Albert Einstein, have disappeared from the ordinary world and have joined The Project, the finding of the serum that would transform all living things, continually renewing them. A fightback begins when the young girl, April, descendant of the family Franklin, all scientists, searches for her parents who have disappeared, recovers contact with her grandfather with the help of a young street boy, Julius.

The important thing is that the young girl, April, has the talent to make the serum – and is pursued by a variety of thugs employed by a couple who, perhaps unfortunately, but sinisterly, are lizards who resemble the mutant Ninja Turtles.

April finds that her father has been imprisoned, that her mother supports The Project, and that there is a plan to transform outerspace by a nuclear explosion that will spread the serum to the moon and other planets. But, human nature being what it is – or, perhaps, lizard nature being what it is, the chief lizard has other, more ambitious, more destructive ideas.

Which builds up some split-second timing to avert disaster, to defeat the lizard, to redeem the young man who has not been entirely honest, and to reassure grandfather, mother and father, that the serum can be created and profitably used if not found in exploitative hands.

Certainly not the sweet animation that might have been anticipated – rather, an adventurous as well is reflective piece of science fantasy.


US, 2015, 137 minutes, Colour.
Abraham Attah, Idris Elba.
Directed by Cary Joji Fukunaga.

Beasts of No Nation is a difficult film to watch, reflecting, as it does, dire situations on the continent of Africa, civil wars between government and rebels – but, especially, the taking of children and training them to be child soldiers. The film was sponsored by Netflix and received its first distribution on that network.

This is not a new theme for films – there Was Johnny Mad Dog with financial support from the government of Liberia. There was also Rebelle – the Cap Witch, filmed in Congo Kinshasa, but set in an unnamed country. In the former film the child soldier was a boy. In the latter, a girl.

One of the outstanding things about Beasts of No Nation is the central performance by Abraham Attah, convincing as a playful young child in his village, lost in the jungle, recruited and brainwashed, becoming vicious, even to hacking an engineer prisoner to death with a machete, wanting revenge on the death of his father – but all the time with a sense of God and saying prayer, even when he is ashamed of his killing.

The bulk of the cast is African with international star, Idris Elba, appearing as the Commander, a man obsessed, loyal to the Supreme Commander, indoctrinating the children, ruthless in his behaviour with them, exploiting and even abusing them, letting them play football, join in singing and communal food, but all the time making sure that they were more and more loyal to him and to his cause.

The film opens in a buffer zone which is soon under siege by both military and rebels, leading to mass exile or to brutal massacre. There are other massacre sequences throughout the film.

The tone changes towards the end of the film when the Commander brings his boys into the city to be praised by the Supreme Commander. This is not what happens. Life in the bureaucratic city is quite different from life in the bush. The Commander is kept waiting, relieved of his post and, allegedly, promoted to chief of security while his 2 IC is placed in command, something which angers the Commander and leads to further brutality.

Ultimately, the Commander is left with his boys inactive in the jungle for months until they themselves rebel against him.

There is quite some pathos as well as hope in the final sequence where the young hero is once again in safe surroundings, with other children, and working with a counsellor to overcome his traumas.


US, 2016, 105 minutes, Colour.
Melissa McCarthy, Kristen Bell, Peter Dinglage, Kathy Bates, Tyler Labine, Margo Martindale.
Directed by Ben Falcone.

A Melissa McCarthy comedy. and fans know what to expect. She usually office a big, bumptious, dominating, insensitive-to-others character with a modicum of concession to sentiment at the end. With a title like The Boss, it couldn’t be otherwise. Nor is it.

This character of Michelle Darnell, her look, hair-do, throat-covering wardrobe, manner, manners, tough talk, was created by Melissa McCarthy over 15 years ago for some comedy routines. She certainly brings this bossy character to the screen very vividly. She works with her husband, writer and director, Ben Falcone, who usually has a cameo in her films. And he is usually is the butt of some kind of pushy joke.

In an amusing prologue, the young Michelle is shown at an orphanage from the 70s to the 90s, being taken by adopting parents but always returned – to the same sister, Margo Martindale, incidentally illustrating the change of habits for nuns over the decades. but, as an adult, Michelle has become the richest woman in America and flaunts it – at glitzy Donald Trump-like campaign, a mighty presence to her applauding and adoring fans.

But then she is arrested for insider training, goes to jail (rather comfortable, tennis playing, and her expecting a limousine to drive away after her release!).

What is she to do? Her loyal assistant, Claire, Kristin Bell, who has a young daughter and is a single mother, has been a great help but now forced to take on another job to make ends meet. Needless to, Michelle imposes herself on the family - though she does get some comeuppance in the very funny bed sequence. And, in the background, is Renault, really Ron, in love in her past life and now a a business rival, played by Peter Dinklage.

Can Michelle make a comeback? Nothing if not resourceful, Michelle goes to the parents’ meeting and listens to the project of selling Brownies to raise money. After insulting a lot of the mothers, she picks some of the girls, Claire’s daughter and a very tall aggressive young lady and forms her own Brownies company. Of course, she is successful – although there is a huge street fight between the traditional brownie sellers and Michelle’s girls (with some comic rough-and-tumble in the street fight in the street fight which is something of a worry about the culture of American slug-it-out solutions).

Despite some appearances of having reformed, Michelle is still wary about business deals, unscrupulous in dealing with friends, especially Claire, but Claire becomes less mousey and more assertive. Michelle has a confrontation with Renault. And, perhaps, there is a multi-million-dollar future in Brownies.

Better than some Melissa McCarthy films like Tammy but not so impactful as The Heat or Spy.


US, 2016, 147 minutes, Colour.
Chris Evans, Robert Downey Jr, Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, Emily Van Camp, Tom Holland, Alfre Woodard, William Hurt, Martin Freeman, Marisa Tomei, John Slattery, Hope Davis, Frank Grillo.
Directed by Anthony Russo, Joe Russo.

Captain America has the title role, Tony Stark as Iron Man Man has almost equal importance. But, basically, this is a reunion of the Avengers (with the notable absence of Thor and of the Hulk). It is also a continuation of the narrative from the previous Avengers film, Avengers: Age of Ultron. The fight and devastation of the previous film is taken up as a theme here, preying on Tony Stark’s conscience when he is confronted by the mother of an American worker killed with the collapse of a building, but also providing the occasion for a new villain, a man who saw his wife and family killed in the attack and who is now bent on revenge.

The underlying theme is that of taking responsibility for actions.

Audiences need to bring their understanding of Captain America (Chris Evans), his history during World War II, his being preserved in ice, his recovery and revival, the previous two films and the emergence of Winter Soldier, his friend from boyhood in Brooklyn. Winter Soldier (Sébastian Stan) also gets more elaborate back story, revived by the Russians in 1991, a code implanted whereby he becomes a killer for the agency controlling him. And he is set up for the murder of an African king and delegates at a United Nations meeting in Vienna.

When the film introduces Tony Stark (Robert Downey Jr), there is an interesting hologram device of his interaction with his parents, his strict father, and their farewell just before they were killed in a car accident – later revealed to be more. He is still the philanthropist, and involved with the Avengers.

There is an elaborate attack staged in Lagos, involving many of the Avengers, lookouts, communication, fights. It is this that is the occasion for the American government, In the form of Secretary Ross (William Hurt) and the formulation of a document to be signed by The Avengers putting them under the control of the United Nations. Tony Stark agrees. Steve Rogers, Captain America, does not agree, which sets them on a path to conflict (not exactly Civil War).

After the bombing of the United Nation’s building in Vienna, a new Avenger is introduced, the son of the King, Panther (Chadwick Boseman – who is also getting a film of his own).

In the conflict between the two sides of the Avengers, some of the others are brought into the action including Don Cheadle’s War Machine, Paul Rudd as Ant Man, Jeremy Renner is Hawkeye. Scarlett Johansson as Black Widow sides with Tony Stark but also wants to be a mediator.

Tony Stark also goes on a recruiting mission which gives us a longish interlude with the new Spiderman introduced, younger than before, played by British Tom Holland, with a glimpse of Marisa Tomei as Aunt May. Peter Parker is happy to be recruited and joins in the conflict – which has people flying around, Captain America with his shield, Wanda (Elizabeth Olsen) with her fiery hands, the android Vision (Paul Bettany) also involved – and Ant Man doing a trick or two both reducing his size as well as becoming gigantic!

Daniel Bruel is the new villain, wanting to use Winter Soldier for getting his revenge and building up a conflict between Captain America and Iron Man. The film doesn’t exactly come to a climax except for the battle between Captain America and Iron Man – rather, as with so many of the films, it lays the ground for future sequels which, judging by audience response, will be most welcome.


France, 2015, 98 minutes,.Colour.
Fabrice Luchini, Sidse Babette Knudsen.
Directed by Christian Vincent.

Courted is an interesting and entertaining French film about a judge and the justice system as well as his personal character and his infatuation with a witness.

