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

SIGNIS Reviews - September 2016

September, 19th, 2016.
Find below film reviews written by Peter Malone.

  • CARER, The
  • CLAN, The


UK, 2016, 91 minutes, Colour.
Jennifer Saunders, Joanna Lumley, Julia Sawahla, Jane Horrocks, June Whitfield, Mark Gattis, Graham Norton, Kathy Burke, Celia imrie , Robert Webb, Stella McCartney, Kate Moss, Emma Bunton, John Hamm, Jeremy Paxman, Rebel Wilson, Jean-Paul Gaultier.
Directed by Mandie Fletcher.

Comedy is always a matter of taste as well as of a sense of humour and particular sensibilities. In the 1990s, there was great enthusiasm for the British television series, Absolutely Fabulous. It was in the satirical tradition, spoofs and send ups in an elaborately stylised way. it always depended on audience response to the comedy of Jennifer Saunders, a clever writer responsible for the series, and the over-the-top of Joanna Lumley’s screen presence and calculated exaggerations. capital is a great opportunity to poke fun at the British chattering classes and their pretensions. There was also Julia Sawahla as Jennifer Saunders’ very serious daughter, comic touches from Jane Horrocks as the assistant and some cameos from veteran actress, June Whitfield, as the mother.

So, somebody decided that this particular time was right for the characters all turning up again – and all of them do, Jennifer Saunders as Edina, older and, she comments, having put on weight, Joanna Lumley as Patsy all over again, an older Julia Sahwahla, now with a young daughter, and Jane Horrocks’ Bubbles ebullient as ever.

But, what are they going to do about a plot? Edina is still an agent but on the lookout for clients, Patsy is always there, drinking, smoking, irrelevant comments, but a staunch friend. The basic idea for the film is that they go to a fashion show – with a whole lot of actual celebrities all turning up for their cameo minutes, especially Lulu who gets into the plot and designers like Stella McCartney. And very amusing episode with Mad Men’s John Hamm. The main target is Kate Moss but Edina’s rival, played by an unscrupulous Celia Imrie, is also interested in signing up the model – and in the haste Kate Moss goes over the balcony into the Thames, disappears, is presumed dead, media uproar, the besieging of the house, and Edina accused of murder.

So, what else to do but to have the two women disguised and escaped to the French Riviera where they live the high life, always shrewd in extracting money and favours, especially with Patsy looking up an old flame, an old roue who made “adult” films – and, though it takes only a moment, we recognise he is being played by Barry Humphries. A few moments later with a lot of elderly people in a swimming pool, Dame Edna also pokes her head out of the water for a few unmistakable seconds!

There are a whole lot of shenanigans on the Riviera, Edina taking her granddaughter as a ploy, her daughter pursuing her, the police – and again, a number of cameos of celebrities, including Jean-Paul Gaultier doing a bit of prospecting on the beach. And rebel Wilson doing a very funny turn as a flight attendant on a very cheap airways.

It will depend on your sense of humour, on your liking for Absolutely Fabulous, and the realisation that it is not a rip-roaring comedy but that there are a lot of amusing situations, some amusing lines, and, mostly, the opportunity to see Edina and Patsy all over again.


US, 2016, 101 minutes, Colour.
Mila Kunis, Kristin Bill, Kathryn Hahn, Christina Applegate, Jada Pinkett Smith, Jay Hernandez, Annie Mumolo, Clark Duke, Wendell Pierce.
Directed by Jon Lucas and Scott Moore.

When the title of an American comedy includes the word ‘bad’, we might expect some crass goings-on, some raucous episodes in language, sexual innuendo (as well as explicit). Which is what we get here – although, there are quite a number of good ingredients, some redeeming features that are not to be found in the Bad Neighbours or Dirty Grandpa films.

Of course, it all depends how you define ‘bad’. Since this is a film about Moms, and is on the side of the busy and harassed Moms, then the meaning of bad is relative. We are treated to a great deal of how busy many Moms are, not being able to rely on their husbands (who tend to be bossy or lazy or both), how they have to attend to every need of the children – and there is a wise section of the film where Amy, Mila Kunis, the principal Mom, is exasperated with her daughter and her complaints, her son and his expecting her to do everything, even his homework, explains to her son that he has been spoilt and feels that he is “entitled”. (This kind of dialogue needs to be something regular in many of the American films with precocious and obnoxious and demanding children!)

Amy confides in us that she has been late ever since she gave birth to her daughter and has been running late ever since, in the mornings, getting the kids to school, going to work in a coffee company where she is not really appreciated and most of the staff are young and juvenile, taking the kids to sports, to music practice, putting the evening meal on the table… When she goes to school, she encounters three mothers who are part of the PTA, Christina Applegate as the truly obnoxious Gwendolyn, nasty in manner talk, determined to be re-elected president of the PTA, and her two acolytes, Jada Pinkett-Smith and at Annie Mumolo, two yes-women.

Things get worse, especially when Amy finds that her husband has been having a pornographic affair on his computer and ousts him. One night, exasperated, she goes to a bar and meets Carla (Kathryn Hahn,) and another mother, Kiki (Kristin Bell). They drink too much, Carla is sex-obsessed, they let their hair down and run amok in the supermarket. This is a turning point for Amy, realising that she has been too much of a “good” mom and now determined to step back, let everyone takes their own responsibilities.

Humiliated by Gwendolyn, who has strict rules forcibly observed about healthy ingredients for the School Bake and influences every word in the school, the principal and the sports coach, Amy decides she will stand for president of the PTA – what follows is a raucous campaign, Gwendolyn boring the mothers to tears with long campaign speeches, and Amy providing a party at her house and the refugees from Gwendolyn’s party all turning up. Gwendolyn uses some dirty tricks in her campaign, Amy is called in by the principal because drugs have been found in her daughter’s locker and Amy gets disheartened. But, urged on by Carla and Kiki, she arrives just in time to make a speech, urging the liberation of Moms, everyone supporting her and…

So, there is a lot of unnecessary crude language inserted too frequently, there is a lot of sex talk, especially about men and performance, but there are also a lot of good things. And, the ending is more forgiving rather than vindictive. A special bonus is that the five principal actresses are shown during the final credits sitting with their own mothers, the women discussing their childhood and how they were brought up by their mothers.


US, 2016, 123 minutes, Colour.
Jack Huston, Toby Kebble, Rodrigo Santoro, Nazanin Boniadi, Ayelet Zurer, Pilou Asbaek, Sofia Black- D’Elia, Moises Arias, James Cosmo, Morgan Freeman.
Directed by Timur Bekmambetov.

A production team would have to feel very self-confident in taking on a remake of Ben Hur. The immediate comparison is the 1959 version, directed by William Wyler, starring a rather iconic Charlton Heston (who had already impressed as Moses in The 10 Commandments), winner of 11 Academy Awards, running for over three hours… This version was itself a remake of a 1925 epic, chariot race, Jesus scenes and all but able to be superseded in the 1950s by sound and colour. (For those who subscribe to Foxtel, the TCM channel regularly screens both versions.)

Unfortunately, this version has not found favour with film critics which seems to have had some dire effects on its box office success. A pity because many audiences would enjoy it, not as much as the 1959 version, but many interesting aspects nonetheless.

A major difference is that the daring Russian director, Timur Bekmambetov (action films like Wanted) has opted for a spectacular film. This makes us realise that the aims of the 1959 version were to make an Epic. if so, this version is spectacular but not epic.

For a Christian audience, the 1959 version kept the subtitle from General Lew Wallace’s novel, “A Tale of the Christ”. This film omits that subtitle. Nevertheless, there are a few more sequences with Jesus in this version than in the previous film, some original version, the two water scenes a variation on what appeared in 1959. That version had the advantage – or disadvantage – of the times, permitting the audience to see only Jesus’ arm, Jesus’ hand giving the water, or Jesus filmed from behind staring at the Centurion. This time, a recognisable actor appears as Jesus who also speaks. He is played by Brazilian actor, Rodrigo Santoro. He is a strong presence, tall, seen working as a carpenter, but not as intrinsically empathetic as one might like, rather stern and serious.

Jesus is first seen in Jerusalem, working as a carpenter, speaking about love and forgiveness to Ben Hur and Esther. He makes an impact on Esther who becomes a disciple. He is also seen rescuing a man who is being stoned, covering the man with his body and being pelted with stones himself. There is an arrest in the garden of Gethsemane with Peter wielding his sword. in the 1959 version, Jesus gives water to Ben Hur during his march through Nazareth with Ben Hur reciprocating during the Way of the Cross, recognising Jesus as he did so. This time, the action is in Jerusalem, Ben Hur arrested, being marched through the streets with a wooden yolk on his neck, falling and Jesus, defying the soldiers, giving him water. When Jesus is making his way to Calvary, the cross on his back, Ben Hur recognises him and gives him the water. There is also a crucifixion scene with Jesus speaking out his forgiveness, followed by rain, Ben Hur kneeling and praying, his mother and sister healed of their leprosy this moment.

But, of course, the popular audience has gone to see the action spectacle, opening with a glimpse of the final chariot race and the antagonism between Judah Ben Hur and Massala, his adopted brother, and flashbacks to their riding through the desert, Judah having an accident, thrown from his horse, and Massala carrying him home. Actually, the scenes in Jerusalem itself quite interesting, establishing the family as well has the activities of the zealots. Massala, attracted to Judah’s sister but disliked by her mother, goes off to war in Germany and, in Persia, encountering Pontius Pilate who then is his patron when he returns to Jerusalem.

The incident which leads to Judah’s imprisonment and the capture of his mother and sister is not the dropping of a stone accidentally but a separate firing an arrow at Pontius Pilate.

The galley scenes are quite powerful, the slavery for five years, as well as the naval battles and the ramming of the ship, Judah getting loose, surviving on planks and washed ashore.

Those expecting the story of the Roman commander, Arius, will be disappointed as he is omitted as is Judah’s time in Rome. He is immediately rescued by the African horse and chariot dealer, Ilderim (Morgan Freeman and his powerful voice – though some of the dialogue has the touch of lameness and Freeman himself says twice okay, okay.)

This means that Ilderim and Judah go straight to Jerusalem, with a build up to the chariot race – which, is on a par with the previous versions, 10 minutes of visual excitement.

There is more than a touch of unexpected sentiment at the end – hope rather than grimness or despair.

Apart from Morgan Freeman, the cast is not well-known and Jack Huston does not try to vie with Charlton Heston but makes a sufficiently strong screen presence for this version as does Toby Kebbel as Massala.

Older audiences may still pine for Charlton Heston although the film has been readily available for all for over 50 years. Younger audiences may not have this particular background and be interested in this version for itself.


US, 2015, 88 minutes, Colour.
Mel Gibson, Erin Moriarty, Diego Luna, William H. Macy, Miguel Sandoval, Michael Parks.
Directed by Jean-François Richet.

Mel Gibson has been through very hard times in the last decade, personal crises, anger outbursts and prejudice, alcoholism, damaged relationships. And, he has been off the screen for most of the decade and has not directed a film since Apocalypto (2007). So, the question has arisen, at age 60 is his career over? In 2016, not so. He is starring in the thriller, Blood Father, and he has directed her a high profile war film, Hacksaw Ridge.

In many ways this is a routine action show, high octane, as they say – and it does involve cars and motorbikes.

The villains in the film are bikies and the tough enforcers of the Mexican drug cartels. covered in tattoos – handy for Link, Gibson, who has spent years with the bikes, nine years in jail, has learned and practices the tattooist trade and is able to recognise the meanings in tattoo designs and so assess the muscle that is pursuing.

His teenage daughter, who has not lived with him but with her wealthy mother, has disappeared for four years. She is seen teamed up with one of the cartel bosses, in love with him, pressurised to take part in violent raids with him, literally coked up. When he wants her to shoot someone and she finds she can’t, despite the drugs, her gun goes off with her boyfriend becoming the target.She decides to go on the run but also to phone her father who lives in a caravan out in the desert, going to AA programs, tattooing with a good supportive friend, William H. Macy, as his sponsor.

The film runs for under an hour and a half so the action tends to move, the daughter coming home, thugs tracking her down, gunshots, the overturning of the caravan, father and daughter hot footing it from the trailer camp, finding out what is happening – and Link still has some contacts in prison who enable him to get the background of his daughter’s boyfriend, and the increasing dangers they are in.

