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

SIGNIS 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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