Fabrice Luchini, veteran of French films for many decades from films by Eric Rohmer to In the House, plays a very strict judge, ritual in his entry in the court and his conduct of proceedings, considered by other lawyers as a kind of hanging judge. Into his court, comes a case where one of the witnesses is a woman, a nurse, who looked after him in hospital when he had an accident some years earlier and with whom he becomes infatuated.

During the trial, he has meals with the woman, advancing his own cause, she sympathetic but being very careful. Also in the action is the woman’s 17-year-old daughter who has a more relaxed attitude towards life and relationships.

The woman is played by Sidse Babette Knudsen, star of the popular Danish television series Borgen, was one of the two central characters in The Duke of Burgundy and appeared in the Dan Brown’s story, Inferno.


UK, 2016, 106 minutes, Colour.
Taron Egerton, Hugh Jackman, Jo Hartley, Keith Allen, Tim McInerney, Mark Benton, Christopher Walken.
Directed by Dexter Fletcher.

There’s nothing like a sports film to get the adrenaline pumping, to rouse the spirit, to affirm human qualities and talent – in others and in ourselves.

There are two main kinds of sports film, one the story of a champion, background, skills, challenges and training, achievement; the other is the story of the underdog who, despite all odds, triumphs. Michael Edward Edwards, who received the nickname of Eddie the Eagle from supporters at Calgary, has to be one of the most underdog of underdogs. Sharing in his life, in his impossible dreams, in his persistence and determination, and his achievement, is one of those cinema feel good experiences.

Back in the 1970s, when Eddie was a very fragile young lad, even spending a year in hospital with wonky knees, somehow or other, he got it into his head that he wanted to go to the Olympic Games – all evidence to the contrary notwithstanding, and there is a great deal of evidence of his awkwardness and lack of skills. Then, one day it dawned on him that he wanted to go to the Winter Olympics and that he will ski.

While his mother is forbearing, his father, a workman plasterer, has no times for Eddie’s aspirations. Nevertheless, Eddie seems fairly oblivious to what seemed to be obvious, very obvious difficulties and, while at school, he does actually achieve something in skiing and win some trophies.

Full of seemingly baseless self-confidence, off he goes to a ski resort in Germany, no connections, sleeping in a cupboard and, fortunately, being given a job and some hospitality by a restaurant owner. He tries out some of the jumps, with varying success, to the mockery of the champion Nordics skiers and the wry observations of former champion, Bronson Peary, Hugh Jackman, stubbled, alcoholic, but, as always with Hugh Jackman, a very nice person underneath.

While this particular story is original insofar as there are not so many sports films about skiers, the rest of the film goes mostly according to predictions: terrible falls and injuries, renewed determination, the challenge of Peary, the mockery of fellow jumpers, and the continued acerbic criticism of the British Olympic Ski Association. He perseveres and perseveres; there are quite a lot of training sessions with Peary, which do indicate that Eddie did quite a lot of training and practice, learning some skills, readying himself for the jumps.

He wants to get a qualification that will allow him to go to the Winter Olympics in Calgary in 1988 – despite the British Association. We know that he will succeed otherwise they would not have made a film about Eddie. But, it is the exhilarating experience he had in Calgary, not great jumps but the fact that he did them, and an excited response which endeared him to the crowds and commentators and to dead to do the 90 metre jump.
Pierre de Coubertain, founder of the modern Olympics, is quoted that winning is not everything but participating years – and it is the value of the struggle.
Christopher Walken is heard early in the film and appears at the end, Peary’s former coach who had despaired of him but who comes to acknowledge him and Eddie’s achievement.

The film obviously climaxes on a high – and in the credits, the director acknowledges Eddie and his family. Actually, the film provides an enormous commercial for drinking milk and probably will attract a lot of viewers to skiing and future Winter Olympics.

  • ELSTREE 1976

UK, 2015, 90 minutes, Colour.
Paul Blake, Jeremy Bullock, John Chapman, Pam Rose, David Prowse.
Directed by Jon Spira.

This is a documentary particularly interesting for cinema buffs but, especially, for the Star Wars Fans. It was released at the time of the new Star Wars film, 2015, The Force Awakens.

The director has gone back to Elstree studios in London in 1976, George Lucas coming from the United States to make a science fiction film, which nobody knew much about – nor so much about George Lucas himself, though he had just directed American Graffiti which the studios were puzzled as to how to promote.

Elstree provided vast sets and this film takes us onto the sets, some glimpses of the main stars, Mark Hamill, Carrie Fisher, Harrison Ford, and sequences from the film along with some of John Williams’ music.

The bulk of the film is interviews with nine men and one woman who had bit parts or brief characterisations in the film. There are glimpses of at the time and long interviews with each of them almost 40 years later. Most of them are interesting personalities, communicating well to camera, indicating their situation at the time they were auditioned and cast in Star Wars, appearing in small roles, having other jobs, doing technical work around the studios, as was Pam Rose, the only woman interviewed.

It is interesting to hear these characters reflect on their experience, the importance of the long retrospect, their subsequent careers, appearing in films, or moving away from show business, even to writing and publishing books.

Those who know Star Wars in detail will recognise the people being interviewed.

Of major interest is David Prowse, who was the figure of Darth Vader, interviewed 40 years later, reminiscing, having fallen out with George Lucas, but giving an insight into his career of a weakly boy becoming a bodybuilder, appearing in Kubrick’s A Clockwork Orange, carrying Patrick Magee in the home sequence, and his subsequent work.

Many of these actors go to the conventions where the fans thronged, dressed up, sought the memorabilia, and wanted autographs – enabling these characters to be celebrities for those moments.


US, 2016, 120 minutes, Colour.
Melissa Joan Hart, Jesse Metcalfe, Pat Boone, David A.R. White, Benjamin A. Onyang, Ray Wise, Hayley Orrontia, Robin Givens, Trish Lafarche, Paul Kwo, Fred Dalton Thompson.
Directed by Harold Cronk.

In 2014, the Faith-film, God is Not Dead, received a worldwide release. In more recent years, Faith-films, produced in the United States, have shown expertise in craft and have become big box office there. Beyond the United States (or, within different states in the US) these films play to their target audiences, those with Bible-based Christianity, relying on literal interpretation, and at least to that extent fundamentalist.

These communities have come to the fore during 2016, especially with the campaigning for the US presidency. There has often been quite some conflict between these religious groups and “secular” groups in terms of moral issues, especially abortion, homosexuality, same-sex unions. In fact, these issues are not brought up in this film which presents the Christians as committed, fervent, prepared to protest and campaign for their faith.

The original film centred on a university course and intellectual and philosophical debates about God and the proofs for the existence of God as well as of faith. Audiences, fundamentalist or not, who are interested in such proofs found the film of interest. But, it is the type of film, with its proof-dialogue, which is quickly dismissed by those of a more atheistic disposition. The conclusion was that God was not dead. It was a subplot involving a journalist who lacked faith but who discovered she had cancer and who prayed and was healed. A Christian music group, the Newsboys, also featured.

The journalist healed from cancer and The Newsboys are back in the sequel. This time it is not an intellectual debate – although a great deal of time is given to the proof of the existence of the historical Jesus. This time the centre of the film is a court case.

Television star, Melissa Joan Hart (Sabrina) is a faith-committed teacher at a local school. She is supported by her grandfather whom she cares for – Pat Boone, at 82, still proving himself evangelical (with some good one-liners: for instance, atheists destroy but they don’t destroy the pain). At school, she answers a question about the teaching of Martin Luther King and that of Gandhi and quotes the Gospel sermon on the Mount on nonviolence. She is reported to the principal (Robin Givens) and called before the school board who tells her that she has broken the law, proselytising in the classroom.

The parents of the girl who raised the issue are secular and take the teacher to court. She is allotted a lawyer, Jesse Metcalfe, who wanted to apologise so that everything is over and done with. She is committed to her cause, suffers a great deal during the case, especially with the always sinister -looking prosecutor, Ray Wise and even a final ordeal from her own lawyer. The judge, Ernie Hudson, is not particularly sympathetic.

To non-American eyes, the case seems somewhat silly, it being evident that this was a history class, a history question was answered with history reference irrespective of the faith commitment of the teacher. However, those against the teacher, protesting outside aggressively, media person0alities critical, are portrayed as self-righteous and intolerant. Young people support the teacher. She is shown to be willing to be a martyr for her faith and commitment to Jesus as her personal saviour.

With the issue, the possibility for featured to refer to religion, to religious teaching, in a school is something that most people would happily tolerate taught The other issues in the moral area have led to what could be labelled as viciousness on both sides. This is not part of the screenplay is. hostile critics of this film are quick to point out that Christians can be vicious and intolerant in their protests of bringing the literal Bible passages to bear on moral issues.

The film was quite emotional – on both sides, but involving its audience in the Christian cause and for religious freedom. As with the first film, there is an emotional rally climax with a song by The Newsboys.