Link decides to call on an old friend about whom he was silent in his years in prison and believes he can ask favours. He is an old bar bikie, with Vietnam memories, played intensely and strangely by Michael Parks.

While the setting is California, the film was made in New Mexico with good desert and mountain location photography, just the place for a showdown, the cartel thugs presuming they are supreme and certainly underestimating Link and his shrewdness and ingenuity.

So, daughter in peril, contact with father, father helping daughter, both on the run, problem solved, but not without a great deal of pathos.

The film was directed by Jean-François Richet, best known for his double French film series, Mesrine, the story of a celebrated French criminal played by Vincent Casell and the remake of John Carpenter’s Assault on Precinct 13.


US, 2016, 118 minutes, Colour.
Viggo Mortensen, George Mac Kay, Frank Langella, Ann Dowd, Samantha Isler, Annalise Basso, Nicholas Hamilton, Kathryn Hahn, Steve Zahn, Erin Moriarty, Missi Pyle.
Directed by Matt Ross.

Beware, the title of this film is quite misleading. It does give the indication that this is a film about a superhero. But, it is definitely not. It is a film about a family, living in the wild, living an ideology that prepares them for some of the trials of life but, could be ultimately damaging.

The setting is impressive, the camera in the opening sequence flying over thick forest, trees upon trees, a beautiful wilderness. Then there is a young man, hidden in the undergrowth, stalking a deer which he then kills, is congratulated by his father for becoming a man, anointed with the blood, consuming part of the entrails, a ritual of rites of passage to adulthood.

And so we are introduced to a family with six children, the father present but the mother hospitalised with a mental condition. This is a family, but audiences will be reminded at various times of life in a cult. The family is separated from any town, lives in a wooden house and tents, with the day started in strong discipline, physical exercises, running through the forest – and sometimes exercises climbing a mountain face and, even with an accident and a fall, the encouragement to will oneself out of the difficulty and use physical and mental ingenuity.

The training is not just physical. The children are encouraged to read extensively. and they absorb what they read, even the youngest of the children who, at a later invitation when visiting cousins in New Mexico, to be able to recite the Bill of Rights. Audiences who admire this alternative life, watch father and children sitting around a campfire, singing, communing, reading, may still wonder whether this is enough, especially for the contemporary world – or are they to be separated from it all together?
Viggo Mortensen, always a powerful screen presence, is commanding as the father, Ben. He is both benign and strict, making demands on his children but always thinking of their betterment. There are three boys and three girls, George MacKay as the oldest initiated boy, two sisters coming after him, another boy who has the touch of the rebel and then two small children.

A situation arises as to whether they should go to their mother’s funeral – at first deciding not, especially when her father warns them off, disapproving of their way of life, of his daughter becoming part of this life, rebelliously anti-Christian in her stances and embracing Buddhist principles.

The latter part of the film raises questions about the children and their upbringing, the strengths, especially when they visit their mother’s sister, her husband and children, the children not understanding the way of life of their cousins at all, and the aunt being very disapproving of Ben’s frank straightforwardness in talking about his wife’s illness and death, of physical and sexual matters, preferring truth above all.

The crisis comes at the funeral, a Catholic funeral, the eulogising priest not having met the mother and Ben taking this as a cue to intervene in the ceremony, declaring that his wife wanted to be cremated.

Jack, Frank Langella, heartily disapproves of Ben and offers to look after the children. An accident brings the issues to a head, and Ben’s realising that what he has done is to prepare his children for any physical situation, has filled their heads with knowledge but has not trained them emotionally to deal with the world and with other people. This has been illustrated on the bus trip to New Mexico for the funeral where the oldest boy encounters an attractive teenage girl and analyses the situation, not realising what was happening to him emotionally.

Which means that the film raises a lot of issues about quality of life, of a wilderness life, but not the modern convenience life, of intellectual information, of realistic emotions, of the nature of parenting, of forming children in the parents’ likenes, of the need for children’s autonomy and, ultimately, making their own decisions.


UK, 2016, 89 minutes, Colour.
Brian Cox, Anna Chancellor, Emilia Fox, Coco Konig, Karl Johnson, Roger Moore.
Directed by Janos Edelenyi.

There have been a number of British films in recent years about the elderly and care for the elderly including the Exotic Best Marigold Hotel films, Quartet… It is a moot point whether they entertain the elderly themselves or are designed for those who are about to be elderly and for their potential carers.

Whatever the answer to that question, this film is well worth seeing for the performance of Brian Cox, a prolific Scottish actor whom many will recognise but, perhaps, not be able to name. He has appeared in many British films as well as American films. Here he is Sir Michael Gifford, an actor in his 70s with incipient Parkinson’s. He is a curmudgeon of a man, entirely used to getting his own way, pretty coarse-mouthed although he does redeem himself frequently with wonderful renditions of Shakespeare. He is not in the John Gielgud vein but rather could have taken on the role of Sir in a version of The Dresser, based on Sir Donald Wolfit.
Sir Michael lives in a stately mansion on a country estate but his daughter (Emilia Fox), stubborn like him, is wondering whether he should go to a retirement home or should have his personal carer, despite his proneness to fire potential carers at very short notice.

Enter Dorottya, a young Hungarian woman living in England, going to auditions so that she can enter drama school. in the meantime, she is working at a home for the elderly and responds to the call to be interviewed as Sir Michael’s carer. We know that she is going to succeed but the question is how will you deal with the crusty old man.

Dorottya has a charm but she is also fairly straightforward and deals with Sir Michael accordingly, something that appeals to him and he is also charmed by her. Actually, they form quite a pair as she entertains him, argues the toss, enjoying their reflections on the Shakespeare soliloquy, To Be or not To Be and how it was rendered by Jack Benny in the 1942 film and Mel Brooks’ remake. She takes him out to local pub and he begins to enjoy himself.

The big question is will he be able to go to an awards ceremony, his 23rd, but, as he emphasises, his last. He wants to go on his own and not be wearing any nappies for incontinence. His daughter and the doctor are dead against is going. Guess what!

Also in the picture are Millie (Anna Chancellor) his housekeeper who is absolutely devoted to him, protective of him, and Karl Johnson is Joseph, his assistant 40 years and now his chauffeur.

Brian Cox commands every scene is he is in, physically, vocally, emotionally – and his going to his award ceremony and the bravura of his final speech, very serious, a number of jokes, makes quite an epitaph for a British thespian.

Argentina, 2015, 110 minutes, Colour.
Guillermo Francella, Peter Lanzani.
Directed by Pablo Trapero.

This is a film about domestic gangsters. In the past, in the 1930s, gangsters were presented as manic in their attitudes and behaviour, but heroes in their own minds and trying to communicate that to the society of the time. This was the area of Scarface, Public Enemy, Little Caesar. With the renewed interest of in gangster films in the 1970s, especially with the Godfather films, there was a great deal of mythmaking which some viewers saw as a glorifying of the gangsters and that ethos, the Mafia mystique.

While The Clan is the story of a gangster family, there is no glorification at all, the patriarch of the family, Arquimedes Puccio, is a completely sinister figure despite his sometime smile and the cover of his being a respectable shopkeeper and family man. As portrayed by Guillermo Francella, he is a cold and calculating man, a man of planning for the success of his family, a man of planning in the several kidnappings he oversees, finding his place in the society of his time.

The society of his time is that of Argentina in the 1980s. The film shows in prologue something of the history of the dictatorship from the 1970s to the 1980s, the rule of the generals, the number of citizens who disappeared – and some choose one to the Falklands war. With the connivance of authorities, Arquimedes Puccio and his henchmen engineered the abduction first of young men from wealthy families, demanding ransoms, setting up situations for collection of money, telephone threats, and the ugliness of killing their victims before they collected the money.

What is more sinister is the involvement by Archimedes of his family. His wife, seemingly middle-class domestic, was conniving in the abductions, especially in preparing the meals for those imprisoned in the family basement. The oldest son has moved away from Argentina to New Zealand, working as a shearer, but the patriarch sends his next son to bring him back and involves him in the abductions. The next son, Alex (Peter Lanzani) is a champion rugby player, admired by his footballing team, his coach, the public. He has access to the young men to be kidnapped and is persuaded to play a role, becoming more deeply involved in the criminal behaviour, the imprisonment, the collection of the money, further setups.

Alex falls in love and wants to withdraw from this family business but there is a succession of mistakes which lead to a raid on the family and imprisonment.

All the time, the audience wonders about the role of government officials, the nature of political corruption and protection, Archimedes and his patriotic loyalty, and wondering where the police are. By 1985, three years after the abductions had begun, the police go into action.

Of particular dramatic interest are the episodes where Archimedes confronts Alex in prison, wanting his son to beat him so that he can claim he was assaulted by guards and use this as part of his defence. He over plays his tactics with dire results for Alex.

The final credits give information as to what happened to each of the characters, each member of the Puccio family, Alex’s fiancee. And the note that Arquimedes studied law during his imprisonment and died at age 84.

A piece of Argentinian history by one of Argentina’s best directors, Pablo Trapero, a most telling performance by Guillermo Francella, and a cautionary tale.


US, 2016, 88 minutes, Colour.
Jane Levy, Dylan Minette, Stephen Lang, Daniel Zovatto.
Directed by Fede Alvarez.

Unfortunately, any thriller that seems to have a sense of menace, many fans will think of as a horror movie and, if it doesn’t have blood and gore, if it doesn’t have a lot of special effects, even a touch of the supernatural, they are very disappointed. As has happened with some audiences for this one.

However, most audiences who seek and don’t Read, I’m more than satisfied – they have accepted it not as horror but as a terror film, terror for the characters involved, and a sense of increasing tension and terror for the audience themselves.

The film runs from under 90 minutes but is quite compact and generally quite taut. the premise is quite a straightforward one. Three young people take part in a series of burglaries, grabbing what they can, with touches of vandalism, and then trying to get rid of the goods via a local fence. He urges them, if they want cash, to steal cash and that gives them agenda for the next robbery.

The background is to treat, a city in collapse, with a lot of the settings here dilapidated buildings, abandoned houses, derelict streets. It also gives each of the three something in the background story, especially the girl, Roxy (Jane Leavy) who has difficulties at home, a slatternly mother and her boyfriend, and the young sister who would love to live near the surface. one complex one the Congress, Alex (Dylan Minette) is a bit wary of the robberies, does not want to go to California as Roxy does, gets information on houses from his insurance father in the case out house, a man who has received cash in a damages case, but whom they discover is blind. What could be more straightforward than getting into his house, finding the cash and escaping?

Will, of course, it doesn’t go like that at all, and that makes the process always interesting, always tense, the three discovering that the blind man is not exactly helpless and that while they might get the money, it is not a sure thing to get out of the house. One of the interesting features of the screenplay is that there are a variety of terms and developments in the plot, some quite unforeseen, which makes the morality of the stealing as well is of the blind man much more ambiguous.

Stephen Lang is particularly effective as the blind man, using all his senses to make him alert, realising the presence of the three burglars – even though they force themselves to be quiet and obey the title of the film, Don’t Breathe.

As far as home invasion stories go, this one is pretty good, quite a moral issue being raised, unexpectedly, towards the end of the film – and leaving the audience with some uncertainties about the future.


Australia, 2016, 90 minutes, Colour.
Lincoln Younes, Rahel Ronahn, Michael Denkha, Fayssal Bazzi, Alexander England, Damon Herriman, Justin Rosniak, Chris Bunton, Harriet Dyer, David Field, Marshall Napier, Josh McConville.
Directed by Abe Forsythe.

Downunder is the kind of film that we say we would not like to see – but, in fact, it is a film that we should see. It is a portrait of ugly Australians.

The film draws on Australian audience memory of the race riots at Cronulla and in the Shire at the end of 2005. Mainly young protesters, becoming more violent and vicious as the protests and fights went on, declaring that they wanted to preserve Australian culture (not really having a clue what that meant), rather oblivious of Australia’s migratory history or that of indigenous people, but making the target the Lebanese community in the area, Lebs, including their presence on Cronulla beach, taken as symbolic of what they thought was wrong with this part of Sydney – and Australia.

It is interesting to note that the film was released commercially soon after the 2016 federal elections with the emergence again of Pauline Hanson and three of her associates finding places in the Senate. The scenes in Cronulla in 2005 presage of so much of the philosophy of One Nation, anti-migration, anti-Chinese, anti-Islam… A frightening reminder that history can repeat itself.

