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

SIGNIS Film reviews - 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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