The setting is Arkansas. At one stage the Christian pastors are ordered by law to submit the texts of all their sermons for the previous three months. One pastor who has featured in each film, with his own name, David A. R. White, has refused and an epilogue to the film has his arrest – and the potential for God’s Not Dead 3.


Italy, 2015, 87 Minutes, Colour.
Marco Giallini, Alessandro Gassman, Laura Morante, Ilaria Spada.
Directed by Eodardo Maria Falcone.

A surprising film about priesthood from Italy, Se Dio Vuole/God Willing reminds audiences of Italy’s growing secularisation, the inheritance of the Catholic tradition and rejection of it, and a low opinion of the priesthood.

A young man, Andrea, goes out frequently with a young man and when he asks his family for a meeting, they tend to expect that he will announce that he is gay. They psych themselves up for this, wanting to be broadminded, tolerant, prepared to embrace him. But, what he tells them is that he wants to be a priest. They are not ready for this at all, especially his rather arrogant surgeon father who cannot bring himself to contradict his son but will do anything to stop him becoming a priest.

His mother is more understanding. His sister, who seems to know practically nothing about Catholicism, gets a whim to learn more about it, praying the rosary, watching Zeffirelli’s Jesus of Nazareth, not wanting anyone to tell and spoil the ending for her.

The father invokes the aid of friends and investigators, following his son only to find that he has gone to a Bible session, conducted by Don Pietro, an enthusiastically vigorous performance by Alessandro Gassman. He has a full house of young listeners, explains the Gospels with great gusto and theatricality. The surgeon wants an investigation done on him, finds that Don Pietro has spent time in jail, for fraud, and suspects that he has brainwashed his son.

Don Pietro is a fine contemporary, pastoral priest. He admits his use of fraud, the time in jail, influenced by the prison chaplain, joining the seminary, concerned for all people in need, rebuilding a church that his mother used to attend, a sensible man in the 21st century ministry.

He has advised Andrea about the priesthood and puts himself out when the surgeon turns up at a session, pretends to be penniless and homeless, sets up his colleagues to confirm his down-and-out status in a rundown house to Don Pietro, but is found out when Don Pietro is visiting his actual home. Don Pietro asks him to do a month’s penance, working on the church with him, where they talk a great deal, go to a hill overlooking a lake which is the priest’s favourite place for reflection, the surgeon upset when Don Pietro has a motorbike accident and spends his time finishing the work on the church. He doesn’t necessarily become a believer – but his attitude towards priests changes, he is more understanding and respectful to his staff, to patients and his wife and daughter – and Don Pietro doesn’t tell him that he actually knew for some time that Andrea, after a retreat, had fallen in love and the priesthood was not for him.

Perhaps the film is saying that celibacy is an impediment for priesthood – and that the better priests are men who have had solid and mixed experiences and are ordained later in their lives.


Japan, 2013, 134 Minutes, Colour.
Ryuhei Matsuda, Joe Odagiri, Aoi Miyazaki.
Directed by Yuya Ishii.

A fine and humane film that can be well recommended.

Although, caution may be needed for the unwary. This is a film that is about words, that delights in words and their meaning. It is a film about the research for the writing of a dictionary over a period of 15 years. And, one might add, it is a film about proofreading! Given those cautions, it is a film which could be appreciated by most audiences making allowance for the lack of adrenaline-pumping (or adrenaline pumping for the discovery of new words and preparing each proof for the dictionary!).

The context is Japan in the 1990s, a publishing company deciding that a new dictionary needed to be produced for the 21st century, acknowledging the work done on previous dictionaries, and the amount of time and energy taken, but deciding to make precise definitions of words, succinct descriptions, including classical words in those from tradition but also trying to accommodate contemporary developments.

At one stage, and this is a challenge for the audience as well as those preparing the dictionary: what is the definition of “right” (as different from “left”)? This challenge, which tantalises some of the researchers, brings home how hard it can be to write precise definitions.

In the division for preparing the dictionary is a professor and an elderly man who is expert but who has to retire because of his wife’s illness. One of the bright sparks and his girlfriend realise that there is a very quiet man in the office, socially awkward, but with a degree in linguistics, who could be invited to take on the job. His name is Matsu. He does take on the job and spends the next 15 years painstakingly working. His lively friend supports him especially when the manager of the publishing firm decides to close down the dictionary project. He pleads the case and offers to transfer to advertising and promotion to save the project – something which, eventually, is to the benefit of the dictionary when it is finally launched.

In the meantime, Matsu is cared for by a kind landlady. He is also attracted to a fellow-boarder, a trainee chef, charming and friendly who invites him to taste her preparations. There is an awkward moment when he writes a letter in old Japanese style, which she cannot read, but prefers to hear the words from him, spoken. Over the years, they become a devoted couple.

Actually, there is some drama in the narrative, especially when Matsu has his attention drawn to an error in the galleys so that he takes full responsibility but it sets back the progress of the dictionary for some time. This means that he has to hire a staff of students to do the proofreading, that they have to live in at the office, day and night in shifts, so that the work will be done on time.

There is also some human drama with the elderly professor and his wife, his becoming ill and dying, and the old man who had pioneered the dictionary comes to assist after his own wife’s death.

There is an emotional climax at the end, the launching of the dictionary and a wonderful letter from the old professor, given to Matsu by the professor’s wife, a fine tribute to what he has done and achieved.

A wonderful narrative, characterisations, images for lovers of words.


US, 2016, 114 minutes, Colour.
Chris Hemsworth, Emily Blunt, Jessica Chasstain, Charlize Theron, Nick Frost, Rob Bryden, Sheridan Smith, Alexandra Roach, Sam Claffin.
Directed by Cedric Nicolas- Troyan.

In 2012 there was a Snow White story, Snow White and the Huntsman, a variation on the popular fairytale, which focused strongly on the wicked Queen and her interrogation of the mirror about who was the fairest in the land. The Queen was played with haughty beauty and arrogance by Charlize Theron. The film used some of the basics of the familiar fairytale but introduced the character of the Huntsman who was the champion of Snow White.

He was played by Chris Hemsworth had made an impression as Thor – and continued to make an impression as Thor in the sequel and in The Avengers films. Now he has been invited back to reprise his character of Eric, the Huntsman.

This film, in its early sequences is a prequel to Snow White and the Huntsman. There is a seven-year gap where audiences can fill in what they remember from the first film and the narrative then takes up as a sequel.

Once again there is Ravenna, the wicked Queen, shown instantly playing chess with the King and murdering him, assuming the throne, the younger sister, Freya (Emily Blunt) in attendance. And the mirror is once again reassuring. However, wicked queens will be wicked queens and Ravenna makes severe mischief for her sister, killing her child and banishing all love, Freya becoming an emotionless ice Queen in the northern kingdom in snnowclad mountains. Her henchman abduct children and bring them to the castle where they spend their time training in combat.

Two of the children stand out in martial arts, young Eric and young Sara. They are rivals but, in adulthood, Eric and Sara defy Freya and fall in love, trying to escape but are made to fight their fellow combatants until Freya builds an ice wall between them and deceives them as to what happens. Eric is Chris Hemsworth who becomes the Huntsman and Jessica Chastain is Sara.

And Ravenna has disappeared from the film – but fans of Charlize Theron need to remain patient.

A caption tells us that seven years pass – the time when Eric helped Snow White, but a message comes to him in the forest that the mirror has been stolen and Eric is persuaded to go on a mission to recover it, suddenly accompanied by two dwarves, played by Nick Frost and Rob Bryden, providing a lot of chatty patter and comedy. After denouncing female dwarves, two of them turn up, played by Sheridan Smith and Alexandra Roach, and they accompany the mission for the mirror. Eric has been put upon by Freya’s henchman – but who should such suddenly turn up but Sara!

There are some adventures, a fight with a monstrous giant, Sara showing her ability with archery accuracy, but Freya arriving and preparations for combat for the grand finale.

The writers are in the vein of Game of Thrones – but with touches of Tolkein (or touches of Peter Jackson) and more than a touch of Frozen.

While Jessica Chastain speaks her Scots accent very clearly, It is a pity that Chris Hemsworth, with his deep voice, is difficult to understand with what he calls his Celtic accent.

Familiar material, popularly enjoyable but not memorable.


US, 2016, 95 minutes, Colour.
Jack Black, Bryan Cranston, Dustin Hoffman, Angelina Jolie, J.A. Simmons, Jackie Chan, Seth Rogen, Lucy Liu, David Cross, Kate Hudson, James Hong, Randall Duk Kim, Wayne Knight.
Directed by Alessandro Carloni, Jennifer Yuh.

It is eight years since we were introduced to the large and jovial Panda, Po. He delighted audiences all round the world, he and his extended family, with some action and adventures and drawing on some Eastern aspects of martial arts as well as religious reflection. Three years later, he and his friends all returned for another comedy and action about.

There must be a great number of fans of the Kung Fu Panda out there, children eager to see him again – and children who are now older but still have fond memories. They will not be disappointed with this third time round.