The film uses a lot of footage from the news of the time, the very disturbing close-ups of angry young men, mainly men, but women also, an alarming peer pressure that overflows into vicious slogans and physical violence, with the police trying to cope with the protesters.

But then, the film narrows its focus considerably, concentrating on a group of white protesters and a group of Lebanese. This means particular dramas – but the screenwriter and director, Abe Forsythe, has made the choice for comic representation of the characters and their conflicts. While some of the scenes and dialogue are funny ha-ha, and we can laugh, the point is that the ideology (which, rather dignifies the ignorant attitudes), the language and behaviour is often really dopey, really dumb. The screenplay clearly demonstrates how this kind of racism, attitudes and behaviour, is really stupid.

In the white group, there is a rather genial character, whose name is Shit-Stick (Alexander England), who works in a DVD store, takes his Down syndrome cousin for driving lessons, is often seen with his drugs and bong, who does not want to be racist but is pressurised by some friends (and his first seemingly benign uncle, Marshall Napier, who urges the group on and lends them his World War I trophy rifle and one bullet). The leader of this group is Jason (Daniel Herriman) who is all talk but has a most slatternly pregnant girlfriend with two children who interrupts the proceedings by demanding that Jason pick up some takeaway for her – and she wants kebabs! They go to buy them.

In the meantime, Hasim (Lincoln Younes) is a serious student but he too has a demanding friend, Nick, and bellicose uncle, and makes the choice to go out with them in order to find his brother who may have been caught up in the violence. Off they go to get some weapons from Nick’s drug boss Vic, David Field camping it up, a gay men with Vietnamese boys at hand, pornography on the television, and a crew packing the drugs.

After various encounters, Hasim being chased and bashed by another white group, and Jason having delivered food to his girlfriend, there is an unexpected confrontation, mainly through arguments within each car leading to a crash. This is no gunfight at the OK Corral, rather awkward chases, bashings, gunshots and some unexpected injuries, especially with pathos for the Down Syndrome cousin who has been urged on to bash Lebs but in his heart of hearts appreciates people for who they are.

One of the jokes needs to be seen – one of the Whites has had his head and face tattooed and wants to have Ned Kelly’s helmet, but the joke is what he looks like when he takes off all his facial coverings. This needs to be seen rather than described!

The language in the film is quite strident and vulgar, sexually and genitally over-focused and extremely homophobic and insulting – part of the dumb stupidity that is incorporated into racist rants.

The film is quite well constructed, the parallels made, the setting given in the actual footage of 2005, the exploration of the characters in each group. Maybe, Downunder is preaching to the converted anti-racists. Would it do anything to change the bigoted attitudes of the racist were they to see the film? Unfortunately, probably not.


Australia, 2016, 90 minutes, Colour.
Directed by Taryn Brumfitt.

Embrace is a documentary film as well as something of a portrait of the filmmaker, Taryn Brumfitt, from Adelaide.

It is also a film designed for a female audience – although men would have quite a deal to learn from watching the film, checking their basic attitudes towards women and accepting a challenge to their inherent chauvinism.

Taryn Brumfitt posted photos of herself, Before and After, having given birth to 3 children, enrolled in a gym and gone in for pumping iron competitions and then realising that she was acceding to presuppositions about body form, returning to living a “normal” life, sharing it with her three children and a devoted husband.

In posting the photos on social media, she was overwhelmed by the response. Basically, women communicated with her about issues of the body, acceptance and non-acceptance, feelings of inadequacy as well as living up to expectations, especially from ideal (and often photo-shopped) images of women in the media. But she also received quite a number of hostile responses, especially from men, taunting her as fat and ugly and criticising her body shape, urging her to go to the gym, diets… It is surprising how openly vicious many of these comments were.

There is a reference to the “noxious ideals” about the human body, especially the ‘perfect’ female body, in the media. There are also some alarming moments and photos of the blatant sexualisation of little girls.

Taryn then decides to go on a world tour to interview women about the body, their own experiences, pressures put on them, their ways of coping.

Starting in the United States, Karen interviews people like television host Ricky Lake who, over some decades, had to deal with criticisms about her size. Taryn then moves to Canada and then to Europe.

While the interviews are somewhat repetitive, this has the value of reinforcing how dominating glamorous stereotyped bodies are – especially with the comment from the CEO of Abercrombie and Fitch about advertising for good-looking people only to wear their good-looking clothes!. What is particularly interesting is the range of women that Taryn meets who have some kind of “defect”.

There is the woman, fine appearance, who tells her story of having a brain tumour which paralysed half her face, distorting her expressions, undergoing a deal of physiotherapy but also learning to accept the limitations of her condition. Perhaps surprisingly there is the woman in London who experienced an extraordinary growth of facial hair and, despite her attempts to remove it, it increased with her decision then to accept that this was her reality, lives as a woman with a beard, and has some satisfaction with who she was.

By way of contrast is the German actress, Nora Tschirner, who has a lively conversation with Taryn, talking about her film career and expectations, seeing her on red carpets and at socials, but expressing a great deal of common sense on self-acceptance.

Before returning home, Taryn goes to a photo shoot with a celebrated photographer, this time with a group of women of all shapes and sizes, large and small, one with a leg disability, a black woman who is proud of her large-size as well as a transgender woman. This is an exhilarating sequence as the women are able to accept themselves and rejoice in this.

As we watch Embrace – with the exhortation from Taryn Brumfitt’s organisation and other groups that we all accept the reality of who we are – we realise that the “perfect” body is rare and discover that glamorous models also have their doubts about themselves.

The message of the film is very sensible. some commentators have recommended that this film should be shown to adolescent girls at school to focus their attention on reality rather than image.


Spain, 2015, 119 minutes (recut, 104 minutes), Colour.
Juliette Binoche, Rinko Kikuchi, Gabriel Byrne.
Directed by Isabel Coixet.

Nobody Wants the Night is an odd title for this film, not really indicating what the film is about, even though the darkest night of the Arctic is significant for the plot. It was re-edited after a negative response at the 2015 Berlinale and called Endless Night.

Captain Robert Peary had great ambitions to reach the North Pole, going on many expeditions, sometimes accompanied by his wife, Josephine. This film focuses on Josephine herself, a New York socialite, a woman used to comfort yet happy to go on rugged expeditions, are stubborn and dominant woman, commanding and pressurising all those who worked for the expeditions.

Juliette Binoche plays Josephine. It is a role that requires her to be haughty at the beginning, to participate in the ruggedness of the travelling through the Arctic ice and snow, determined to reach the rendezvous with her husband, no matter what the storms, avalanches, injuries and deaths.

However, when she arrives, her husband is not there. There is a young Inuit woman whom she discovers had a relationship with her husband and is pregnant. She is devastated but has to survive with the young woman, especially as the Arctic darkness comes on. There is not much food to be had, Josephine becoming ill, the young woman being pregnant. It is a transforming experience for Josephine who has to let go of her presuppositions, her sense of power and importance, her sense of superiority over the Inuits, and become much more human.

Rinko Kikuchi, the Japanese actress who appeared in such films as Babel, is the young Inuit woman. There is a guest role for Gabriel Byrne as a philosophising, atheistic, lover of solitude who accompanies the expedition.

There is some interesting information at the end of the film, that Peary’s claim to have reached the North Pole first was disputed, that a doctor claimed the honour, but that afterwards, it seems that both claims were not verified. Josephine Peary returned to New York, wrote a number of books and lived until 1955.

The film was directed by Isabel Coixet, a veteran of a rather wide range of films, My Life without Me, The Secret Life of Words, Map of the Sounds of Tokyo.


US, 2016, 139 minutes, Colour.
Matthew McConaughey, Gugu Mbatha Raw, Keri Russell, Sean Bridgers.
Directed by Gary Ross.

Unless you are an expert on the Civil War, you may not be familiar at all with the title of this film, the episode of the Free State of Jones, in Jones County and neighbouring counties in Mississippi in the 1860s.

The film opens with a vivid portrayal of a Civil War battle, a troop of Confederate soldiers, flag-waving, commander in front, to the beat of the drum, marching up a hill – and then the camera showing the audience amassed troop of Union soldiers. The mowing down of the Confederates who keep marching, someone taking up the flag, is shocking and bloody. Bloody is also the word to describe the scenes with doctors at work on the wounded, the numbers, the pain, the limbs, the implements like saws, no anaesthetic. And the nurses continually carrying the wounded from the field to the tents.

It is in this context that we are introduced to Newton Knight, a Mississippi farmer who is serving as a nurse, trying to cheer those he was carrying, removing their private’s jacket so that they might appear as an officer and be tended to quickly. But, it is too much for him and when he is escorting a young lad from his town who is shot in the trenches, he decides to desert, take the body home, resume his life in Mississippi.

As it turned out, ordinary life was not for him. Reunited with his wife, and a black slave from the nearby plantation coming to help his son recover from fever, he then realises that he will be tracked down as a deserter. He goes out into the swamps, his league wounded from pursuing dogs, finds a group of black slaves who have escaped and lives with them.

In the town, a commander has the task of commandeering supplies from the local farms, reducing many of them to poverty. It is here that Newton Knight takes a stand, first confronting a lieutenant with a woman and her two daughters which encourages the group in the swamp to take further stands. More deserters join the group in the swamp, a small army which leads to a confrontation with the Confederacy leading to an appeal to General Sherman, marching through Georgia, to send some reinforcements. Newton Knight and his leadership led to the announcing of the Free State of Jones and the writing of a charter.

It is here that many audiences will be expecting the film to end, but it does not. The latter part of the film is about the aftermath of the war, the unsteady reuniting of the South with the North, the freedom of the slaves, often more in principle than in reality, the twisting of legislation in some Southern states to keep the former slaves oppressed, the rise of the Ku Klux Klan and the racist burnings and hangings. During the war, Newt’s wife and son had left him but return after the war where they find him with Rachel, the young woman who saved the son, who is now pregnant.

Unexpectedly, some sequences are interpolated into the narrative moving it to 1947, 85 years later, and a trial with a descendant of Newt and Rachel being brought into court for trying to marry a white woman, guilty because he has some black blood. The sequences show the audience that there may have been victory, there may have been peace, but for decades, the heritage from the war and the antagonism still remained with blatant racism.

In recent years, especially with his winning an Oscar for the Dallas Buyers Club, Matthew McConaughey has become a serious actor and embodies Newton Knight with some force and authority. Gugu Mbatha Raw (so persuasive in the British film about race, Belle) portrays Rachel.

This film should make an impression in the United States, but is interesting and often powerful for a non-American audience.


Australia, 2015, 77 minutes, Colour.
Bethany Whitmore, Harrison Feldman, Matthew Whittet, Amber McMahon, Eamon Farren, Tilda Cobham-Hervey.
Directed by Rosemary Myers.

This film began its life as a play, a story about a teenage girl, but written by a male playwright who also adapted the script for the screenplay here – and plays the part of the father of the girl asleep, Matthew Whittet.

The film has received quite a lot of very strongly favourable reviews and has won some awards. But not everyone has been caught up in its comedy and it’s a drama – and its veering into fantasy.

The film will have more appeal to female audience, into teenage audiences interested in and perhaps identifying with the central character, Bethany Whitmore. Mothers will also be interested, making comparisons with their daughters and adolescent struggles.

The setting is the 1970s, home in suburbia, school. we are introduced to Greta, the younger daughter in her family, moving from somewhere else and at school the school for the first time, approached by a nerdy young student, Elliott (Harrison Feldman) and approached by a group of Mean Girls who make demands that she moved with them. Greta is more than a little passive at this stage and complies but also apologises later to get.

Meanwhile, back at home, her mother and father are keen to host a 15th birthday party for her, something which she does not want it all. For me, she has an older sister in she can confide and who gives her good advice. Eventually, Greta agrees but is dismayed at the party dress that her mother takes her out in. At the party, many of the school students arrive with gifts, making Greta somewhat over laden. And Elliott arrives all suited up. So, we can this story go from here?

From quirky and some deadpan situations into a whole realm of fantasy, with some of the wild things are or seem to be. Greta goes into a rather dark forest wonderland, encountering characters who encourage, who told, who confuse – and are played by the actors who portray her parents, her sister’s boyfriend, talking with Elliott’s voice, as well as a benign kind of fairy, female guide. For a puzzling audience, what happens is not always clear – frequently not clear, so the best thing is to surrender to the fantasy, observed Greta and see what the experience of being lost, chased, warned, encouraged leads to.