By this stage, Po is fairly well established and well respected in his community. However, he is away from his village and, to his surprise and delight, his father comes to visit and takes them back to the village full of pandas - quite a comic lot. That would be enjoyable in itself, with lots of comic touches and, especially, with a rather large cast of celebrity voices who are all back again, Dustin Hoffman as Mr Shifu the tiny instructor, Angelina Jolie Lee as the tigress, Seth Rogen, Lucy Liu, David Cross, James Hong, Jackie Chan…

But, of course, this would not be a Kung Fu Panda entertainment without some battlelines being drawn. The mystic Oogway returns and is confronted by the villain Kai whom he had conquered and confined to the other world 500 years earlier. This monstrous type, resembling a giant and sinister ox, is determined to take over the whole world. Kai has in his power, minute green creatures whom he carries on his belt, the forces whom he has subdued – and he proceeds to subdue a whole lot of creatures from the village, including Mr Shifu, turning them all green, depriving them of their personalities and making them all fighting machines.

Po, of course, has to confront this sinister and powerful enemy, supported by his family and friends in the village, although discovering that his father has rather exaggerated his own powers.

For those who enjoy the battles, they are extraordinarily choreographed, exciting for the younger audiences (though Kai is particularly fierce, looming and frightening perhaps for the very young). Adult audiences who admire the skills of animation (done in the United States, in China and in India) will be captivated by the extraordinary detail of action and movement.

While Po is a valiant warrior on his own, he is in danger of defeat unless his father and the whole village combine with each other, eliciting their inner Chi, turning their combined energy and force on Kai. Po is a delighted victor but faces the question of whether he stays in eternity or returns to his family. Really, no question at all.

Jack Black is back with his comic energy as Po, and J.K. Simmons is truly a sinister Kai.

And, with the atmosphere of eastern mysticism, the exercise of inner Chi, complimentary forces in Yin and Yang, and the strength of the inner self, the film ends with an exuberant dance of life.


UK, 2016, 180 minutes, Colour.
Dominic West, Janet Mc Ateer, Elaine Cassidy, Morfydd Clark, Edward Holcroft, Una Stubbs.
Directed by Josie Rourke.

This is a filmed version by the British National Theatre of a performance in the Donmar Warehouse, London in 2015-2016.

It is a revival of the play by Christopher Hampton, his adaptation of the 1782 French novel by Choderlos de Laclos. The play was first performed in the 1980s with great success in London’s West as well as on Broadway, a star vehicle for Alan Rickman and Lindsay Duncan. However, when a screen version was made in 1988, directed by Stephen Frears, the two stars were not so well-known and so the roles were taken by John Malkovich and Glenn Close. (Ironically, that same year, Alan Rickman appeared as the arch-villain in Die Hard which made his film career as well.)

Other films from the novel include a 1960s contemporary version with Gerard Philippe and Jeanne Moreau, a colourful period version, Valmont, with Colin Firth and Annette Bening, directed by Milos forman, 1990, and in 1999 a modern version with a younger cast, Cruel Intentions. In more recent times there has been a Chinese version.

The stage of the Donmar Warehouse is comparatively small and the audience is able to sit in front as well as on the two sides – and are sometimes visible during the filming. The set is quite elaborate, 18th-century classic – though with a touch of the faded gentility, by candles and chandeliers, with furniture of the period and, of course, beautiful costumes.

The central roles are taken by Dominic West and Janet Mc Teer, with Elaine Cassidy.

The play opens with the two central characters, former lovers, but now living quite amoral, immoral lives, involved in changing partners and seduction. The first scene has them plotting. Valmont has as his target a pious wife, Madame Tourvel, impervious to his attentions, her husband absent, and her being a good woman amidst this world of wealth, power, sexual exploitation. Madame de Merteuil is even more devious than Valmont, wanting revenge on a former suitor who has abandoned her and wants to make a more advantageous marriage, to young girl just out of her convent education. Madame wants Valmont to seduce her and then she will help him with his conquest.

Thus, the scene is set for this hothouse melodrama, the action of which takes place seven years before the French revolution – which some might consider did not come a moment too soon.

Other characters introduced are the young girl from the convent and her ambitious mother, formerly a courtesan but now very respectable, Valmont’s aunt (Una Stubbs) who entertains him and his target at her country estate, and a Chevalier who is infatuated with the young woman but gets entangled by Madame. There are various servants who connive at the action.

The main action of the film is Valmont’s courting of the young woman, her resistance, his persistence, her asking him to go away, his giving plausible reasons for returning, the emotional effect on her and her final succumbing to his seduction. And there is her final disillusionment as he breaks with her, even though he loves her. In the meantime, Madame continues on her way, exercising her wiles, exercising her wit, relishing her power, glad of the seduction of the young woman and her revenge, but entangling herself with the young Chevalier. Valmont, angry, challenges the Chevalier to a duel – to his death.

Dominic West struts the stage with quite some energy as Belmont, clever, charming, insinuating, but trying to resist his discovery of actual love. Janet Mc Teer is extraordinary in her impersonation of Madame, standing up for women, their domination, the control – a woman of power. At one stage towards the end, she is momentarily moved and sheds tear. In Stephen Frears’ film, at the end, Glenn Close as Madame is sitting at a mirror, removing her make up, reflecting, and a tear forms in the corner of her eye. In this version, Madame steels herself, looks out at the audience and determines that the competition will go on.

Well worth seeing in itself, but is interesting in its complementarity with the film version.


UK, 2016, 108 minutes, Colour.
Dev Patel, Jeremy Irons, Toby Jones, Jeremy Northam, Kevin McNally, Devika Bhise, Anthony Calf, Stephen Fry, Richard Johnson.
Directed by Matt Brown.

Dev Patel made a strong impression as a young man in the Oscar winning Slumdog Millionaire in 2008. He has grown older since then and is able to give a fine performance in an adult role, a man from the Madras in 1914 who has a talent for mathematics.

The film is based on actual events and characters, focusing on S. Ramanujan.

The film opens with a tribute to him spoken by Cambridge mathematician, G. H. Hardy, played with his customary seriousness by Jeremy Irons. The film moves in flashback to Madras, to Indian life in the city, a young married man, rather dominated by his mother, looking for a job and finding a sympathetic manager who introduces him to keeping accounts for British Sir Francis (Stephen Fry). But, the young man has notebooks full of mathematical equations – is not able to explain how he came to them. He relies on intuitions or, as he would interpret them, visions and enlightenment from the deity. He has an ambition to go to Cambridge, to meet Hardy and work with him, to publish his material – but caste customs indicate that he cannot travel abroad from India. However, with support from his wife but apprehensiveness from his mother, he sets out and goes to Cambridge.

He meets with Hardy and his associate John Littlewood (Toby Jones). He is exhilarated to be there. They are amazed, almost overwhelmed, by the amount of material in his two books of formulas. However, he is not entirely welcomed as an Indian in this academic world, especially when World War I breaks out and young British soldiers resent him as they go to war – and bash and kick him.

While many audiences will not be privy to the secrets and beauty of mathematics, they will still enjoyed this picture of a young genius, his earnestness, his willingness to collaborate, his eagerness to publish, the challenge by his mentor to provide rational proofs rather than claim intuition, not something he can easily do (and puzzles why this is necessary). It is always not always easy working with Hardy, a reclusive man whose sole world and life is mathematics but who has to learn, even a little, what it is to be human and to have some sympathy for others.

The study of the natural world is physics. Philosophers tell us that we can mentally abstract from the physical world to a plane of mathematics with its own order and beauty, open to Infinity. Beyond that is metaphysics. There is one moment for the uninitiated when 4 is explained: 1+1+1+1, 1+1+2, 1+3, 2+2, 4 – the several realities of a number which gives them a more complex life.

Ramanujan at one stage goes to a maths class, has an intuition which he writes on the board, only to be rebuked arrogantly and with racist tones by the professor who will later oppose Hardy’s nomination for Ramanujan to be a fellow of the College.

In the meantime, his wife is lonely for him in India, his mother proud of his publication but not forwarding her daughter-in-law’s letters which further isolates both husband and wife.

Ultimately, he will return to India after the end of the war, but suffering from tuberculosis.

At one stage, Hardy shows Ramanujan various manuscripts, including some from Isaac Newton, in the Wren Library in Cambridge – and, the audience will feel an emotional sympathy at the end, viewing one of Ramanujan’s manuscripts preserved in a glass case there.

In many ways the film is uplifting, and despite the mathematical themes, feelgood.


France, 2016, 129 minutes, Colour.
Catherine Frot, Andre Marcon, Michel Fau, Christa Theret, Denis Mpunga, Sylvain Dieuaide, Theo Cholbi, Sophia Leboutte.
Directed by Xavier Giannoli.

The opening of this film says that it is based on a true story. In fact, it is a French variation and interpretation of the singing career of the American Florence Foster Jenkins (subject of her own film in Stephen Frears film of the same name, Meryl Streep appearing as the singer). Her story has been transferred to France, to the 1920s, and some imaginative interpretation about Marguerite’s delusions about her singing.

Audiences will enjoy the 1920s settings very much, elaborate costumes and award-winning decor, the picture of wealthy French society, the mores of the time.

However, it is Marguerite and her singing that audiences have come to see and hear. In the opening society concert, we are treated to beautiful renditions of the duet from Lakme and other singing performances. In the meantime, Marguerite is dressing, preparing, with her peacock feather (there are peacocks in her husband’s estate and their raucous cry mimics the sounds that Marguerite will utter). She is introduced, welcomed with applause, and then the audience, and we the audience, have never heard Mozart’s song of the Queen of the Night from The Magic Flute rendered in such a loud and confidently off-key manner. Marguerite screeches. And later she will sing the Marseilleise as well as La Habenera from Carmen with the same extraordinary rendition.

Marguerite is deluded but no one has the confidence or courage to let her know, not even her husband who is urged to do this by his mistress, almost does it, but fails. The extensive staff of the mansion applaud their mistress – and she is supported by the Butler of the house, who serves as something as her protector and guard, Mandelbos, who takes a number of photos of her, groups, Marguerite dressed in opera costumes, drives a car, arranges the floral tributes, wards of unwelcome guests.

The trouble is that her performance goes well, according to Marguerite, and she gets the idea that she should give a public recital. She cannot be persuaded otherwise. She is encouraged by a young man, a newspaper writer who is in love with the genuine young singer whom Marguerite had encouraged. He takes her to a performance of Pagliacci, quite a powerfully rendered, which delights Marguerite and the suggestion is that the singer, actually down on his luck and a frequenter of a gay bar, should be her teacher.

Marguerite undergoes extensive training, breathing exercises, movement, loosening up, all the while singing off key, her teacher shuddering, but forced to continue with his work by Mandelbos’s hold over him because of his relationship with his young assistant, and with a medium, a bearded lady in tow.

What will happen at the recital? While this is the climax of the film, the narrative goes on after the event, Marguerite’s illness, her friends recording her voice and intending to play it so that she can really hear how she sounds. And that is the climax that the film audience will have to wait for.

Catherine Frot is completely persuasive as Marguerite, full of life, enjoying life, longing for the love of her husband, wealthy and able to offer others patronage, yet absolutely tone deaf while music is her lifelong passion, and believing that she has the qualities of a star.

And the question, with the pathos behind it: can no one tell her the truth?


Australia, 2015, 110 minutes, Colour.
Anthony La Paglia, Julia Blake, Justine Clark, John Clark, Wayne Anthony, Indian Crowther, Donal Forde, Gary Sweet.
Directed by Matthew Saville.

Actually, this title doesn’t give much away at all and we may not be sure by the end what it means. But that can be put aside. It doesn’t really matter because the important thing is the film itself and its impact, a film that many audiences will like.

It should be said that the film has been sponsored in Adelaide and by the Adelaide Film Festival, and has been filmed in the Adelaide suburbs – which, in fact, make Adelaide look like a very liveable city. The city centre is seen only in distant outline several times – this really is a suburban film, about people, generally middle-class, ordinary Australians who live in the suburbs.

And, it should be said that Adelaide is the hometown of the main star, Anthony La Paglia.

And La Paglia appears in every scene. At the beginning, he mooches into a house, giving the impression that he is somewhat depressed. And he is. He is a 40-something real estate agent, who sees every building and every piece of land in terms of the words of advertising that he would put in the papers describing the particular house, its style, its amenities, its desirability, and the fact that if this did not suit potential buyers, the agency had another one which really should be theirs! It is rather amusing that right throughout the film, whenever he sees house, the voice-over has him offering these quite flowery and flattering descriptions.

Frank is going through a divorce. His wife (Justine Clark) has become a well-known TV star from a soap opera, Major Surgery. His teenage son, Frank Jr, can answer him only monosyllabically, “good” to every question his father asks about himself, school… His father does do a lot of picking him up from school and is able to sit in on a rehearsal of a rather contemporary sounding King Lear and to attend, with his wife, the actual performance at the end.

So, where is this going? Another thing that should be said is that in some ways the film meanders from one episode to another, but that this is not unenjoyable, but this is not one of those tightly controlled and disciplined screenplays, and while there is a driving force, it is not so dynamically forceful. What does set the drama going is a wrong number phone call when Frank answers the phone to a woman who think she is talking to her son. The woman, Sarah, is beautifully played by a most engaging Julia Blake. The two become friends, somewhat to the disappointment of her actual son. The friendship is tested when Sarah goes to a doctor for a diagnosis and Frank realises that she is ill.

There are some wonderful emotional sequences throughout the film, especially due to Julia Blake and her sympathetic performance. This is especially the case when Frank asks his boss whether she can visit the boss’s father who is in a home suffering severe dementia. The scene where she does this, talks with the old man – and later explains to his son something of his father’s history and what he endured in new Britain during World War II, a scene which is very moving indeed.

The estate agent boss is played by John Clark, whose presence throughout the film is always welcome. Australian audiences over the years have appreciated how John Clark can actually look the same, sound the same, sound as we expect him to sound, and yet actually communicate a range of different characters, from politicians to, in this case, an estate agent with a tendency to pomposity.

While there is something of a happy ending, perhaps not quite, this is a very life-affirming film, touching on quite a catalogue of social and moral concerns, including marriage and divorce, death and grieving, senility and communication, a touch of the issue of homosexuality and secrecy, father and son relationships and affirmation, and palliative care and decisions about life support.

A Month of Sundays has been written and directed by Matthew Saville, a credit to his sensitivity, for making – and this is in no way a putdown – such a “nice” a film.


Australia, 2015, 89 minutes, Colour.
John Brumpton, Damian Hill, Maeve Dermody, Malcolm Kennard, Mark Coles Smith, Kerry Armstrong, Tony Rickards, Daniel Frederiksen, Ngoc Phan, John Orcsik.
Directed by Paul Ireland.

There is a lot to like, and a lot of people to like, in this Melbourne slice of life. The action takes place in Barkly Street Footscray, the street, the traffic, the range of shops, centring on the pawnshop, and the whole action of the film taking place from morning till evening.

This is an Australian slice of life, a Melbourne suburban slice of life, a slice of life in the western suburb of Footscray. The audience gets to know quite a number of characters in themselves, their interactions, the range of men and women, young and old, wealthy and poor, homeless people, women working in restaurants and takeaway, in bookshops, multi-cultural community, multiracial, aboriginal, Vietnamese…

The screenplay was written by Damian Hill who appears in the central role of Daniel. It is a perceptive screenplay – although peppered with some extremely blunt language – showing the harshness of people as well as the kindness of people, serious and humorous, some wisecracks, some thoughtful remarks.

The film opens with the pawnshop opening, John Brumpton as Les, the owner, a touch world-weary, imposing on Daniel to do odd jobs in the shop, but kindly to many of the customers, tough with some, even brutally bashing one, a man with a kind heart, but not always kind.

The cast includes Kerry Armstrong as the sad mother, Malcolm Kennard and Mark Coles Smith (so effective in Last Cab to Darwin) as the two homeless men, and Maeve Dermody in the bookshop.

Over the day, many quiet times in the shop, but a range of customers including the father with young boys, appearing in drag, who needs a loan to take his sons to the movies; an older man, Harry, rich and with a family, who seems to spend his time yarning with Les; a man who wants to sell his video camera but leaves the memory card with some sex escapades on it; an Indian taxidriver, with background as a dentist, who wants to get a GPS so that he can be a pizza delivery man; a wealthy woman whose son has disappeared and taken her jewellery and who wants to find him again; the young man earnestly wanting a ring in order to propose to his girlfriend. The characters are well enough written and well enough acted for each to make an impression.

Outside the pawnshop there are two homeless young men, one a bit more simple but imagining himself tough, the other unemployed but who enjoys reading books and has some culture, getting into mischief during the day; there is the proprietor of the takeaway restaurant, a Vietnamese woman who has a sexual relationship with Les; and there is Claire, who works in a bookshop and gets her glasses frame fixed by Daniel who has something of an infatuation for her, writes a poem, she returning a smiley thank you note – and the possibility of their going out together.

In one sense, not a lot happens, but, in fact, quite a lot does happen in the somewhat miniature but effective episodes, the buildup to quite a humane day, not without serious problems, in the suburb of Footscray, but which has a great deal of universal relevance.


Iceland, 2015, 95 minutes, Colour.

Sigurour Sigurjonsson, Theodor Juliusson.
Directed by Grimur Hakonarson.

A film from Iceland, a film about farm and rural issues, family clashes. For many years Iceland has had a substantial film industry, many films being internationally released at festivals and commercially. This has been the case with Rams.

There are a number of rams in the film, especially at the beginning where there is a competition as well as later when a champion ram mates with the ewes. Icelandic sheep are big and solid, horned, thick and woolly, able to withstand the rigours of the winter.