One of the things it does lead to is a bit of rebellion on Greta’s part and her persuading Elliott, whom she has insulted by suggesting that people say he is gay but has apologised, to give her his suit to wear and feed to wear her dress. Done .The party continues and the film suggests that Greta has gone through something of a rite of passage and will come out well at the other end.


Sweden, 2016, 144 minutes, Colour.
Frida Hallgren, Jakob Oftebro, Niklas Falk, Lennart Jahkel.
Directed by Kay Pollak.

As It is In Heaven was an extraordinary box office success in many countries, screening in some Australian cinemas for a year. This has not been the fate of its sequel, Heaven on Earth.

While the original film had a great deal of music, singing, likeable characters in this context, the music has been greatly reduced here, some country music for dancing, some emotional songs, and rehearsals for Handel’s Messiah with an amateur country choir and a range of proper and make-piece instruments.

Lena, the central character of the first film, is now pregnant although Daniel, the choir conductor, has died. Lena (Frida Hallgren) is a lively character, up and down with moods, wanting to go on stage on the very verge of giving birth, staggering offstage, berated by some of the men in the village, caught in snow and going to her home after finding the depressed minister, Stig, drunk on the road but who has to help her with the birth because the midwife is stranded in the snow.

Much of the activity of the film is the gathering of the choir, the rehearsals for the Messiah concert, the decision to change the format of the church, removing the pews – the picture of the Lutheran Church in this film is a very authoritarian and dour church – decorations and the plan to hold a dance in the church. There also has to be a lot of action to keep Stig away from the alcohol.

Actually, the dance goes well and is reported with colour photos in the local magazine much to the ire of the authorities and the barring of the church door to visitors.

Lena has her drama with Arne, the kindly man who took her in when her parents were killed in an accident and her grandmother blamed her for their deaths, and with Axel, a widower who works on local jobs and is attracted to her. Lena also has to devote a lot of attention to her baby son, Jacob.

There is something of a dramatic crisis when crowds press into the church for another dance and they have to be removed for health and safety reasons, Tore, a benign but mentally handicapped man takes Jacob to save him but goes on a rowing boat on the lake with some dire results.

Obviously, the film has to have a happy ending, the recital of The Messiah but not after Lena has to come to her senses about blaming herself for deaths, love or Axel, and support for Stig.

At almost two and half hours, the screenplay is too prolonged for this lightness and treatment of the plot.


UK, 2015, 119 minutes, Colour.
Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans, Elizabeth Moss, James Purefoy, Keeley Hawes.
Directed by Ben Wheatley

High-rise can be used as a symbolic word in class conflict situations, the lower class wanting to rise higher – and that can all take place in a symbolic multi-story building, high-rise. That is the premise of a 1980s novel by J. C. Ballard, who has two film versions of his novels, quite diverse, the autobiographical Empire of the Sun, and the controversial exploration of humanity and technology in Crash.

The director of this film, Ben Wheatley, has developed a reputation for hard-hitting crime dramas with a sense of surprise, especially violence from central characters, Kill List and the sinister Sightseers.

Whether Ballard has a strong sense of narrative in his novels, it does not matter for the film version because Wheatley is much more interested in images, montages, a succession of episodes which might fit as successive panels in an installation rather than in exploring causality in the succession of narrative events. While this has quite an impact visually, and many critics have acclaimed the film for it, it is much less satisfying for audiences who really want character development rather than character presentation and plot development rather than a succession of episodes.

With this in mind, there is a great deal of interesting material in High-Rise.

Class conflict has been mentioned and that becomes more and more evident as the film proceeds – but it is a quotation, voiced by Margaret Thatcher at the end of the film, about class and government intervention and private enterprise (the latter of which, she asserted, provides true freedom for individuals), that makes more sense of what has gone on.

The central character is Laing (Tom Hiddleston), a doctor who is seen with his assistants examining the human skull, but whose main activity for the film takes place in the new high-rise building where he has bought an apartment. He is a successful doctor, a man with qualities and flaws, with aspirations to higher status, easily entangled in sexual relationships, an observer as well as a mingler.

The film opens with some bizarre sequences, a bearded Laing, roasting a dog on a spit on his balcony, some dead bodies – and then the narrative goes back three months for the audience to find out and puzzle over how this could have happened.

There is an amount of socialising in the high-rise, one party on an upper-class floor where everybody is dressed as if they were in the cast of Barry Lyndon. Later, there is to be a more modern party with a touch of the orgiastic.

Laing meets the architect of the building and its owner, Royal, played by Jeremy Irons, an ambiguous character with ambitions, with a dissatisfied wife even though he has built a roof garden of luxury, a horse for riding included.There are other encounters with a rough documentary maker, Wilder, Luke Evans, and his pregnant wife, Elizabeth Moss. Upstairs, there is Charlotte (Sienna Miller) who has a precocious young son. In the meantime there is a fuss pot who doesn’t want the garbage chutes to be clogged and discovers his wife in a relationship with a television announcer.

Included in the high-rise is a gym, squash court where Laing plays with Royal, and a supermarket where the customers parade as well is purchase – and an indifferent checkout girl who is given the French grammar by Laing during French Week which she uses to learn the language.

There is also a very aristocratic and snobbish group led by Pangbourne (James Purefoy) who have no scruples about using violence, even a lobotomy to tame a rebel-Rouser.

The class struggle does break out, the power goes off on various floors of the high-rise, violence ensues

Which brings us back to the starting point – and Wheatley’s style of filmmaking which emphasises the class conflict and that it happens rather than how it happens.


US, 2015, 79 minutes, Colour.
Hitchcock, François Truffaut, Martin Scorsese, Peter Bogdanovich, Wes Anderson, Paul Schrader, Olivier Assayas, James Gray, Kyoshi Kurosawa, Arnaud Desplechin, Richard Linklater,
Directed by Kent Jones.

Although he has been dead for over 35 years, Alfred Hitchcock and his name have become a byword for screen thrillers. So many of his films remain as classics.

The young French directors of the 1950s were in great admiration of Alfred Hitchcock seeing him as an artist more than as a popular director. In 1962, François Truffaut who had made quite an impact with his initial film, The 400 Blows, contacted Hitchcock and asked if he could spend a week interviewing him, going through all his films, exploring themes, exploring techniques, exploring impact. Hitchcock agreed and Truffaut went to California, the discussions taped but a translator also present to facilitate communication. The resulting book from these conversations finished up in every cinema library and the personal libraries of cinema buffs.

Director Kent Jones has gone through the material – but his limitation was that his documentary runs for only 80 minutes. Many of those watching the film, always with the utmost interest, will wonder why particular favourite films scarcely rate a mention, including Spellbound and North by Northwest.

This is a good opportunity to appreciate Hitchcock himself, his portly manner, his semi-sepulchral voice, his touches of wry humour, and his cooperation with Truffaut. Truffaut, is young and eager.

At the beginning of the film a great deal of attention is given to the 1936 film, Sabotage, a serious thriller with strong close-ups and a stabbing sequence. Later, most attention will be given to Vertigo, many sequences included, and quite a lot of discussion about the film and its sexual implications, as well as to Psycho, an analysis of the first half, the mundane office work of the central character and her stealing the money, going to the Bates Motel and the famous shower scene.

A number of contemporary directors are interviewed, mostly American, some French, and their views on particular films, their insightful comments on the techniques, camera use, editing, are very helpful. Martin Scorsese is particularly interesting on Vertigo but, particularly, on Psycho and the lesser-known thriller of 1956 with religious implications, specifically Catholic, with Henry Fonda, The Wrong Man.

Besides Scorsese, some of the directors interviewed are David Fincher, Peter Bogdanovich, Richard Linklater, Paul Schrader, James Gray, Olivier Assayas.

This is a film which will interest every cinema buff – and, with the clips of so many films, with the intelligent and insightful discussions, with the enthusiasm of Truffaut and the generally benign comments of Hitchcock (they both keeping up a correspondence for the next 15 years), it is a documentary well worth seeing and reflecting on.


Germany, 2016, 98 minutes, Colour.
Tom Hanks, Alexander Black, Sarita Choudhury, Sidse Babett Knudsen, Tom Skerritt, Ben Whishaw
Directed by Tom Tykwer.

An arresting title. What kind of hologram? And who is the king? Both questions answered in due course.

Something of the tone (both light and serious) is set at the opening where Tom Hanks as Alan Clay appears in a video clip advertisement, he being persuasive and everything in opposition going up in a puff of pink smoke. Alan Clay is a salesman and we see him discussing a project with his boss, developments in IT for a deal in Saudi Arabia.

The hologram (which we eventually see illustrated) is for communication developments in the Kingdom and the King is the king of Saudi Arabia.

Alan has had a difficult past, working for a bicycle company which then lost its local base with the bikes being produced in China, leading to work retrenchments which Alan had to preside over. He realises it was a mistake and this recurs in his dreams – as do scenes from his past, his marriage and its breakup, his little daughter and her growing up, in communication with her, communication with his father. And he has these interludes because of his flight to Saudi Arabia, the jet lag, the pressures of the job…

It soon becomes obvious to Alan that lifestyles, customs, business rituals in the Kingdom are certainly not those of the United States. Executives say that they will be present on a certain day but are not, say that they are in New York City but they are in fact upstairs. and King has not been to the demonstration centre for 18 months, is discovered to be on a visit in Yemen. Will he turn up?

What happens to Alan is that he enlists the help of a local driver, who spent a year studying in Alabama, Youssef (Alexander Black) who is a genial friend, has a girlfriend who is the wife of a rich Arab and is fear in fear that his car will be set up with bombs, has a loud taste in music but can be relied on by Allen as the days go on – except when Alan accepts an invitation to go to his home out in the desert and Youssef neglects to follow the notices on the highway which indicate that all non-Muslims must take an alternative route and not go through the city of Mecca (but they do, which does give the audience some intriguing images of this most sacred city).

As for the contract, his staff are put up in a huge marquee away from the main building, have to bring food each day from the hotel, and there is no Wi-Fi! Alan does get some help from a Danish woman who works in accounts, goes to a party at the Danish Embassy where all the foreigners let their hair down plus. In the meantime, Alan has to go to the doctor, is helped by a local woman doctor (Sarita Choudhury), has to have some minor surgery for a burdensome cyst on his back and becomes involved with her.

After some complications, the king does turn up, there is a demonstration of the hologram – but, as always, the Chinese have a better offer!

There is quite some interest in the characters and the whole treatment of an American trying to find his feet and his way in Saudi Arabia, quite a lot of local colour.

But, in the latter part of the film when Alan and the doctor get together (and quite a number of bloggers have questioned the possibility of this kind of relationship, especially a surprising scene of topless bathing), the pace of the film slows down considerably and seems something of a dramatic anti-climax.

But, Alan does find some possibilities for his future in relationships and in work.

The film was written and directed by Tom to quote, German director well known for such films as Run, Lola, Run and his contribution to the mysterious Cloud Atlas, which also featured Tom Hanks.


US, 2016, 110 minutes, Colour.
Logan Lerman, Sarah Gadon, Tracy Letts, Linda Emond, Danny Burstein.
Directed by James Schamus.

Indignation is based on the novel by Philip Roth, best known for such novels and film versions of Portnoy’s Complaint, Goodbye Columbus and The Human Stain. Indignation is a lesser known novel – which would gain in readership because of this film version.

The film opens with an old people’s home and an elderly lady – with a revelation about who she is at the end of the film. There is a then a shift to career, the Korean War, soldiers in the basement, Americans and Koreans and the death of a soldier. Then there is a move to New York City, a Jewish funeral, grieving parents, and the introduction of the central character, Marcus, a fine performance from Logan Lerman.

As Marcus and his friends talk about the draft, it emerges that Marcus has a scholarship to a Christian University in Ohio, meanwhile working in his father’s kosher butcher shop, with some strong scenes indicating Marcus and his work, his father concerned about him, even wary about being his led astray – but Marcus has a strong relationship with his mother and also with his father, despite his tensions.

At college, Marcus shares a room with two young men, Jewish (part of a Jewish minority at the college where Marcus is canvassed by the fraternity leader to join the Jewish group but he refuses) with whom he eventually clashes and moves rooms. Marcus has a strong background as a student, debater, free thinker.