But, they are only the incidental characters illustrating the title. The main two Rams are the elderly brothers, brought up together but with past difficulties and bitterness about the inheritance, living on adjacent farms in the north far from the capital, Reykjavik. They have not spoken for 40 years and each of them prides himself on his flock and his Rams – with one of them winning the competition by only half a point!.

This is an opportunity for audiences perhaps familiar with Reykjavik and from films set in the capital but not far beyond. This is mountain country, snow in the winter, rugged, and a valley where many of the inhabitants have sheep farms. And the screenplay takes as through the various seasons.

Audiences beyond Iceland may be familiar with the dangers of infections and disease, mad cow, foot and mouth, equine flu. In Iceland it is Scrapie, probably brought to the country at the end of the 19th century with the importation of British sheep. But, if it is detected, it has a devastating effect – although some of the local farmers are sceptical and not particularly pleased with the bespectacled and academic types “from down south”. But, it is not just the infected sheep which must be slaughtered but all the sheep in the valley, all pens and hay destroyed, with no breeding for two years, government financial compensation, and eventually the possibility of starting again. Some of the young farmers are already in debt with loans and are prepared to give up, uncertain as to where to go.

Ultimately, the drama is between the two brothers, the older one angry, a drinker, collapsing on the roadside but helped by his brother who is antagonistic but has some softer moments, especially helping his collapsed brother – or taking him to the hospital in the scoop of his tractor and tipping him at the entrance!

When there is a dramatic move by the authorities, the two brothers take sheep into the mountains, into the snow and ice – and the older one mellowing and trying to revive his younger brother, the final image of embrace and reconciliation.

This is a small drama, focused, well played by the two actors, giving a picture of life in rural Iceland and dramatising some universal themes of farming but of sibling rivalry, long clashes, and possibilities for reconciliation.


Canada, 2015, 94 minutes, Colour.
Christopher Plummer, Martin Landau, Bruno Ganz, Jurgen Prochnow, Dean Norris, Henry Czerny.
Directed by Atom Egoyan.

One of the best films of the year with a most powerful impact. It is a film that can be thoroughly recommended and, after the final 10 minutes of the film, even more thoroughly recommended.

Remember has been directed by celebrated Canadian director, Atom Eagle yarn, who has been making powerful and striking films since the 1980s (and has one several ecumenical awards over the decades for Family Viewing, The Sweet Hereafter, Adoration).
The film was chosen for Australian screening in a series of films about the Holocaust. This is certainly the subject of the film even though the setting is 2015, over 70 years later. As the title indicates, we have to remember – but, the film explores the theme of memories, sadness, lies and deception, dementia and confusion, retribution.
Christopher Plummer, at the age of 85, portrays a man nearly 90, Zev Guttman, a survivor of Auschwitz, but all his family were killed. He is in a nursing home, suffering from confusion and moments of dementia, especially concerning his wife and he always calls out to her seeks her when he wakes, but she has died two weeks previously. In the nursing home, he has found a friend, Max (Martin Landau – 86 when he made this film and gives a powerful performance) who has been tracking down Nazis, associated with Simon Wiesenthal and his Nazi-hunting, who helps serve with the ritual celebrations in memory of his wife, and gives Zev a letter and a task to track down a commandant from Auschwitz who is responsible for the murder of families.

Christopher Plummer is in every scene, eliciting sympathy, eliciting concern, eliciting apprehension as he leaves the nursing home, takes a train with a prepaid ticket and an envelope of cash from Max, and pursues each of the names on the list to try to track down the officer from Auschwitz who has used the name Rudi Kurlander. In his quest, he finds several Rud I Kurlanders, two of whom are played strikingly by the German veteran actors Bruno Ganz and Jurgen Prochnow.

He travels across the United States with its extraordinary scenic beauty, going over the border into Canada, finally travelling by bus to Idaho, to Reno and to his final destination outside Tahoe. Meanwhile, his son and his wife, the son played by Henry Czerny, are anxious about their father and his disappearance, eventually tracking him down at a dramatic moment.

This is a film to be seen rather than described. It is particularly well written, tightly-written by Benjamin August, an atmospheric score by Mychael Danna, the excellent performances - and audiences being absorbed as well as disturbed, even up till the final moment.


Australia, 2015, 86 minutes, Colour.
Directed by Nickolas Bird, Eleanor Sharpe.

The title of this documentary is a variation on Holding the Man, the memoir written by Tim Conigrave, published posthumously in 1995, about his relationship with John Caleo from their time at Xavier College in 1976 to John Caleo’s death from AIDS in 1992. Tim Conigrave himself died from AIDS in 1994. His memoir was soon adapted for the stage and, in 2015, the film version, directed by Neil Armfield was released to critical acclaim.

The emphasis in the first half of the film is on the relationship between the two boys at school, its development over the years, the change in relationship of each boy in his early 20s, and their initial careers. While this story continues, in the second half of the film the focus shifts to the AIDS epidemic. In fact, at the end of the film, there is a statement that Holding the Man is a key contribution to the history of the pandemic in the 1980s and into the early 1990s.

Those who have read the book, or seen the play, or seen the film, we will be familiar with most of the events which are portrayed here. Of course, the Holding the Man screenplay amplified many of the events noted here – but this film gives far more attention to the acting career of Tim Conigrave and his play and its performance, Soft Targets.

The film makers have been able to assemble a great number of photographs of the two boys, of the two men, as well as quite some video footage. They are incorporated into the narrative of this film. When photographs or video material is not available, some actors portray the two men, their parents, and some others associated with them in dramatic portrayals.

As with most documentaries, there are many interviews and talking heads, from school friends from Xavier days, both men and women, from friends who shared houses with them, with many who studied at NIDA with Tim Conigrave, and the number of men and women who were involved in social work and hospital care. The impression that they all give is that John Caleo was a quiet young man, a talented sportsman, and effective chiropractor, the more stable of the two, while Tim Conigrave was quite flamboyant from his earliest years, something which developed in his theatrical interests, his theatrical training and performances.

One of the values of this film is that there are considerable excerpts from three audiotapes of interviews which Tim Conigrave made in 1993 for a National Library project of witnesses to the experience in Australia of AIDS. It is interesting to listen to the tone of voice, generally quite sober, and, Conig recollections – much more serious than many of the photos and video excerpts that are shown. He was only a year or so away from his own death.

There is a lot of historical footage from the 1970s, especially with public opinion against homosexuals, scenes from Gay Mardi Gras as well as scenes of protest, especially some led by the Rev Fred Nile, quotations from the book of Leviticus, and other denunciations and, in more secular sequences, for example from Australian television in 1976, Monday Conference, a great deal of poofter-bashing. This gives the context of the relationship – something which has changed fairly extensively in the subsequent 40 years.

Tim Conigrave is supportive in his opinions of the Jesuits who ran Xavier College, a re-enacted scene with a priest at a holiday house and finding the two young men together and leaving them be. The understanding of the Jesuits is named explicitly Conigrave.

As regards the funeral Mass for John Caleo (somewhat contentious in Holding The Man), at which Father Peter Wood MSC, the AIDS Chaplain in Melbourne at the time, presided (who is credited as one of those interviewed for the film), it is mentioned that there were six priests present – although, as in the movie, but much more explicit here which does explain the funeral sequences in the movie, John Caleo’s father was quite clear to Tim Conigrave that there was to be no mention of homosexuality or AIDS and that Tim Conigrave was not to sit with the family. There is a very disappointing priest postscript when one of the friends explains how Tim Conigrave had asked these friends to light candles for him in the church (St Patrick’s Cathedral), but a priest tells them to go away and is seen locking the iron gates against them and walking away. However , there is religious feeling as the camera goes inside a church, a Catholic Church, and tracks up to the altar where there is a photo of the two men (and a Mickey Mouse doll which Tim Conigrave used as a symbol of himself).

Some of the images in Fairfield Hospital and St Vincent’s Hospital of AIDS sufferers are quite graphic and bring home to audiences just how surprising, shocking and disturbing this new epidemic was and the toll that it took on those who were positive and who died of AIDS .

A significant film for going back into Australian gay history as well as the Australian experience of the beginning of AIDS and the development in the 1980s and 1990s.


UK, 2016, 160 minutes, Colour.
David Tennant, Catherine Tate, Judi Dench, Joseph Fiennes, Al Murray, Simon Russell Beale, Roger Allam, Harriet Walter, Benedict Cumberbatch, Helen Mirren, Ian McKellen, Tim Minchin, Rory Kinnear, Anne-Marie Duff.
Directed by Gregory Doran.

A Shakespearean feast!

This is a wonderful anthology of Shakespearean entertainment. Director Gregory Doran introduces this celebration of Shakespeare’s 400 centenary, performed at Stratford on Avon on 23rd April 2016. While Doran gives the background of Shakespeare’s town, the theatres, the performances, a huge cast of noted Shakespearean actors with support from the members of the Royal Shakespeare Company, it is not simply a filmed event of portions of Shakespeare’s plays. though, indeed it is that. Throughout the performance there are short films hosted by Joseph Fiennes taking the audience through various seasons and years of Shakespeare’s life, the two of Stratford on Avon.

While the words are paramount, there is a great deal of music and dancing. It is a celebration of how Shakespeare has influenced culture over four centuries, including opera excerpts from Berlioz and Verdi, a pas de deux from Romeo and Juliet, an extraordinary contemporary dance performance of the death of Desdemona to the music of Duke Ellington. Tonight from West Side Story opens the proceedings and there is a most entertaining opportunity to Brush Up Your Shakespeare in Cole Porter’s song from Kiss Me Kate, and engage really comic performance, with encores, from Henry Goodman and Rufus Hound..

The hosts for the evening were David Tennant (not sounding like Dr Who but in his native Scot’s brogue) and comedian, Catherine Tate. She immediately sets the tone with a vivid rendition of Jacques’ Seven Ages speech from As You Like It, each phase represented on stage from baby to ancient.

One of the features of the celebration is the number of songs from the plays themselves as well as music derived from the plays, including a lively hip-hop song comprising significant quotes, and a song from Rufus Wainwright and male choir.

There are soliloquies, Simon Russell Beale with John of Gaunt’s This Sceptred Isle from Richard II, Roger Allum as King Lear inveighing against the storm, Harriet Walter as the dying Cleopatra, Helen Mirren as Prospero. Most of us do not know the speech by Sir Thomas more from Shakespeare’s contribution to a play on Henry VIII, a vigorous lament and indictment of attitude towards migrants, spoken with passion by Ian McKellen, and relevant right now.

There are some very funny moments when an actor, Paapa Essiedu, begins To be or not to be and is suddenly interrupted by Tim Minchin urging him to put his accent on “or”, only to be followed by a whole range of actors each with their different emphasis on different words, including Benedict Cumberbatch, Rory Kinnear, Judi Dench, Ian McKellen. the famous soliloquy then presented excellently and in all seriousness by Esseidu. News bulletins at the time gave away the ending of this scene with Prince Charles coming on stage to give his particular emphasis on the “question”.

The scenes from the plays are striking, Rory Kinnear and Anne-Marie Duff as Macbeth and Lady Macbeth in the aftermath of the murder of Duncan, Judi Dench and Al Murray making the encounter between Titania and Bottom more hilarious than usual, Anthony Sher flaunting himself as Falstaff.

A grand climax with all actors singers and dancers on stage, David Suchet and Judi Dench as Oberon and Titania, with David Tennant reciting Puck’s words from A Midsummer night’s Dream.
This is a sometimes exhilarating opportunity for Shakespeare lovers, for those who want to brush up their Shakespeare – and could prove a fine opportunity for those who want to broaden and deepen their familiarity, as well as on occasion for those wary of Shakespeare to enter into his world of word and of music.


Ukraine, 2015, 74 minutes, Colour.
Directed by Eva Neymann.

Song of Songs is a brief poetic film, based on the stories of Sholem Aleichem, of life in a Ukrainian Shtetl in 1905. It is still a very old-worldly atmosphere, although there is a brief comic sequence with a group of musicians posing for a photo and an old-fashioned camera and photographer.

In the first half of the film, there is a visual attention to the life, the homes, the streets, the occupations, the schools, the religious men, the pious Jewish atmosphere. In the latter part of the film, the focus is on two young people whom we have seen together when there were children, the boy thinking that he was a Prince and the girl was a Princess and that they would go far away. In their growing up, they play with each other, have a great affection for each other – but there is the caution that it is not appropriate according to the law for them to touch.

In the second part of the film, the boy has grown up, gone away to study, returns to the Shtetl, quite impressive in his appearance and manner, yet very serious, because the young woman is betrothed to someone else. They meet. There is a bond between them but a quiet frustration for the young man that they can never marry. In the final part of the film, they go at into the woods, a beautifully sunny day, attractive photography, the lyrical atmosphere as the audience watches the two, contemplates their love, and the dialogue draws on the biblical book of the Song of Songs, some of the Biblical text, references to the text – especially in the sensual images which are poetic expressions of the glory of human love.

The film was awarded an Ecumenical Commendation at the Czech Festival in Karlovy Vary, 2015.


Australia, 2015, 83 minutes, Colour.
Hunter Page-Lochard, Aaron Pedersen.
Directed by Stephen Page.

One might call Spear a cinema event. It was screened at a number of festivals and then received some limited cinema release.

The reason for seeing this cinema event is that it presents the Bangarra Dance Company, celebrated in Australia for over 25 years, an indigenous company, performing promoting aboriginal art, dance, and exploration of ideas. Is also draws strongly on aboriginal history, before the white arrivals and settlement as well as the uneasy coexistence and hostility between black and white.

Stephen Page is the director of the company and the director of the film. His son, Hunter Page-Lochard, is the principal dancer. The full complement of dancers includes black dancers as well as white. There are also some acting roles, principally that of the Suicide Man, played by veteran actor Aaron Pedersen (Mystery Road, the Jack Irish series).

The film has striking visuals, cinema being able to provide an enormous range, and, with the editing, intercutting them with great effect. There are scenes from the city, dark alleyways, a tenpin bowling rink, escalators… Some of the film was made in Sydney, in studios on Cockatoo Island, but there is a great deal of location photography, especially in Arnhem Land, with its waterways, with its desert, foliage, and a pervading red.

The narrative the film concerns Djali, a young man on a journey, a quest for his identity in himself and as an aboriginal man. At the opening, there is a complex ritual, a kind of awakening for the young man, and the consecration. Ochre and paint are frequently placed on him and on other characters, indication of the tradition of the corroboree. As he goes on his journey, he walks through the city, and encounters the Suicide Man and his alcoholic haze, his wry comments, his anger at people passing by. Later, there will be an Old Man, a kind of guide, who eventually hangs himself. Others are described as Alcoholic Man, Androgynous Man, Abused Man, Big Man, Prison Man.

While the film has an immediate impact for an indigenous audience, there are various moments when a white audience will be challenged, invited to reflect, invited to appreciate – and a comically ironic episode featuring the very popular (if now seen as fairly racist) song, My Boomerang Won’t Come Back!

Djali moves through the city and then out into the deserts, encountering a range of characters including an Old Lady, Earth Spirit, Woman of Desire, sometimes presented like icons against the desert background, as are some of the tribal men, covered in white, and standing in the desert.

Accompanying the young man on his journey are a number of dancers, enabling the audience to appreciate the virtuosity and talent of the dance group. While there are some female presences, Spear is predominantly a film about males. At various times there are also white dancers and white actors involved in interactions, both in harmony and in disharmony, struggle and fight.

The event builds to a climax, the achievement of the young man, his coming into his own – although, as one of the few lines of dialogue mentions, he has a foot in each world but his heart is in none.


Israel, 2015, 95 minutes, Colour.
Natalie Portman, Gilad Kahana, Amir Tessler.
Directed by Natalie Portman.

This is certainly a tale of love, especially a mother’s love for her son, but even more certainly a tale of darkness, a tale of depression.

The subject of the film is the Jewish writer, Amos Oz, a memoir about his childhood and his relationship with his mother and father, but especially his mother. The film opens with an older actor as Amos walking through the streets of Jerusalem in more recent times but his memory going back to the 1940s, especially the end of World War II, living in Jerusalem, the uncertainty with the Palestinians, the movement towards the State of Israel and the presence of the British and their withdrawal – and the United Nations vote in 1948 for the State of Israel.

Natalie Portman is the driving force behind the film, not only portraying Amos Oz’s mother but also adapting his memoir for a screenplay and directing the film. She brings a certain intensity to the film which is something of a grim experience even, at times, a glum experience.

Amir Tessler portrays the younger Amos Oz, the young boy who relishes stories, especially listening to those various stories told by his mother, in the film visualising them, for instance, a woman drowning and being rescued, with mother and son seen in these roles, and two monks silently wandering the desert until there is a crisis and they have to speak. Amos’ father is a literate man, writing on literature, even publishing a book and working in a library. Amos’s mother, has a strength of character, but is overcome by the situation at home, in Jerusalem, and, especially, in the British occupation and its consequences.

While the film highlights the diaspora of the Jews over millennia and the great joy in the establishing of the State of Israel (a strong scene showing the crowds listening to the radio in the streets with the countdown of the countries voting yes, the Arab countries voting no and various countries abstaining, including Britain), Finia descends into deep depression. The screenplay points out that she came from the Ukraine with her mother and sisters, has a hankering for her past life and the idealised picture of a young working man, contrasting with severity of her mother’s views, although she gets great comfort from her sisters.

The film is of interest for those who want to know more about Jewish settlement from Europe in the 1940s, in the consequences for their living in what was about to become Israel, tensions with the Palestinians (although is that there is a pleasing sequence when the young Amos befriends a young Arab girl), establishing Israel in the 1940s and the consequences.