This comes to the fore when he is challenged by the Dean of the College about his behaviour and beliefs, his not coping with others by moving rooms, his objections against going to Christian Chapel which is obligatory, his ideas, with Marcus having mounting resentment against the interrogation, using debating styles, articulate and strong, praising Bertrand Russell whom the Dean condemns personally and morally. The intelligent dialogue and the two performances make this an outstanding intelligent sequence.

Marcus, who has very limited encounters with girls, is attracted by the blonde Olivia (Sarah Gadon) and goes on a date with her when she surprisingly initiates sexual activity which he finds very difficult to deal with, avoiding her, but her pursuing him, especially when he is hospitalised with appendicitis. Again, she makes sexual advances which are seen by the nurse.

There is another highly intelligent discussion sequence when Marcus’s mother visits him in hospital, sees Olivia’s scars from an attempted suicide, warns her son against her – and they make an agreement that he will as long as his mother does not divorce his father who is showing strong signs of mental disturbance.

The issue of Chapel becomes a major problem for Marcus which leads to his presence in Korea and a reinterpretation of the initial sequence of the war, with his reflections about life, choices, moments of death, and a very sobering ending.

This is a fine, strong, intelligent portrait of a young man, a piece of Americana of 1951, well written and directed by James Schamus, who has been a producer and writer for some time, and this is first film as director.


US, 2016, 126 minutes, Colour.
Bryan Cranston, John Leguizamo, Benjamin Bratt, Diane Kruger, Juliet Aubrey, Olympia Dukakis, Amy Ryan, Jason Isaacs, Yul Vazquez, Art Malik, Michael Pare, Elena Anaya, Said Taghmaoui.
Directed by Brad Furman.

How can they do it? And why?

These are two questions that this film raises. How can men and women go undercover, the deception that they have created, no matter how significant the motivation, the perennial risks and dangers, the false relationships that they have to establish and maintain which involve betrayal and emotional damage?

As can be seen from the title, this is a story about such undercover work. it is based on the memoir of Robert Mazur, the protagonist of the story, his memories of his undercover work on behalf of American agencies, especially in the 1980s and the spread of cocaine smuggling, the huge importations to the US, the traffic from Colombia and the influence of Pablo Escobar. Bryan Cranston gives a strong performance as Mazur, though, despite the darkened hair and moustache, he does seem too old for the role and the character.

It is 1985, in Florida. The film recreates the period, the look, clothing, the music and songs of the period. It opens with Mazur, in disguise, involved in an exchange of drugs and money followed by a raid. He is suffering from a wound and is entitled to retire, the authorities offering him the possibility but his refusing. He has connections with another officer, Hispanic, Abreu, played with a cheeky bravura by John Leguizamo. He has some local informants and the point is made that the agents should follow the money trails rather than the drug trails. The two set up a project, false names and documents, a dummy bank, making connections with some of the local drug dealers, especially those in the Escobar organisation, overcoming suspicions, beginning to launder money and gaining a reputation that leads them to crooked bankers in Panama and, eventually in France and England.

In the meantime, Robert Mazur has a loving wife, Evelyn, and two children. There are a number of domestic sequences and Mazur’s wife’s support for him in his work.

And the difficulty arises when one of the locals hosts Bob at a bar and procures a prostitute for him – Bob improvising with an excuse that he has a fiancee. This means that the agency head, played by Amy Ryan, has to organise an agent who can join Bob as his fiance, Kathy. She is played by Diane Kruger, a professional agent, who is challenged also in her undercover work, keeping up the facade of the happy engaged couple even when it leads them to New York City and friendship with a significant dealer, played by Benjamin Bratt, and his wife.

The audience is constantly tense along with Bob and Kathy as they live their dangerous second life.

The engagement become significant and authorities decide that the wedding date should go ahead and that all their contacts should be invited to the wedding, the deception being so convincing that everyone accepts. Then the raid.

As with so many true stories, there are photos of the principal characters during the final credits, information about those arrested and their sentences, as well as of Bob Mazur and his family – and the surprise that he has continued his undercover work in succeeding decades.


US, 2016, 102 minutes, Colour.
Voices of: Charlize Theron, Matthew McConaughey, Brenda Vaccaro, Art Parkinson, Rooney Mara, Ralph Fiennes, George Takei, Cary-Hiroyuki Tagawa.
Directed by Travis Knight.

Kubo and the Two Strings is an entertaining animated feature which should appeal to younger audiences as well as families.

It is not surprising to see a Japanese story and animation these days with so many films coming from Japan itself and, especially, the Ghibli Studios. But, this is an American production, writers and director as well as voice cast.

The filmmakers show great sensitivity towards Japan as well sensibility about its characters, history, culture, mythmaking, rituals as well as the beauty of its locations.

During the final credits, there is a focus on the making of the puppets, especially the Cockroach, which are used in the film – an insight into the type of animation that is present. The landscapes are quite vivid, the characters well drawn, there is a great deal of action and special effects.

The film opens with Kubo and his mother caught up in a huge storm at sea but finally landing on the beach and becoming resident on high rock above the village. Kubo is active but his mother has long periods of distraction, not being aware of where she is, but at night, cautioning Kubo not to stay out after dusk. In the meantime, he goes down into the village, well-received, with his strings, plucking them and narrating heroic stories. He also has an extraordinary origami talent, creating creatures, especially a small origami warrior, and many others in action.

One afternoon, he follows the crowd to a cemetery, sees a girl invoking her grandmother and decides to pray and call on his father – to no avail. But he is caught in the cemetery after dark and suddenly dark and sinister creatures swoop down on him and the village, two sisters, his aunts who are vengeful about their other sister, his mother, who set out on a quest to destroy a Lord but fell in love with him, married him and had Kubo. The father, the Moon King, has urged them to seek out this sister, Kubo and destroy them.

What follows are adventures at sea, in an origami boat, with a warrior beetle turning up, a bit slow on the uptake but genial, who protects Kubo and his mother who has been transformed magically into the form of a monkey toy that the boy had. Once again there are storms, with the Cockroach, Kubo diving into the sea to find a suit of armour, the Beetle having to rescue him, their arriving on land and, of course, a final battle confrontation with the Moon King who can transform himself into a dragon and the avenging sisters.

The characters are much more interesting than in many an American animation film and there is plenty of good dialogue and, certainly, plenty of action sequences.

Art Parkinson voices Kubo while Charlize Theron is his mother. Rooney Mara voices the sisters and Ralph Fiennes their father. But, many times, Matthew McConaughey steals the show as the Beetle.


UK, 2016, 90 minutes, Colour.
Ricky Gervais, Ben Bailey Smith, Tom Bennett.
Directed by Ricky Gervais.

Rep job for a laundry products company. We see him on the road, already manifesting quite some insensitivity to those he is dealing with. He is even worse back in the office, most workers cringing in his presence though there is a receptionist who is rather sympathetic, one of the women working there who is a touch in love with him and Nigel, a somewhat idiotic co-worker who plays along with his jokes and performance (and played by Tom Bennett who was the rather simple landowner in Love & Friendship).

The device of the film is a documentary being made about David Brent, his ambitions, his rounding up a rock group, his going on tour – and while they have a lot of footage of him in action, the camera always seems to be around when he is talking off the record, picking up so many of his insensitive remarks and highlighting his complete self-deception.

He imagines himself as a young rock star but he is definitely not, despite his clothes, despite his singing, despite his gyrating while singing, despite his being one of the boys with the band. By and large they find him very difficult and do not communicate with him unless they agree to be paid £25 an hour to sit and have a drink with him. One bright spot in his life is Dom, Ben Bailey Smith, of West Indian background who sings some rap while David Brent is singing, something which he finds often excruciating, but stays pretty loyal to Brent throughout the ill-fated tour. His manager finds him exasperating but relents a little at the end and allows David an indulgence with an absurd song about Christmas and having snow falling during the performance.

David Brent comes from Slough which is filmed and about which there is a song with lyrics representing contemporary Britain and Brits. In the meantime, David is insensitive in his lyrics, a cringe-making song about Native Americans, a song about the disabled and the aforementioned Christmas song about a boy going blind and not able to see Santa!

There are a number of amusing scenes and Ricky Gervais’ fans will be appreciative – for others, it may be a take it or leave it but with admiration for Gervais who can perform this obtuse character but is skilful enough in writing the obtuse character with clever insights.


Norway/France, 2015, 109 minutes, Colour.
Gabriel Byrne, Isabelle Huppert, Jesse Eisenberg, Devon Druid, Amy Ryan, David Strathairn, Rachel Brosnahan.
Directed by Joachim Trier.

Louder than Bombs is an evocative title. While there is a great deal about wars, bombs and their consequences and destruction, this occurs mainly in a series of photos rather than in the narrative of the film. The potential for bombs is not in overseas wars but in conflicts within the family.

In fact, this is very much a film about family and its tensions. It opens with the older son of the family, Jonah, played by Jesse Eisenberg rather more calmly than his usual performance, minus a lot of the Jesse Eisenberg-tics.His wife has just given birth, and he is awkward with her. But, this is to set the tone of the film because he is not the main character.

We then meet Jonah’s father, Gene, a former actor but now a teacher. In the past, he has related well with his two sons but now there is a tension with his younger son, Conrad (Devon Druid in a very convincing performance). The basic situation is that his wife, his boys’ mother, has died two years earlier. We have learned that she was a war photographer, absolutely fearless, going to the Balkans, going to the Middle East, involved in all kinds of dangerous situations with a portfolio of extraordinary photos. In the film, the photos do make quite an impact with their close-ups of war situations of all kinds – and in the final credits it is noted that many photographers contributed to the portfolio. There is a plan for an exhibition of the photos which means that father and sons have to look into their mother’s room and assess the various photos that she left behind.

in an interesting piece of casting, the mother, called Isabelle, is played by Isabelle repair it, one of the most versatile actresses for many decades. she appears a great range of flashbacks as well as in a number of the photos, in the memories of her husband and children, are sometimes enigmatic but powerful character.

Conrad is at school, exceedingly introspective, telling his father he is with friends when he phones but in fact is not, his father following him (and then an effective sequence where we see the same scene from Conrad’s point of view). Conrad locks himself in his room, plays computer games and becomes very involved, shutting his father out (though his father does try to enter the game, creating a character, but is killed off almost immediately).

As the film builds up, there is a further complication insofar as the father is having an affair with Conrad’s teacher. She is a sympathetic woman (Amy Ryan) but becomes a target when Conrad accidentally sees them embrace in the school precinct.

Another part of the conflict is the information we are given early that their mother has killed herself after returning from wars but that the father and Jonah have not been able to tell Conrad the truth, he idolising his mother.

It would almost seem that many bombs will explode in the family in their desperate conflicts – but, not spoiling the outcome at all, it is safe to say that the film is not without some hope.


US, 2016, 96 minutes, Colour.
Emma Roberts, Dave Franco, Emily Mead, Miles Heizer, Juliette Lewis.
Directed by Henry Joost and Ariel Schulman.

Sounds as if it is a horror thriller, geared for people leaping from their seats. Not at all. Not at all for the audience, even though some of the characters have to go through some nerve-racking experiences of the “we dare you” variety.

This is definitely a film for younger audiences, practically all of the characters 20 plus or minus and really only Juliette Lewis as Emma Roberts’ mother (reminding older audiences that that is life, actresses who used to be teenagers now portraying mothers) in an older age bracket. This is also a film for audiences who like computer games – except this is a game in real life, played on the streets of New York (or on cranes or scaffolding high above the city streets) watched by an extraordinarily big following on their phones, computers or large screens.

Audiences are meant to identify with Emma Roberts’ Vee (Venus), quite a controlled young woman who tags along with the much more extroverted Sydney (Emily Meade) an ambitious fan of the game Nerve where dares come from a central IT company and people can join up to be watchers or doers. Sydney is a doer – and when the d is successfully accomplished, substantial winnings are transferred to bank accounts. With an ever-growing audience of watchers, there is extraordinary peer pressure to undergo the dare, which Sydney discovers, trying to cross a data over the span between buildings many storeys high.

It is that peer pressure as well as her image of herself that propels Vee to commit herself – to kiss a stranger in a public place. She does and it wasn’t so bad and then she finds the stranger, Ian, Dave Franco, is also a participant in Nerve and off they go to be a team, starting with Vee going into a fashionable store to try on a dress which costs almost $4000.