UK, 2015, 110 Minutes, Colour.
James McAvoy, Daniel Radcliffe, Jessica Brown Findlay, Andrew Scott, Freddie Fox, Daniel Mays.
Directed By Paul McGuigan.

Every few years seems to be a new Frankenstein film. The emphasis is here should be on the title, an emphasis on the doctor himself rather than on the Monster, although it emerges that there is a close relationship between them

The setting for this retelling is London itself, using many of the landmarks, and having a detective inspector from Scotland Yard pursuing Victor Frankenstein to control him and bring his experiments to an end. He is played by Andrew Scott, who plays Moriarty in the Sherlock television films with Benedict Cumberbatch, some of which have been directed by the director here, Paul McGuigan dollars

Initially, it seems that this is going to be the story of a young hunchback man who works in the circus, the butt of jokes by the clowns in the arena, laughed at by the rather well-to-do and well-dressed audience, put upon by the owner of the circus. He is played by Daniel Radcliffe. He has no name, imagines that this will be his life forever – although he is infatuated with the trapeze artist, played by Jessica Brown Findlay, and comes to her aid when she has a disastrous fall from the high wire. As he helps, a doctor in the audience moves in to assist, seems at first dismissive of the misshapen young man but comes to admire his practical skills and knowledge. He decides that he will employ this young man as an assistant.

It is not as easy as all that, a riot breaks out, the owner pursues the doctor, there is a death, which means that there will be the police pursuit.

The young man is bewildered, especially when the doctor recognises that the shape on his back is a cyst which can be drained and the young man will be able to stand upright. The doctor gives him the name, Igor.

Of course, the doctor is Dr Victor Frankenstein who had been at the circus in search of animals that he could use in his experiments. Frankenstein is very well played by James McAvoy, a versatile actor, who appears as the younger Charles Xavier in the X-Men series.

The scenes in the laboratory are present but not as pervasive as in so many other versions – while some creatures are produced, it is the demonstration for academics at the University where things go wrong. The doctor’s father, Charles Dance, denounces him because of his being the cause of his older brother’s death. But a wealthy young man, is impressed, offers the funds for continued experiments in his castle on the coast.

Those who are expecting some gory and ghastly details may very well be disappointed, with the emphasis on the character and hubris of the doctor, a darling of London society, unscrupulous in his ambitions. But, the film does build up to a climax in the new and vast laboratory, the wealthy young man and his associates witnessing the lightning during an enormous storm producing electricity to bring the creature alive, the doctor and his achievement, the rage of the creature, Igor trying to save the day – and the Scotland Yard Inspector, a religious man grieving at the death of his wife, quoting the Bible and denouncing Dr Frankenstein’s work is that of Satan, is caught up in the dramatic violence.

If you want a variation on the Frankenstein films, is very British production provides a different alternative.


US, 2016, 120 minutes, Colour.
Michael Moore.
Directed by Michael Moore.

For a while, documentary-maker, Michael Moore, was a hero, on television and beginning to make feature films, especially his portrait of his home town, Flint, Michigan, Roger and Me, and the car industry and its collapse.

Then he became headlines with controversial documentaries, especially with his Oscar-winning film about guns and students in schools, Bowling for Columbine. He followed this up, winning the Palme d’Or at Cannes with his political film, Fahrenheit 911, America after September 2001. Further documentaries were Sicko, comparing America’s health-care system with the benefits of other countries from France to Cuba, and Capitalism: A Love Story.

But that was six years ago. Now, with this new film, it sounds as if he is going to take on American militarism, American involvement after World War II (and he does list and give visuals of American defeats after 1945, Korea, Vietnam, Iraq, Afghanistan…). But, actually, this film is much more positive and is certainly not what we might have expected it to portray.

The ever shambling, lumbering, heavy Michael Moore, shabby clothes and hat, making him a character with characteristics rather than a glib-looking and sounding smooth interviewer, has decided that he should invade quite a number of countries but not militeraly. Rather, he takes a look at some of the significant things that these countries are doing, matters that could well be transferred to the United States to make it a better place – something like re-shaping the American Dream.

So, this is a jolly Michael Moore, off to Europe and Tunisia, with his camera crew, making most of the situations look casual, listening sometimes with astonishment, although arranging some more formal interviews, especially with the President of Slovenia.

His interviews and his exploration of themes will probably make many audiences sit up and take notice. Despite problems in the various countries, some of their social policies have been very successful.

He meets up in Italy with a couple who explain the amount of paid holiday time they have and their possibilities for travelling; he meets owners of factories and managers of factories who are comfortable with higher pay, benefits like going home for lunch and cooking, elimination of stress for greater productivity. By contrast, when he moves to France, he shows gourmet meals in close-up and their preparation, only for us to discover that he is visiting a school and this is the chef and the lunches for the students whose lunch-hour is the equivalent of class enabling them to be more discerning about food and health. He does show audiences, by contrast, the typical American school lunch, where health does not seem to be a preoccupation.

Among other countries in Europe that he visits are Finland, checking their education system where homework is virtually eliminated enabling the students to be free, develop their interests and hobbies; and Slovenia where tertiary education is free, with a number of American students going there to study at the University. It is industry in Germany that he investigates, factories which are salubrious, with windows and light, with good conditions for workers and better productivity. Portugal is famous in having abolished criminal drug legislation and Moore has an interesting chat with a rather laid-back government official and interviews with local police, being reminded that with the decriminalisation of drugs, crime has gone down in Portugal.

When he visits Norway and goes to a prison, many audiences who feel that prisoners should be punished and feel the punishment will think that the prison is something of a comfortable motel. And there are only four guards. Interviews with the prisoners highlight government interest and policy is in human dignity and rehabilitation. And just when vindictive audience attitudes might be on the rise, Moore anticipates the criticism and visits a maximum security prison in Norway, presenting, tongue-in-cheek, music videos sung by the guards welcoming people to the prison. But, once again, it is a matter of human dignity, not revenge. This is highlighted by an interview with a father whose son was killed by Brevik and who went to the trial but does not believe in an eye for an eye Justice, lowering people to the level of the criminal.

There is a surprise visit to Tunisia, praising the role of women, their presence in Parliament, and the availability of sex education, abortion since 1973, and the philosophy that the government should not interfere in people’s private lives. Iceland is another port of call, a reflection on the financial collapse and its devastation, the small nation’s recovery, the trial and imprisonment of rogue bankers, an interview with the first woman president and a golf game with three female CEOs and their observations about the role of women in Iceland.

Moore wants to be optimistic, that change is possible despite the odds. He remembers the Berlin Wall coming down, his presence there with a friend, people scraping at the wall, then a hole, people escaping, the collapse of the wall, and change and unification in Germany. He also remembers the end of apartheid, the freeing of Nelson Mandela and his becoming President.

At the end, Moore makes the point that most of those improvements that he valued and wants to take back to America after his invasion all had precedents in American history and the American experience – and they need re-discovery.


Australia, 2015, 87 minutes, Colour.
Michelle Leonard.
Directed by Lisa Nicol.

Most audiences should enjoy Wide Open Sky very very much, even if they are not so strongly into music, song and choirs. The personalities of those involved and of the children will certainly win them over.

This is a story about singing, about children singing, about a choir in north-western New South Wales. The energy behind the program is from a singing teacher and conductor, Michelle Leonard, who hailed from Coonamble and now has returned to these country towns with her project, the Moorambilla Voices. She is an engaging personality, a touch larger than life, able to communicate with the children particularly well.

Every autumn she goes round to the towns, visits schools, especially the primary schools, asking the children to sing, listening attentively to their voices, their pitch and their accuracy in notes. She chooses over 150 and they all go to a camp in the town of Baradine for three days, bonding, rehearsing, getting ready for a concert which takes place in Coonamble. While a lot of the film is taken up with the rehearsals, the boys’ part of the choir, the girls’ part of the choir, learning the songs, the words and the music, there are also scenes of children at play, the different kinds of bonding between the girls and the boys amongst themselves.

Six children have been singled out for particular attention in the film. It is the two boys who make the most impression. For one, Mack, it is a kind of Billy Elliot story, not interested in football so much but wanting to sing and certainly a talent for dance and movement. He is confident in speaking to camera, in singing solos, and is supported by his parents who did try to get him interested in football but now foster his music ability. The other boy is a little boy, with some aboriginal background, who loves playing football, is short in stature, a touch of the cheeky, and certainly anxious to succeed in singing. One of the girls is certainly more assertive, wanting to be an actress, good at singing, but at times self-conscious, something she calls “shame”. There are three other girls, one talented singer was interested in medicine, and two girls who are interviewed together and bounce energetically off each other.

We also see the associate staff, the young choir assistant as a composer, a driver, the camp manager, youth workers, especially young man who has come up through the ranks and come out of himself, and the cooks and kitchen staff.

Children appreciate affirmation, recognition of their abilities, of who they are, the development of talents that they may not have realised – and this is what Michelle Leonard does with these children, over 20oo in ten years, and watching her and the children leads to the words like inspiring, encouraging, – and even exhilarating.


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