And on it goes, with ever more difficult dares, including Ian having to ride his motorbike through the New York streets getting up to 60 miles an hour, blindfolded. Vee steers him through this ordeal and on they go, the bank transfers for the dares accomplished going higher and higher. This puzzles Vee’s mother, a hard-working nurse in hospital.

One of the images that might go through an audience’s mind in watching the ever-increasing danger of the dares as well as the increasing number of watchers is that of Roman Empire times, gladiatorial combats, the same crowd-think, urging each other on as well as the combatants. And, in the social media age, cameras are continually on the dares, invalid without their being photographed, but also the most private of conversations between contestants being overheard by thousands, Vee unwittingly making judgement or comments about Sydney which she and all her friends listen into.

Not everyone is happy with Nerve and as the pressure increases, into a literal contemporary gladiatorial arena with guns drawn, the danger and illegality come to the fore, watchers being accused of participating and as accessories to murder.

So, by the end, this is a morality play, critical of young people and their succumbing to peer pressure, the low self-image and capacity for making decisions that means they go along with the dares despite the dangers and irresponsibility, and age of social media, it is very easy to be swept along with the excitement without giving much or any thought to personal or social consequences.


US, 2016, 104 minutes, Colour.
Oakes Fedgley, Bryce Dallas Howard, Robert Redford, Oona Lawrence, Wes Bentley, Karl Urban, Isiah Whitlock Jr.
Directed by David Lowery.

Back in 1977, Disney produced a family film, with some special effects and starring Helen Reddy, Pete’s Dragon. Almost 40 years on, Disney have reworked the story and produced a film that will have strong appeal to family audiences – although there is a disturbing sequence at the beginning involving a car accident which may be a bit much for younger audiences, the little boy involved, Pete, being only five.

The setting is the forests of Northwest America, some rather remote territory (filmed in New Zealand) although the film shows the timber industry making incursions and cutting down a lot of trees. But, in the trees, six years after the accident, Pete is living in a tree hut, which may remind audiences who know The Jungle Book, of young Mowgli out in the jungle. But, instead of friendly bears and threatening tigers, Pete’s main friend, who rescued him after the accident, is a rather genial Dragon called Elliot.

Children will enjoy Elliot, a very friendly Dragon, not one of those menacingly flying around and breathing smoke and fire monsters. Pete and Elliott have been companions over the years, enjoying each other’s company, flying through and over the trees, with Elliot having a great talent of camouflage, seeming to disappear into the forests.

Then we see the adults. Meacham, Robert Redford, is a very friendly man, who tells the local children stories about having seen a dragon in the forest which they take with something of a grain of salt. So does his daughter, Grace, Bryce Dallas Howard, who works as a ranger in the forest and whose fiance, Jack, Wes Bentley, has a bright young daughter, Natalie, Oona Lawrence,

For a while, Pete watches the humans and puzzles over what they are doing, since Jack owns a lumber mill and his brother, Gavin, Karl Urban, is cutting down more trees than he should. Eventually, Pete lets himself be found, Grace is all attention, Natalie has climbed a tree with Pete – and fallen down quite a long way – with Pete in hospital but escaping back to the forest.

Of course, there is the question of Elliot. Gavin becomes the baddy and goes to great lengths to capture Elliot and bring him back to the town.

After this, with a lot of effects, Pete and Meacham, who really has seen a dragon in the past, drive to the forest to free Elliot with Gavin, other workers, and the sheriff all in pursuit. It all looks a bit dangerous as Gavin blocks a bridge, Grace and Jack are in danger, and Elliott has to do his Dragon thing.

While Pete’s Dragon is an average kind of film for most audiences, families will probably be glad that it is one that most of them can watch with enjoyment, the children able to identify with both Pete and Natalie – and perhaps wishing they had a dragon friend like Elliot.


UK, 2016, 140 minutes, Black and white.
Lily James, Richard Madden, Derek Jacobi, Meera Syal, Marisa Berenson.
Directed by Rob Ashford and Kenneth Branagh.

In 2015-2016, Kenneth Branagh’s theatre company spent a year at the Garrick Theatre in London with such productions as A Winter’s Tail and The Entertainer. This version of Romeo and Juliet was part of the season.

Kenneth Branagh introduces the film and highlights how he was influenced by the style of the Italian films of the 1950s, where he sets the play, especially the black-and-white photography of films like La Dolce Vita of Federico Fellini. This version is filmed in black and white widescreen. Given the austerity of the stage set, flat space, steps, pillars, it works very well.

Branagh himself does not appear but he has changed the subsidiary character of Mercutio into a swinging man in his mid-70s in the form of Derek Jacobi who presents the Queen Mab speech with great elocution as a series of images. He also literally jive-swings onto the scene, has a stick with a sword, and adds boom-boom to his witticisms. Perhaps not so persuasive with the sword and the confrontation with Tybalt, but it is an interesting variation on the character.

Also interesting is British stage, screen and television actress and comedian, Meera Syal (The Kumars at number 42) as the down-to-earth nurse. And Marisa Berenson, perhaps best known for Barry Lyndon, is Lady Capulet.

The casting of Romeo and Juliet is the important central feature. Branagh had directed Lily James and Richard Madden in the cinema version of Cinderella, a very successful adaptation of the fairytale. Richard Madden looks the part but, somehow or other, is not as strong as he might be and, while he is a stage presence, his delivery somehow or other lacks the oomph and articulate a rendering of the verse by other performers of the role. in contrast, Lily James is very good as Juliet, young and inexperienced, doing a cartwheel across the stage, and (with audience response divided in opinion) swigging from a bottle of wine during the balcony sequence – and later having hiccups when she is nervous. However, she delivers her lines strikingly and holds the stage in the latter part of the performance.

The action moves fairly quickly, not all that much attention given to the brawling in the streets of Verona, moving the action with Friar Lawrence and the potions rapidly – and Juliet progressing, perhaps too rapidly, from young teenager to wife.

There have been many versions of Romeo and Juliet, including the Leslie Howard-Norma Shearer version of 1934, a much older couple; Laurence Harvey and Susan Shental in 1954; Olivia Hussey and Leonard Whiting in Zeffirelli’s 1968 version; Leonardo DiCaprio and Claire Danes in Baz Luhrmann’s Romeo + Juliet; Douglas Booth and Hailee Steinfeld in a less than sparkling 2013 version.


US, 2016, 89 minutes, Colour.
Voices of: Seth Rogen, Kristin Wiig, Michael Cera, Salma Hayek, James Franco, Jonah Hill, Paul Rudd, Bill Hader, David Krumholz, Danny McBride, Edward Norton, Craig Robinson.
Directed by Greg Tiernan and Conrad Vernon.

An anarchic cosmological allegory.

Not the first description that might come to mind for audiences rolling up for Sausage Party expecting a raucous comedy, especially since Seth Rogen and Evan Goldberg wrote the screenplay and Seth Rogen has the central role. For this audience it might seem just an MA certificate raunchy comedy.

And, of course that is what it is also – a crude and often crass surface while, for those who have the time and patience to go under the surface, listening to the clues amid the crass, Sausage Party is trying to take on some of the meaning of life.

Not that most audiences will necessarily want to go to this kind of story of the meaning of life – it will depend, as one reviewer remarked, on the compatibility of the sense of humour of the film and the audience sense of humour. In the words of Mark Twain for many, for very many, never the tween shall meet.

So, what is the sausage party? Setting is the supermarket with customers coming in preparing to celebrate fourth of July. And the main characters are sausages altogether in a packet adjacent to a group of buns. These products, anthropomorphised with strong vocal talent, have the belief that if they are sold, they will be taken out of the supermarket and find out a life after shelf in the Beyond. They sing quite an elaborate song to the Guards, the humans in the shop, projecting on to them a great benevolence, all their hopes and securities – and, we hear, as they sing Guards, the it does sound like God.

The humans and film are all ugly and aggressive characters, cooking the sausages, slicing them, or else aggressive customers and obnoxious staff, especially one who takes a sausage home but is high on drugs and decapitates himself. Stupid humans!

One of the sausages, Barry (Michael Cera) gets separated from the packet, sees the death of his friend Carl, wanders through terrifying he underworld which includes a vicious mop, but eventually get back to the packet and is reunited with his friend Frank (Seth Rogen). Frank has his eye on one of the buns (a quite anatomical female bun), Brenda (Kristin Wiig), who also gets waylaid, chased, and has to team up with a group of products, a Jewish bagel and a Muslim bread, and the Mexican taco (Salma Hayak).

Whether the screenwriters knew how to end the film, they opt for all the products involved in an extreme orgiastic climax (either satirically funny or offputting) and the products surviving 4th July. There are a lot of familiar voices including Paul Rudd, James Franco,

While animation films are generally geared to children and family audiences, Sausage Party is not!


US, 2016, 89 minutes, Colour.
Voices of: Louis C.K., Eric Stonestreet, Kevin Hart, Jenny Slate, Ellie Kemper, Albert Brooks, Lake Bell, Dyna Carvey, Steve Coogan.
Directed by Chris Renaud and Yarrow Cheney.

What Toy Story did for children and toys, this film does for adults and pets – the revelation of what goes on behind closed doors when humans are not looking!

Do films influence our behaviour? On a personal note, while out walking the morning after seeing this film, I saw a big dog approaching me with his owner at the end of the leash and the question arose: what does this dog get up to, who are his friends, where does he go as soon as the master leaves for work…?

This is a very amusing animated film, much better than the highlights picked out for the trailer, a film which should amuse youngsters as they watch the liberated antics of the pets and which should amuse adults with some smart dialogue, some funny situations, and, of course, wondering about the behaviour of their own pets.

This is the story of Max, found by Katie in a box outside a store, taken home, growing up, a devoted pet who is prepared to sit all day at the door waiting for Katie to come home. He is not the brightest. But, there are a whole lot of pets in the surrounding apartments who are his friends, Gidget, a fluffy white dog who is infatuated with Max, Chloe, a literally fat cat who cannot resist temptations of chicken in the fridge, a Chihuahua who turns on the mixer in order to scratch his long back, a hamster running around all the ventilation trying to find home, a little bird… They all seem to get on well and are amusingly introduced.

But then, Katie finds a new dog, a very big fellow called Duke, from the pound, he begins to take over from Max, his bedding, his food, affection by Katie.

When Duke and Max go out for a walk, they end up in an unsavoury neighbourhood (a lot of scrawny cats) and they have to run for their lives. The adventures begin, the posse from home all going in search for Max, Max and Duke sharing a lot of adventures, the introduction of a pattering rabbit who fancies himself as a rebel, Pops, an old dog resting his tail on wheels, chases within the sewers of New York, in the harbour, and a changed Duke going to find his previous home only to find a new family – and an aggressive cat.

And the adventures don’t finish there, but there is a dog-pound truck crash into the harbour from the bridge, underwater heroics, the rabbit undergoing something of a conversion experience, and everybody getting home just in time as if nothing had happened!

There is a very entertaining voice cast with Louis CK as Max, Eric Stonestreet as Duke, Jenny Slate as Digit, Lake Bell as Chloe the fat cat, an unmistakable Kevin Hart (unless you think it is Chris Rock) as the rabbit.

A reviewer friend sitting next to me chuckled out loud the whole way through so it was a bit of a surprise to find that some other reviewers weren’t so enamoured of the film, some complaining that there were too many characters to keep focused on or that they’d seen it all before…

Maybe, but this reviewer, rather more quietly, shared the chuckles all the way through.


US, 2016, 86 minutes, Colour.
Blake Lively.
Directed by Jaume Collet-Serrra.

The Shallows is a shark story for the 21st century. Clearly, it is in the tradition of Jaws – although Jaws is now 41 years old.

Audiences who see shark films are expecting some terror arising with men and women by the shark, expecting this shark to be demonised, expecting some jump cuts in the editing so that they share in the terror of the victims. There are all these ingredients in this film.

In fact, it is a rather small film, a rather more modest film compared with so many of the post-Jaws films, including the Jaws sequels. The focus is on one person and her experience of being terrorised by the shark.

The one person is Blake Lively as Nancy, a medical student who is still sad at the death of her mother from cancer, has emotional tangles with her father, is protective of her younger sister. She decides to go to Mexico to visit the beach that her mother had enjoyed when she was pregnant with Nancy, an isolated beach in Mexico. She travels with a friend who backs out of the trip to the beach, gets a lift with a local to the beach (he giving her the wise advice as she checks through the photos of her mother on her phone that she should look outside the car into the beauty of nature – which she does).

And she goes on her surfboard, huge waves, and two young locals also surfing – but soon, they go home.

Nancy discovers a dead whale with various birds picking at the flesh – and then, of course, the shark attracted by the blood attacking the carcass and getting ready to torment Nancy.

The film initially lulls the audience with the beauty of the beach as well as quite a lot of surf action but, once the shark appears and threatens Nancy, her leg is gashed but takes refuge on a rock, one of the problems being the changing of the tides and the rocks going underwater at high tide. There is a beacon buoy nearby and Nancy is challenged, even with her wounded leg and loss of blood, to time the circling of the shark and to swim to take refuge on the buoy.

Time passes. a seagull has been hit by the shark, bleeding from its wing – which, practically and symbolically, she fixes. Night, the sun during the day and has she shades herself a little with part of the broken surfboard. Will anybody find her? And, if they do, will the shark deal with them as well?

Of course, everybody is hoping for a happy ending – but the point of the film is sharing the experience with Nancy, the pain of her pinning her wound, the discomfort of the hours on the rock, having to swim through a whole lot of jellyfish, the buildup to the shark attacking the buoy and her using her wits as well as desperation.

At the opening of the film, a young boy has found a helmet and a camera with scenes of the shark, so we realise after a while that this will be important at the end of the film.

In a way, it is no great shakes (although the audience does jump out of its seat a couple of times) but, despite some plausibility holes in the plot, especially the time passing, her not having any food or water, Blake Lively, with whom the camera is in close-up love, is an engaging presence to make the film a brief time-passer. (And it was filmed in Queensland and on Lord Howe Island.)


US, 2016, 123 minutes, Colour.

Will Smith, Margot Robbie, Jared Leto, Viola Davis, Ezra Miller, Jai Courtenay, Common, Jay Hernandez, Cara Delevingne, Joel Kinnaman, Adam Beach, Adewale Akinnuoye Agabje, David Harbour.
Directed by David Ayer.

An enthusiast for Suicide Squad noted that it is a movie for those who are fans of DC Comics and are familiar with the characters, especially when they enjoy them. The enthusiast then noted that it was probably not a film for the casual movie viewer. Very true indeed!

While this reviewer has seen the Superman films and the Batman films and so has some esteem for DC Comics, this one was too much. For much of the running time, there was the temptation to label the film as absurd. As it went on, the temptation was to label it as bizarre. Then the realisation came that it was not a matter of either/or but of both/and, absurd and bizarre.

A lot of this was the intention of the writer-director, David Ayer, noted for some strong, muscular dramas in the past, like the World War II film, Fury. Actually, World War II stories led to an inspiration for this screenplay, a 50 years-on reinterpretation of the basic plot of The Dirty Dozen.

An American city is under siege from strange creatures and a powerful political/police chief, Amanda Waller (Viola Davis) has the idea that to deal with the threats to the population who are fleeing in fear is to round up a group of criminals with aggressive talents and set them on to the enemy.

It should be mentioned that the DC connection is there insofar as Batman has been instrumental in the imprisoning of some of the criminals – and, for those who are patient to wait during the credits at the end, there is a conversation between Bruce Wayne and Amanda Waller, the powerful woman in charge, which indicates that this bizarre, non-suicidal half-dozen will be back again.

In setting the scene, the film introduces us to a range of these villains who are now in prison. There is Deadshot, played by Will Smith as Will Smith, an assassin with a deadly target success and a range of weapons which enables him later to be gun over-crazy. Then there is Harley Quinn whom we discover was a psychologist treating the Joker, falling in love with him, taunted by him to dive into a vat and then rescued by him – and the film has intermittent flashbacks to her memories of him as well as his coming to rescue her at the end. There has been a lot of publicity about Jared Leto as The Joker, a rather gaunt Joker, quite manic but different from Jack Nicholson or Heath Ledger.

Amongst the other members of the suicide squad are The Crocodile Killer, The Flash, Boomerang, an Australian robber, and several minor characters who are led by Rick Flag, played by Joel Kinnaman. While he is appointed by Amanda Waller, he and she have a personal interest in the enemy, especially his girlfriend June, Cara Delevingne, who is transformed into The Enchantress, working with her sinister brother to take over the city.

The film relies a great deal on stunts and action, lots of fighting, lots. The film also relies on the make up of several of the characters, the tantalising girlie look and behaviour of Harley Quinn, the scales of the Crocodile Killer, and a moment of fire display from The Flash. As to be expected, there is a lot of deadpan dialogue.

Which means that Viola Davis as Amanda Waller is a very serious presence in what is often very flip film.

The big box office success reminds us that there are a lot of fans out there while the non-fans are going to see something else.


US, 2016, 95 minutes, Colour.
Tom Hanks, Aaron Eckhart, Laura Linney, Jamey Sheridan, Mike O’Malley.
Directed by Clint Eastwood.

Many of us will remember the story from January 2009 from New York City, the plane that landed on the Hudson River, safely, with no loss of life. Many will remember that the nickname of the captain was Sully, and his name was Captain Chesley Sullenberger. Here is the story.

We are used to aviation stories on screen. We are used to aviation danger stories on screen. we have seen many many crashes. This is the opportunity to see a plane coming down and not crashing, as Capt Sullenberger insists to the examination board, of a plane not going into the river, but a plane on the river. There is a linguistic difficulty of saying landing because we don’t have a word for this kind of event like watering…

And who better to portray this serious gentleman of the year, clear-thinking, calm-reacting pilot with 42 years flying experience, from farm planes, military, to commercial airlines, and Tom Hanks? With white hair and moustache, he has a rather patrician bearing as he goes about his work, as he saves the day, helps in the orderly evacuation of the plane, is concerned about numbers of survivors, prepares to go to a board examining what he did, challenging the information provided by simulations with similar data to what he experienced, hailed a hero by the media and by passers-by in the street – and, ultimately vindicated and praised.

Speaking of the elderly and their abilities, the film has been directed by Clint Eastwood at the age of 85, along an exceptional career not only in performance but in film direction, winning two Oscars, and, since his 70th birthday, providing a long list of top cinema entertainments.

The structure of the film is something of a challenge, starting with Sully and his dreams of what might’ve happened, memories of 9/11 only seven and a bit years earlier, introducing the character, the appearance before a board, flashbacks about his past, and phone calls to his wife – Laura Linney with sequences only on phone calls. The actual experiences kept to the middle of the film the actual experiences kept.

Capital happened rather quickly, the plane taking off from LaGuardia airport on its way to shop Charlotte, North Carolina, almost immediately running into a flock of birds, the engine is failing, altitude lowering, contact with flight control and recommendations to return to the airport or tried landing in New Jersey, with Sully estimating that the safest thing was to try to go down on the river. As he says at the end, the whole episode was saved by the combined work of his co-pilots, played by Aaron Eckhart, the flight attendants who keep their calm, the cooperation of the passengers in disembarking, the speedy response of Hudson River ferries, of helicopters and divers, rescuing people from the water, from the life rafts and the number of people standing on each wing.

The examination board is portrayed as rather severe on Sully, implying that he should have turned back to LaGuardia and could have reached it, relying on several simulation exercises – But Sully reminds them that it was not a simulation but reality, that there was some time needed to weigh up the alternatives, something omitted by the simulations.

The film runs for only 95 minutes but it keeps the attention with its characters, especially Sully, with the media response, Sully becoming a hero on an ordinary working day in the US, the reconstruction of the flight and the response of authorities, the public and the media.


UK, 2016, 134 minutes, Colour.
Agyness Dean, Kevin Guthrie, Peter Mullan.
Directed by Terence Davies.

British director, Terence Davies, has had a long career, acquired a very strong reputation, but has not been able to make as many films as he would like, at one stage almost 10 year absence from the screen owing to lack of financing. He has made some classics, especially Distant Voices, Still Lives, one of the most compelling and sadly harsh portraits of an English family, The Long Day Closes, a version of Edith Wharton’s House of Mirth, a powerful version of Terence Rattigan’s The Deep Blue Sea and a forthcoming biography of American poet, Emily Dickinson.

For this film he has gone to a novel by Lewis Grassic Gribbon, a Scottish setting, the years before World War I and into the war itself. Location filming was done in Scotland as well is in New Zealand.

One of the things to consider with Davies film is that it is more than likely to be slowly-paced, meditative with a touch of the contemplative. There is more than ample time to immerse oneself in the lives of the characters, in the atmosphere of their surroundings, to listen to what they have to say as well is to what they don’t say.

The central character of this story is Christine, Chris, a young woman, with a voice-over narrating and commenting on her story. She is played somewhat passively by Agyness Dean. She is one of five children, her farmer-brother the object of the fierce and bullying attention of her stern father (Peter Mullan doing yet another more than harsh father), two younger brothers with the birth of another baby, her mother enduring the difficult life and circumstances of her marriage and the family, it all becoming too much for her.

Chris is a reader and writer, intent on becoming a teacher but circumstances alter everything and she inherits the farm and some money from her parents. While an uncle and aunt take the young children for care, Chris remains on the farm, working very hard. There is a certain grimness about many of Davies films and this one has its moments of gloom for Chris as well.

One of the young men around the town, Ewan (Kevin Guthrie), seems a bit insignificant when we first see him but he is attracted to Chris and, eventually, she to him, a romantic union which seems to be heading for happiness.

The film gives a great deal of attention to life in Scotland, the times, customs, work, the countryside – although it is interesting that a number of Scottish bloggers question the feel and the authenticity of some of the characters and the situations. For those of us who are not in the know, we accept the presentation of this Scottish life.

The community seems remote, outside Aberdeen, but there are rumblings of war, and eventually the war breaks out, young men volunteer, others like Ewan are committed to their farm – but the pressure of the patriotism of the time, the sending of white feathers to those who do not join up and are considered cowards, become too much for Ewan and the story assumes an extremely downbeat tone, Ewan going to war, the loneliness of Chris and her son, the effect of the close trench warfare taking some toll on Ewan. And audiences, now aware of the traumatic stress of war experience are reminded of how drastic was the action by military authorities on those who did not measure up to expectations.

The title suggests that this may not be an entirely happy film, nor is it. It is one where the filmmaker wants to re-create a world and immerse his audience in it, for both better and for worse.


New Zealand, 2015, 90 minutes, Colour.
Directed by David Farrier, Dylan Reeve.

Tickled! Tickled pink! Ticklish! They sound rather funny if you repeat them often enough. And this film begins with scenes which are rather funny, a blend of ha-ha and peculiar.

If you would judge this film just by the trailer, you might imagine that it was just about a sport you had never heard of, Endurance Tickling. Well, it is, but more, much more.

David Farrier is a New Zealand documentary filmmaker, eagerly on the lookout for the odd tidbit that might prove an interesting and entertaining story. When he came across some video material about Endurance Tickling as a sport, naturally enough he followed it up – and bit off far more than he would have to chew.

The videos, mainly with young men, being tickled by other young men, seemed more than a touch bizarre, the tickled men giggling and laughing – as one would. So, he and a friend, Dylan Reeve, not only decided to follow through but check out a name and address, Jane O’Brien Media, that was credited on these videos. All well and good, except that as they pursued their inquiries, a representative of Jane O’Brien started to email, warning them off, even threatening legal action.

One of the first responses was for three Americans to go to Auckland to meet with – confront – the would-be film-makers. What else does a New Zealand journalist do but decide not just to follow it up but for he and his partner to travel to the US.

If this sounds intriguing, and it is, then it is well worthwhile sharing this investigative journalist journey and explore the world of the sport as well as some of the personalities behind it. David Farrier does quite a good job of following up leads, finding people willing to talk on camera, running the risk of legal action and threats, filming all the way, to end up with a documentary that was not what he thought it would be, but much better.

Yes, there is a sport, and there are many videos available, especially on social media. In talking with some young men who became involved, they discovered a mysterious story, auditions, tickling sessions, and the three people who visited New Zealand involved in the filming. Once they had discovered someone who was professionally interested in this kind of tickling and who would help them with their investigation, the film becomes something of a detective story. They were trying to unravel a mystery, starting with a rather glamorous photo of a woman who sponsored the videos in the 1990s but then had disappeared, then a personality who had been involved in promotion and PR, which led them to an American teacher who seemed to have been involved but who had disappeared from the scene.

By this time, some audiences might have guessed what happened, but mainly we are carried along with the momentum, a visit to a group in Michigan and the interview with a practitioner and his family, to New York City and interview with a lawyer who was sending David Farrier a letter of please explain.

By the end of the film, the mystery is solved, but not necessarily the mysteriousness of the sport, questions about those who are addicted, and why, to the spectacle of young men enduring such tickling.

David Farrier himself does the commentary and Dylan Reeve appears, especially when they have to decide whether they will continue with the project or not. Just as well they did.

Korea, 2016, 118 minutes, Colour.
Directed by Sa-ng-ho Yeon.

The title makes it sound like one of those old thrillers, where all kinds of things happen on the trains like that of the Orient express. This train, however, is on a one-hour-long journey from the capital of Korea, Seoul, to the city of Busan. What happens is certainly disaster but not so much in the vein of those old disaster movies.

What distinguishes this film is not that it is a zombie film but that it is a Korean zombie film.

It opens in the familiar way, a truck driver on the highway being stopped by masked military, told that there has been an accident at the local plant, he grumbling about threats to his crops, and then hitting a deer on the road which rises up with zombie eyes.

So, the scene having been set, we are introduced to the characters who will be on the train, most explicitly a father who has his daughter living with him but tends to neglect her, is separated from his wife, is caught up in his job as a fund manager, making some ruthless decisions. Urged by his mother, and it being the little girl’s birthday and his giving her a lavish present which he has given to her on a previous occasion, he decides to take her to see her mother.

At the platform, there is a sports team, there are two elderly sisters, and on the train there is a large worker guarding the toilet for his pregnant wife.

Pretty soon it is clear that the zombie effect is all the rage, zombies on the platform storming the train, causing mayhem – and observers have noted that Koreans, unlike Americans in similar situations, don’t carry guns so combat is either with fists or baseball bats. When the passengers think they have arrived safely at the station, more zombies have taken over and they have to flee back to the train, some in a compartment, some in a toilet who have to be rescued by the father, the worker, a rather wild man who first alerted people to the zombies and one of the sports team – the pregnant wife, the daughter and one of the old ladies are trapped in a toilet.

A lot of the action takes place as the rescuing group tries to get through the zombie-filled compartments, distracting, crawling along the luggage racks and relying on tunnels because zombies cannot see in the dark. There is further complication when a self-centred businessman does not want the rescuers to come in for fear they are infected and, when they do get in, the crowd relegate them to isolation.

The zombie special effects are quite effective, faces infected, angular contortions – and there are a lot of scenes with crowds of zombies, at one stage massing against the glass wall and crashing and falling through, leaping onto trains and, finally, being dragged en masse by an engine through the railyard.

One of the main points is self-sacrifice, exemplified by the little girl but all the men characters, the rescuers, have to face up, and do, to the challenge of saving others through self-sacrifice.

This is certainly one of the better zombie films.


US, 2016, 114 minutes, Colour.
Miles Teller, Jonah Hill, Kevin Pollock, Ana De Armes, Bradley Cooper.
Directed by Todd Phillips.

The Dogs of War is a phrase used to describe combat hardship, difficulties, heroism. War Dogs is not the same thing and, in this case, definitely not the same thing.

The story is told from the point of view of David, Miles Teller doing a variation on his raunchy comedy routines but, basically, a more seriously decent type. At this stage, 2005, he is something of a pothead, trying to sell quality sheets to homes for the elderly (where the managers think that quality is useless for their clientele), then doing male massages in hotel, and in a relationship with an attractive partner, iz, who is pregnant.

At a funeral, he meets an old school friend, Efraim, Jonah Hill doing a bossy and scheming variation on his raunchy comedy routines. He has been getting arms from the police in California and selling them on eBay. Now, in Florida, he intends to expand and invites David along to be an associate, 70-30.

So much for entrepreneurial twentysomethings. But, this is a true story which takes us more than a bit beyond belief.

Efraim is rather shrewd in the sense that he doesn’t go for huge contracts but rather deals with “crumbs” and amasses quite an income. But, he becomes ambitious, entering into a contract with an officer in Iraq to supply him with Italian Beretta weaponry – but, in serious comic style, Efraim has to use his wits and David his diplomacy with the officer because Italy has introduced legislation against this kind of sale of arms, Efraim thinks they should be delivered to Jordan, the two men go over to Jordan, deal with local smugglers, drive into Iraq, are pursued by bandits but finally deliver their goods – and get a reputation with American military procurement officials.

Emboldened, they go off to a weapons exhibition in Las Vegas, encounter a famous arms dealer (played by Bradley Cooper who produced the film) and decide to go for broke with his encouragement, an enormous contract for the military.

They are able to fake their papers and accounts, and are surprised to get the contract – which seems to go off well, with visits to Albania and more dodgy deals, then dodgy deals, which brings the situation to a climax and a crisis.

The plot is interesting as one looks at American involvement in Iraq and Afghanistan at the time, the huge contracts and movement of arms, remembering the exploitation by various American companies in Iraq, but this picture of two young men becoming involved in arms sales while having no moral stance about rights or wrongs of the war, has reminded audiences of the comic expose of the entrepreneurs, young, prior to the global financial crisis, The Big Short.

Efraim becomes more and more a dislikeable character, foul-mouthed and unprincipled, while David is the one who has his conscience challenged.

In Snowden, Oliver Stone’s film about the man who leaked information, the background of his work for the CIA takes place at the same time as the action in War Dogs, even with some comment about the profligacy of military procurement. Into that setting of American management and mismanagement, War Dogs finds its place.


US, 2016, 96 minutes, Colour.
Directed by Josh Kriegman, Elyse Steinberg.

There is plenty in this documentary to fascinate its audiences. The film has a solid reputation, winning awards, including Grand Jury Prize, Sundance 2016. It is a fly-on-the-wall documentary, access being allowed to the filmmakers to be present to the subject, Anthony Weiner, and his wife, Huma, allowed into their privacy, even intimacy. The director of the film previously served as a chief-of-staff to Anthony Weiner.

Anthony Weiner has been a politician, American, Jewish, married to an Arab, having a son – and with enormous potential for political success. However, audiences going into the film will know what happened to him, the sex scandals, his having to resign from the Senate, his 2013 campaign to be mayor of New York City and the new round of scandals which emerged, and his losing the election.

In the early part of the film there are several clips of his giving speeches in the American Congress, his role as a senator, the importance of financial aid to be given to veterans of wars and his impassioned pleas, challenging the opposition, ridiculing the stances of some politicians and engaging a great deal of media support.

He was also strong on communications, a locally personality, his lean look, his brashness, touches of narcissism, his relationship with his wife and son then the revelations about his sexual communications, photos, and the emergence of some kind of addiction – which led to television interviewers asking what was wrong with him.
there is a certain audience prurience and curiosity on the issue of the emergence of the photos, seeing them, wondering about them – and the effect that it would have on his wife. There was a great deal of media commentary, in the press, on television – and the comedians making a great deal of satiric fun at his expense.
The film spends a lot of time on his campaign to be elected mayor 2013, to overcome the previous scandals, to show himself as a sincere and honest politician, supported by his wife, an aide for Hillary Clinton – with the irony that Bill Clinton had presided over Anthony Weiner’s marriage to Huma (and the scandals attached to Bill Clinton).

Weiner’s supporters and campaign staff are shown to be young, enthusiastic, active. They are shown in action, in meetings, and strategy talks, for the causes that Weiner was supporting.

The new scandals are rather devastating on the morale of the campaign staff. This is compounded when there were revelations about the woman with whom Weiner was in contact in Las Vegas, Sydney Leathers, young woman, her sexual bravado, her interviews and her declaration about expectations of him, and media appearances, social media, and her trying to get into the hotel at the end of the election, not being allowed in – with information about her later career in adult films.

A great deal of the interest of the latter part of the film is looking at Weiner’s handling of the situation – in close-up, warts and all. Many of his staff are seen in meetings, trying to develop strategies. And then there are the television interviews – and asking “what’s wrong with you?”.

Of particular interest, is the portrait of Huma, her political savvy, the marriage, her pregnancy and birth, care for her son, the continued support of her husband – although looking less and less enthusiastic as the campaign goes on.

Nevertheless, Weiner continues to go out campaigning, meeting happily with supporters, kissing babies… However, it is an unexpected loud skirmish with a Jewish man, the confrontation in a shop, the man continuingly posing questions to Weiner and Weiner losing his cool, hitting back, insults, all for the onlooking journalists and their cameras.

Weiner loses the election, getting the lowest percentage vote. He goes to the hotel, decides to send his wife home instead of facing the waiting media. The directors have continued access in these dire situations, Weiner willing and self-centredly ruminating, Huma becoming more detached.

There is a postscript with Weiner and a photo opportunity with a young boy in the street realising who the celebrity is, getting excited, phoning home and wanting a photograph with Weiner - granted.

At the time of the film’s general release, August 2016, Huma and Anthony Weiner separated, a crucial time in Hillary Clinton’s campaign for the US presidency.


US, 2016, 88 minutes, Colour.
Lily-Rose Depp, Harley Quinn Smith, Johnny Depp, Austin Butler, Justin Long, Tony Hale, Natasha Lyonne, Genesis Rodriguez, Vanessa Paradis, Haley Joel Osment, Stan Lee, Jason Mewes, Kevin Conroy.
Directed by Kevin Smith.

For the last 20 years or more, it is a standard statement in any review of Kevin Smith’s films to say that it is for Kevin Smith fans – and others be alerted or warned. Definitely the case here.

Smith’s film prior to this one was Tusks, a rather grotesque story about grotesques. This is something of a follow-up, taking up some of the characters and their investigations into oddities in human nature. The main proponent is Guy Lapointe, an odd looking old codger with a French-Canadian English accent who lumbers through a whole lot of activities – while many might not recognise that under the make up there is Johnny Depp, as in Tusks, doing yet another of his expert oddball performances.

However, the film opens with two young 14 ½ schoolgirls playing their guitars, singing vigorously with a middle-aged drum player. While some of this is amusing in itself, especially when they go back into the store where they work, and meet a whole lot of strange customers, and then have encounters with their demanding parents, we might wonder where it is all going.

We should have been more alert to one of the customers who goes out from the shop and suddenly is attacked from behind by this miniature soldier and dies. This leads to a number of deaths, including two young Satanists who had invited the girls to the year 12 party, with the girls being arrested and Guy Lapointe coming to investigate.

By this stage, the non-Smith fans might well have given up. The fans can be reassured that it improves, in absurdity of course, from this point on.

The girls go to school where it certainly emerges that they are not the brightest sparks, very much living in the present, no idea of history, absolutely devoted to their phones which they cannot live without and addicted to Instagram (and this is the manner in which all the characters are introduced).

Even if one were to recount the plot, one would get lost in a lot of the details – suffice it to say that we are taken back to Canada’s fascist past during World War II, Nazi infiltration, a rabble rouser with moustache – played, of all people, by Haley Joel Osment – and a sympathiser who is able to cryogenically preserve himself for later generations as well as his giving his blood to choice sausages (yes sausages) who all wake up prematurely and become an army of little fascist military out to destroy everyone (played by Kevin Smith himself). The newly-revived fascist comments on his funny accent and decides to communicate in the voices of Al Pacino, Sylvester Stallone, Arnold Schwarzenegger…

What has Kevin Smith got against Canada? The whole story is set in Winnipeg (with an attitude a bit like the creators of South Park towards Canada). And everybody speaks, highlightedly so, pronouncing the word ‘out’ and all its combinations and variations as ‘oot’, much more emphasised than we ever noticed before.

One other thing that needs to be said that this is a very family affair. The two girls are called Colleen and one is played by Lily-Rose Depp, the daughter of Johnny Depp and singer Vanessa Paradis (who plays the history teacher who opens up the Nazi past for her students). The other Colleen is played by Kevin Smith’s daughter, Harley Quinn Smith (who else could Kevin Smith would call his daughter Harlequinn), with her mother, Jennifer Schwabach, playing a supporting role and being one of the main producers of the film. So, definitely all in the family. (And Lilly-Rose Depp does make quite an impression).

A number of Kevin Smith’s friends have supporting roles and Marvel Comic guru, Stan Leey, plays a police patrol officer. and, satisfyingly for those who enjoyed all this silly entertainment, there is announcement that the two Colleen’s will appear in a film entitled Moose Jaw.


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